CheerupSilver Very Cool!!!

Stellead Don't listen to the Hype. It's awful

MoPoshy Absolutely brilliant

Derry Herrera Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

evanston_dad Ann Sheridan plays a bitter housewife who has a way with a curt one liner in this nifty little noir from 1950.Her husband is on the run after inadvertently witnessing a murder. The detectives are hounding his wife for clues about where he might be (she honestly doesn't know). Also hounding her is a reporter (Dennis O'Keefe) who wants to be first to the scoop. Or is he really a reporter? The film makes the bold move of letting you know early on that the reporter is actually the murderer, and he's slyly manipulating Sheridan into leading him to her husband so that he can bump off the only witness. O'Keefe plays against type, proving that his sardonic charm works just as well when cast as a bad guy as it does when cast as the leading man.O'Keefe is good, but Sheridan provides the biggest incentive for watching this one. Her, and a cleverly filmed nail biter of a finale that takes place on and underneath a carnival roller coaster.I don't know why the film is called "Woman on the Run," since the husband is the one who runs away and the woman doesn't even know she's in danger until the very end. Maybe I'm just missing the point or maybe the title really doesn't make sense because film noir titles almost never do.

LeonLouisRicci Film-Noir Foundation Founder Eddie Muller Introduced this on TCM as "One of the best Noirs You've never seen." It was Lost for Years and Muller and others were Hot on the Trail of a Good and Surviving Print for a Long While. When one was Discovered it too was Destroyed in a Fire in 2009. One more Great 35mm Print Showed up and now We have this Beautiful Edition to Enjoy. Restored by the UCLA Film and Television Archives.Dennis O'Keefe, Ann Sheridan and San Francisco Locations, Shot by Hal Mohr, Highlight this Taut Tale of a Witness to a Murder by the Mob and is on the Lam Seeking Refuge from His Noirish Plight of an Innocent Man Caught in the Muck of Organized Crime and Law Enforcement.The Police are as Unsympathetic as the Criminals as They must Bring in the Witness to Break Up the Syndicate. Many a Cynical Lines make this an Above Average Low-Budget Movie with Ann Sheridan Attempting a Comeback and O'Keefe at His Chain Smoking Best. The Police Captain Played by Robert Keith is Not Likable but Relentless and sometimes Insensitive to the Wife Trying to Find Her Husband before the Crooks Do the Evil Deed.A Sub-Plot Involving a Failed Marriage Cements the Story and an Amusement Park Roller Coaster Ride Ending make for some Riveting Suspense. A Good Looking Film and the Opening Scene is almost as Good as the Final one and has the Look and Up Close and Personal Violence of Pure Film-Noir, as does the Spiraling Out of Control Situations that Follow.

blanche-2 Norman Foster did a fine job of directing Ann Sheridan and Dennis O'Keefe in "Woman on the Run," a 1950 film, somewhat low budget. Sheridan by this time was around 34 years old, and the cutoff for women in those days was 30. Soon she would be turning to television.In the story, Frank Johnson (Ross Elliott) is out walking his dog Rembrandt when he witnesses a gangland hit. He goes on the run as the police desperately look for him, since he's their sole witness.They question his wife Eleanor (Sheridan) who has no idea where he is, and, since the marriage is on the rocks, she thinks he wants to get away from her as well. The police, headed by an Inspector Ferris (Robert Keith), starts following her, and she is bothered by a newspaperman, Danny (O'Keefe). She throws her hat in with him and the two work together to find Frank.Frank has left Eleanor some clues, and it's in those clues that Eleanor realizes one thing - Frank loves her, and if she can find him, she will try to make the marriage work.Very good noir, with the earthy Sheridan in fine form, with her dry delivery. O'Keefe was always a solid leading man, and he does a good job here. Always nice to see Victor Sen Yung, and you will recognize many television people who are in the film.Eleanor and Danny go all over San Francisco, which is fun to see in its post-war state. And the roller-coaster scenes are fabulous and tense. Good movie; see it if you can.

Robert J. Maxwell I no longer know what makes a film "noir". I mean, it can't be simply a black-and-white detective movie or murder mystery with lots of shadows and a duplicitous woman, because then we're talking Charlie Chan. Literally, "noir" means black or, sometimes, "dark." The French broadened the meaning of "noir" to include American movies with an oppressive atmosphere, odd camera angles, and weird lighting set ups. I guess, if we stretch the semantics a little more, "Woman On The Run" may be called a "noir," though not a "noir d'ebene." I'd add the accents but can't find them.Okay, boys and girls, this is the story of an innocent but rather dumb man, Ross Elliott, who witnesses a murder in San Francisco. The murderer, whom we've heard called "Danny Boy", has witnessed the witness and takes a few shots at him. Elliott calls the cops who want to put him in protective custody. The idea doesn't appeal to Elliott. He takes a powder and we don't see him again until the end of the movie.The cops want Elliott badly. As it turns out, they want him rather more than his wife, Ann Sheridan. They're married but distant from one another. Sheridan doesn't even know he has a serious heart condition. When she finds out, she sets about trying to track Elliott down in the city in order to bring him the medicine he needs. She's accompanied by Dennis O'Keefe, a reporter for a tabloid newspaper who wants the story. And she's pursued by the police, who expect her to lead them to Elliott.It's her investigation of her husband's activities, of which she seems largely ignorant, that lifts this story above the routine. Sheridan visits Elliott's place of work, his bar, and so forth, and bit by bit realizes that her husband loves her, that he's too reserved to throw himself at her, and that she herself has been a demanding wife and a cold fish. Without that element of discovery, it's a more ordinary murder mystery shot on a modest budget.Nobody thinks of director Norman Foster as an "auteur" -- here come the French again -- but he does a good, craftsmanlike job here. The performances are okay. No one stands out. Everyone is reliable. There is a young Japanese girl who plays a Chinese dancer and she's quite memorable although she has only a few lines before she's thrown off a balcony. The guy who tosses her -- a guy we know but we don't know we know, y'know? -- ought to be brutally spanked. Instead he just winds up floating in the bay with a bullet in him.The climax is very well done for its type. The killer stalks Elliott among the cross-crossing shadows under a roller coaster while Sheridan, who has just learned the murderer's identity, tries to shout a warning from the rocketing amusement park ride.The filming locations put that amusement park in Carmel, but it can't be the Carmel that now exists. Nobody in Carmel would allow a roller coaster to perturb the tranquil artistry of the place. I suspect the real location was in Santa Cruz. The midway we see looks a lot like the place where back-lighted Dirty Harry fondled his .357 automag and muttered "Make my day".It's interesting to see the city's locations in 1950. Some have evolved, some not. I expect most of the indoor scenes were shot at Universal Studios. The outdoor scenes lack dialog except that which was dubbed in later. Yet, the city itself is pleasing to look at, on screen or in life. It's the most Mediterranean-looking city in the US because of the pastel houses and the multiple elevations. Everywhere you look, the earth is tossed and tumbled into mountains and hills. The rooftops are magnificent places to stage foot chases on, not to mention the views.