I wouldn't classify this as noir, but it's a good procedural starring two of the period's greats, Stewart and Conte, both playing against type.

Exciting, fast-paced story. A bit implausible toward the end but you'll like it.

Remarkable in its time for a frank presentation of what we now call inocence projects. Stewart lends a lot of credibility to the role of a man who transitions from sceptic to believer.

The story itself is fairly interesting, and I quite liked the procedural aspects of Stewart uncovering all the evidence and meeting the witnesses and so on. His transformation from hardened cynic to campaigner for justice was handled well. Unfortunately I thought the direction was mediocre. It's very dry and unexciting, with long (oh so long) periods of nothing but dialogue and heavy-handed exposition. I also thought there were too many questions left unanswered at the finish.

A police procedural with a heart. Jimmy is his usual adorable self and Conte is particularly intense as a defensive, prickly man who endears himself to us in spite of (because of?) his pride. Hathaway's direction is undistinguished, but it gets the job done.

Fairly average James Stewart 'taking on the system' black and white. A bit long winded and an incredibly cheesy end.

We meet a man whose mother insists was wrongly sent up for murder. Since this is a newspaper picture starring Jimmy Stewart (and definitely *not* "noir" like some people claim), no prizes for guessing how it ends. That being said, this is a well-made, entertaining movie, made by people who knew how to shoot a film in black and white. However ordinary this picture may be in other ways, it looks GREAT, and cries out to be seen on the big screen

Stewart and Cobb are terrific as usual. It was a good film, but I was a little let down.

Very procedural but entertaining, even when the humanity of the Stewart character's crusade drips into sentimentality. As a truly wretched woman, Betty Garde gives an incendiary performance (up there with Ann Savage in Detour!) as a thoroughly unreliable witness to a cop murder.

Hopeful, low-key Hollywood docu-noir, thoughtfully scripted and shot, with Jimmy -- sorry, JAMES Stewart doing a fine job in his first cinematic turn as a hard-nosed realist (rather than a lovable, drawling everyman).

Totally unremarkable, and not really film noir. Jimmy Stewart is Jimmy Stewart, and Richard Conte is horribly miscast as he's totally unsympathetic. Cobb is good enough, and there is a sequence where Jimmy Stewart wanders around a Polish slum and into a witness's house that resembles the chiaroscuro and attitude of noir. That's about it. I think the way everything is wrapped up is a bit unconvincing as well.

This film isn't anything special, but it holds your interest. It's billed as a film noir, but only the scene where Jimmy Stewart visits "Wanda Skutnik" really has that feel to it. The movie could have benefitted from more of it.