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Title: SHIELD FOR MURDERYear of Capture & Release: 1954 Bullet Holes: ****
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By the time this SHIELD FOR MURDER hit theaters, Edmond
O'Brien had put on a few pounds, resembling Tyrone Power had he eaten
Tyrone Power and with the lean, strict, tough years behind he was
perfect as a character he'd have, a few years prior, spent an entire
movie trying to bust...
Starting out with a MURDER
where only one hidden witness knows the truth, O'Brien's crooked cop
Barney might not have stooped this low... intentionally killing a
lowlife criminal who happens to have a ton of cash from the big numbers racket
mobster he ripped off...
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Marla English reflecting in SHIELD FOR MURDER |
Unless he felt he was above the law since he was the law, and Detective Barney Nolan not only has a bad temper but a reputation
that proceeds him – the believers are young cop John Agar who he mentored since
youth as well as token ingenue Marla English as Patty Winters, a nice looking dame he can't trust to
work in public...
So he dreams of stowing her cozily into a tract house in
the budding suburbs with the help of his victim, now donning empty
pockets in the morgue and, with the exception of Emile Meyer's quick lecture, and a newspaper reporter morally hounding his
cop friend, Barney seems to have gotten away with it...
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Edmond O'Brien in SHIELD FOR MURDER with Marla English |
SHIELD FOR MURDER is intense, and not just when it's
supposed to be. When the stakes are raised and the suspense
antes up as tables turn into the third act are taut but not as effective
as when Barney's completely in the clear...
O'Brien's
expressions alone, eyes either narrowed or bulging, even while romancing "other girl" barfly-type Carolyn Jones, makes him far from
the usual ambiguous Noir centerpiece and yet a residual of sympathy
remains in his hopeless desire in keeping a crime covered up, and the
fact he killed a bad guy in the first place...
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Edmond O'Brien in SHIELD FOR MURDER |
What does fit the particular genre are the low
budget sets, from the police headquarters desks that seemed dragged in
for a day's shoot, a boom microphone shadow that puts all visible booms
to shame and covering up the flaws is terrific acting albeit too backed
by a loud dramatic soundtrack...
In one scene he goes through a
guilt-driven transformation that'd be more effective for O'Brien without
the musical bombs bursting behind him. But flaws aside, this is a
sparse and effective one-man show about a multi-flawed cop that, like
even Film Noir protagonists, simply wants a short cut for the good life i.e. the impossible American Dream.
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A Howard W. Koch production before his Bel-Air Productions featuring Marla English |
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Edmond O'Brien setting up the kill in SHIELD FOR MURDER |
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SHIELD FOR MURDER with Carolyn Jones and Edmond O'Brien |
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SHIELD FOR MURDER with Marla English |
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SHIELD FOR MURDER with Marla English and Edmond O'Brien |
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SHIELD FOR MURDER with John Agar, Marla English and Claude Akins |
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SHIELD FOR MURDER with Marla English and John Agar |
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SHIELD FOR MURDER with Marla English and John Agar |
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SHIELD FOR MURDER with Carolyn Jones and Edmond O'Brien |
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SHIELD FOR MURDER with Carolyn Jones and Edmond O'Brien |
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SHIELD FOR MURDER with John Agar |
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"Top of the suburbs, Ma!" in SHIELD FOR MURDER with Edmond O'Brien |
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"Top of the suburbs, Ma!" in SHIELD FOR MURDER with Edmond O'Brien |
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The worst case of a Visible Boom Mic ever: from SHIELD FOR MUDER |
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Marla English in SHIELD FOR MURDER |
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Edmond O'Brien and John Agar in SHIELD FOR MURDER
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Norman Ollestad and Edmond O'Brien in SHIELD FOR MURDER
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