User reviews

Set Up! or Framed! might be better titles than Railroaded! While it's true that the police pursue their suspect (Ed Kelly) with undue alacrity, it's also true that they're only following a trail of maliciously planted evidence. And an odd feature of the movie is that Kelly remains almost an incidental character (not even appearing in the credits); the focus stays on the police and the real behind-the-scenes villain.

Brash blonde Jane Randolph operates a little beauty salon that's really a front for a back-room book. One night a couple of masked robbers knock it over, but things go wrong: A beat cop is killed, and one of the gunmen (Keefe Brasselle) takes a bullet. Soon detective Hugh Beaumont knocks on Kelly's door, led there by the boy's monogrammed navy scarf, a sighting of his van at the scene, and a description provided by Randolph. Even Brasselle, bandaged up like the Invisible Man, names Kelly in deathbed testimony.

The only one who believes his innocence is his sister (Sheila Ryan). Luckily, Beaumont knows her from the old neighborhood and still is a bit sweet on her. Unluckily, so is the man who set up her brother (John Ireland) as part of a coverup to swindle the head of the syndicate both he and Randolph work for. Little by little, the craftily stitched-together ruse starts to pull apart at the seams, and the hotheaded Ireland grows more reckless and violent...

Directed by Anthony Mann just before his collaboration with cinematographer John Alton took his work to a new plateau, Railroaded! displays some of his trademark tricks (a taut story line; swift and unexpected burst of violence; shadows used not merely as mood but visual metaphors).

And Ireland gets not only top billing but one of his best roles. When he's not slapping around Randolph for her sloppy drinking (in the grand tradition of alcoholic molls like Claire Trevor in Key Largo and Gloria Grahame in The Big Heat), he's fetishistically perfuming his bullets. He's quite the sex-equals-violence kind of guy; when Randolph and Ryan get into a hair-pulling tussle, he watches from an alcove with a nasty smirk on his face, and his gun barrel unconsciously traces the action. It's as if it's deciding who will be the lucky recipient of its payload.

John Ireland is a cold blooded and vile villain and Hugh Beaumont is an honest detective who's not so sure that he and his fellow overzealous cops have the right suspect (Ed Kelly) in the murder of a police officer in a gangland robbery. Toss in an evil cat fight between Sheila Ryan and Jane Randolph and "Railroaded!" becomes a prime example of Anthony Mann' superior post-war Film Noir direction. Using low lights and a suggestive script despite a low budget and grade "B" actors, Mann jumps right into the action from the start with a botched robbery that leads to not just the death of a cop, but the railroading of an innocent man. Mann builds the story up with tension and skill until the taught finale filled with gun shots, breaking glass, and confusing camera angles. It may be a "B" movie, but Mann deserves a "A" for his effort.

John Ireland's portrayal of a cold obsessed killer is the best thing in this movie. His performance is edgy, sexy and menacing. A brutal thug who loves his gun. Unfortunately he is hampered by a weak script, where his actions often make little sense. (For instance, why would he contact the sister of the suspect he framed?). Jane Randolph is also strong as the moll, although her character seems to change midway through the movie.

One of the first noir films directed by Anthony Mann, the movie is well shot, fast paced, tightly edited and tough. One wishes the focus could have stayed on Ireland, or, alternatively, the strong scenes of Ed Kelly being framed and pushed around by the cops. Mann will better develop these themes in his later films (noirs and westerns). Still a pretty enjoyable movie and a must for film noir fans.

A faked robbery goes awry and a cop is killed, causing the perpetrators to frame an innocent kid to take the rap. What they don't foresee is the kid's stubborn sister.

John Ireland makes one nasty bad guy, and when he lovingly polishes that gunbarrel with perfumed bullets, we get the idea. Yes indeed, he's more than just a bad guy. The movie's a crime drama done in noirish style by the expert Anthony Mann. There's little of the hallmark ambiguity of classic noir in the characters. Nonetheless, there's the innocent kid Steve (Kelly) who looks to be the victim of a malevolent noirish fate. Of course, there has to be a cheap dame in the crime mix, and Jane Randolph flops around effectively as Duke's (Ireland) brassy blonde punching bag.

Note how the movie starts out in slam-bang fashion, and how effectively Mann uses close- ups, especially of the suddenly terrified Marie (Converse), to turn screen violence into a sense of real violence. This, I think, was a Mann specialty and one reason he's treasured by fans of noir. Then too, that shootout in the shadowy nightclub amounts to a clever touch of visual imagination. No, the story itself is not exactly novel, while Beaumont makes the kind of cop you'd expect from Beaver Cleaver's dad. Still, the movie's done with style and conviction, with an outstanding turn from Ireland, and rightfully belongs in the canon of 40's noir.

Railroaded (1947)

An almost amazing movie, well made, beautifully photographed, held back by a stiff script but still it manages. And it has a dark current that makes it both creepy and contemporary. Director Anthony Mann seems to have made a dozen great films that are just under the radar, noirs and westerns that have some edge to them to keep them from falling into the abyss of their genres.

This is Mann at his mature earliest. He had made a few films in the earlier 40s, but this, along with "Desperate," marks his coming into his own. Yes, you might find too much of a formula at work here, but it's not derivative, just a little stilted in the dialog. And yes, you might ask, near the beginning, why the cops couldn't see how easy the frame up would be (anyone could have stolen the truck and committed the crime), but remember, this one fact was supported by several others, including an eyewitness confirmation. So, once over these humps, you are for a good ride.

Who to watch for amongst these relative unknowns? John Ireland, most of all, for his bad guy personification, all charm and heartlessness, simultaneously. His girlfriend, played by Sheila Ryan, is his match, in a sharp performance also dripping with selfish cruelty, but tempered, critically, by doubt and remorse.

The third star is the little known cinematographer Guy Roe, who must have been inspired by the young, rising director. The filming right from the opening, subtle crane shot of the beauty parlor facade is artfully gorgeous without becoming baroque the way Orson Welles had become (beautifully) by 1947 with "The Lady from Shanghai." Both are great examples of where the movies were just after the war, both with a dark, brooding, searching uncertainty. And both showing off the amazing movie-making machinery of post-War Hollywood. I say this because both films were smaller budget affairs, and yet they have uncompromised production.

Give this a serious look. It's imperfect, for sure, but it has such high points, including some dark dark filming that is so kinetic and scary it surprised even an old film noir fan like me, you'll be glad.

Anthony Mann directed some of the very best noirs of the 1940s and early 1950s.

This one is brutal, hard-hitting, and unrelenting till its Hollywood ended. (The ending may have been tacked on. I don't know. But it works organically with the whole, unlike many others.)

The problem for me with some of his movies, this one included, is that they are so dark they're almost impossible to see at times. Yes, it's atmospheric. But it's also frustrating.

The literal noir in some -- not all -- of his movies reminds me of the staging of Wagner at the Metropolitan Opera. Yes, it's brooding and intense. But it's also really hard to see.

After watching RAILROADED, I'm convinced JOHN IRELAND could have taken his place alongside men like ROBERT MITCHUM doing grim little film noirs during the '40s. He's excellent as a tight-lipped gangster with a scowling expression as he methodically kills anyone double-crossing him or standing in his way. He knocks around his blonde girlfriend (JANE RANDOLPH) with woman-hating contempt and fires bullets with casual lack of concern for fatalities. In short, he makes an ideal film noir anti-hero.

HUGH BEAUMONT, known by most fans principally as Beaver's dad on TV, is only lukewarm as the detective who falls for SHIELAH RYAN and decides to help her track down the killer after Ireland frames her kid brother (ED KELLY) for the murder of a policeman. Their final fade-out kiss looks a little clumsy but--hey, the accent is on crime and action, not romance.

Anthony Mann does the best he can with a low-budget crime melodrama and turns it into a taut, well-made, shadowy film noir with Ireland showing his stuff as a ruthless gangster.

Summing up: Brisk and entertaining, it's well worth watching for fans of this genre.

Once I got into collecting film-noir movies, I had to have this one, so I paid big bucks for the VHS. I say that because it added to my disappointment. The film is okay, but if you have really high expectations before seeing this, you'll probably be let down, as I was. I liked this more on the second viewing when I knew what to expect.

In the beginning, it dwells too long on the innocent man-being arrested theme but after that part is over, it picks up, but then bogs down again. For people who grew up watching "Leave It To Beaver" on TV, this film offers Hugh Beaumont as a main character. Since I did, I always find it interesting to see Beaumont in different roles. I also enjoyed ogling a pretty brunette, "Rosie," played by Sheila Ryan. The climax to this story was good, and it was surprisingly realistic. There was some decent film-noir photography in spots, too. Overall, okay but not what it's cracked up to be.

This film has it all, great photography, well developed plot AND story, snappy dialogue and passable acting. I suppose I shouldn't say it has it "all" in that case, as the characters are not particularly round and because of that the acting is not always completely satisfying to me. But that doesn't prevent me from popping this movie in again and again, just because it's non-stop action and so so pretty to look at.

"Leave it Beaver" fans should see this, of course, but might be slightly disappointed that Beaumont is a bit more rigid than the sit-com serial allowed him to be - I wished for more warmth from his character, as I know he was capable of conveying. John Ireland, however, was brilliantly evil and his acting, at least, was top notch.

Anthony Mann directed this thriller that stars Jane Randolph(cast against type) as a gun moll of gangster Duke Martin(played by John Ireland) who have staged a holdup of a back-room bookie operation that goes wrong when a policeman is killed. Detective Mickey Ferguson(played by Hugh Beaumont) investigates, which leads to the brother of his girlfriend(played by Sheila Ryan) who insists he has been framed, since the getaway car used was his stolen automobile. Can her brother be cleared before the real bandits get away? Good thriller with unusual but effective casting. Plot is nothing special, but is handled with care by its director, making it exciting and interesting.

Vicious hoodlum John Ireland frames a young man for the killing of a cop. The police arrest the young man, but top cop Hugh Beaumont starts to question whether they've got the right man.

Whilst the plot is a little wobbly, this is an enjoyable, above average B movie noir featuring a fine performance from Ireland as the extremely nasty villain.

This was the first time I heard of this movie and it was really good,dark and is B/W still the best in those 40's crime movies. John Ireland really good as villain and woman beater,Leave It To Beaver father Hugh Beaumont a surprise as good guy detective. The police methods Pre-Miranda are frightening,no lawyers and roughing up suspects and obvious shaky evidence and possible frame-up. But the one great thing about the movie is that great fight between the Babes(rarely ever seen today) It was great to watch. This has to rank as one of the all-time woman fights on screen! Great cars and of course nightclub with people all dressed up and smoking.

Hugh Beaumont, known to millions as Mr. Cleaver, stars with John Ireland in "Railroaded," a second feature that also features Sheila Ryan, Jane Randolph, and Ed Kelly. This is a fairly routine story of a young man framed for a murder/robbery he had nothing to do with. The robbery was an inside job, and the insider (Randolph) deliberately leads the police astray with her I.D. Poor Ed Kelly, who plays the wrongly accused man, is interrogated harshly with no lawyer present. Meanwhile, the police can't find the gun that killed the policeman on the scene or the stolen money. The accused's sister (Ryan) gets involved in trying to find out who did it. And of course, that would be the sinister John Ireland, a mean, violent man who's easy with his gun and fists.

The thing that's unusual about this movie (for me anyway) is seeing women shot. Not only that, but Ryan and Randolph have an amazing catfight. The violence shown against the character played by Randolph is disturbing - but we've seen that before.

I know some of the other comments mentioned that this is film noir and a real treasure - well, the print was pretty dark, but calling this a film noir is a stretch. Although well directed by Anthony Mann, this is a run of the mill B. As they say in the antiques world, "Just because it's old doesn't mean it's valuable" - well, just because this is old doesn't make it a classic.

Railroaded! (1947)

*** (out of 4)

Anthony Mann directed this thriller, which has a Detective (Hugh Beaumont) trying to clear an innocent man of murder charges. The Detective eventually falls for the suspect's sister (Sheila Ryan), which leads to a wannabe gangster (John Ireland) who we know is the real killer. This is a pretty suspenseful and highly entertaining little film that has a whole lot going for it. Mann does a terrific job at keeping the film moving very nicely and he has enough interesting characters for two films. This was my first time seeing Beaumont outside of his role of the father on Leave it to Beaver and I was shocked to see how well he played a tough guy. His Detective has all the charm, energy and toughness, which is expected in a film like this. Ireland is terrific as the thug and Ryan does a nice job, although she's not on the same level as the two men. There's also a wonderful fight between two women, which has to be seen to be believed.

Railroaded! Is directed by Anthony Mann and written by Gertrude Walker and John C. Higgins. It stars John Ireland, Sheila Ryan, Hugh Beaumont and Jane Randolph. Music is by Alvin Levin and cinematography by Guy Roe.

When an innocent young owner of a company van is framed for a robbery and killing of a cop, his sister takes up the case to prove his innocence. Forming an uneasy alliance with the detective in charge of the case, it is touch and go as to if innocence can be proved since the evidence is stacked against the youngster. But someone is responsible, and that someone is moving close to the action...

A difficult film to recommend with confidence to those interested in noir/crime cinema, Anthony Mann's Railroaded has some good moments but unfolds merely as a solid noirish frame-up picture. Narrative holds no surprises and goes exactly where you wish it wouldn't. The tiny budget shows and the acting away from Ireland is pretty average at best, while important points of worth in the plotting drop in only to not be expanded upon thereafter - including the poor innocent youngster sitting in jail!

However, it is that portrayal of villain Duke Martin by John Ireland that more than makes it worth sitting through. This is a villain who is not only particularly bright in his decision making, but he has some odd kinks (perfuming his bullets, caressing his pistol) and thinks of nothing to handing out violence to women. Mann and Roe are wise to Ireland being their draw card and utilise his menace with some good shadow play and lighted close ups.

Elsewhere there's a hugely enjoyable "girl scrap" scene between Ryan and Randolph, which is made more dangerous by the presence of Duke in the shadows. Duke's setting up of a wino stooge carries with it the requisite nastiness and his murderous executions pack a punch for dramatic impact. The finale, as expected as it is, is at least well constructed by Mann and therefore closes the film down with a double bang instead of a whimper.

With "Desperate" and "Railroaded" released in 1947, Anthony Mann was still crossing over and learning about his film noir capabilities. It would be "T-Men" made in this same year, with his pairing with ace cinematographer John Alton, where Mann found his mojo and began a coupling that would produce a run of undoubted film noir classics. As for Railroaded? it's passable fare and best viewed as a time waster or appetiser to better pleasures to come. 6/10

One of Anthony Mann's early features before his big budget western days of the 50s Railroaded is the story of a young WW2 who is neatly framed for a robbery and with that the murder of his alleged partner Keefe Brasselle during the robbery.

John Ireland is the framer of Ed Kelly. Ireland stole Kelly's truck from where it was parked and the vehicle was identified. No one could testify on Kelly's behalf.

Going to work on Kelly's behalf are his sister Sheila Ryan and homicide detective Hugh Beaumont.

Ireland is one rough and bloody customer. There are a lot of murders by him of anyone he suspects of ratting him mout to the cops.

For them a really good film from PRC studios.

The story opens up with a woman leaving a beauty shop and a brief talk between the shop owner, Clara Calhoun, (Jane Randolph) and a customer who is leaving the establishment. Clara locks the front door and goes to her living quarters and opens and closes the back door a few times, and all of a sudden two bandits enter her shop and steal five thousand dollars. Clara Calhoun also runs a bookie racket besides being a beautician and the crooks were after her gambling money for the week. There is also a policeman who is shot as he was doing his rounds and one of the crooks is injured by the policeman's gun shot. Rosie Ryan, (Sheila Ryan) has a brother named Steve Ryan, (Ed Kelly) who manages to get railroaded for this crime because he drives a laundry vehicle which was at the scene of the murder and also a U S Navy scarf with his initials on it. John Ireland, (Duke Martin) gives an outstanding performance as a ruthless crook who will shoot anyone at the blink of an eye. Great entertaining film from 1947.

Top billing for "Railroaded!" goes to the great actor John Ireland who plays the coldblooded killer Duke Martin. Today, Ireland is perhaps best remembered for his role as the gunslinger, Cherry Valance, in the John Wayne western classic "Red River" and for his Academy-Award- nominated performance as a reporter in another Hollywood classic "All the King's Men." Duke Martin, as with most of the heavies in noir flicks, is a misogynist. But this time the woman hater doesn't get away with it completely. Both Clara Calhoun (Jane Randolph) and Rosie Ryan (Sheila Ryan) put him in his place. When Duke misquotes Oscar Wilde, "Some women should be beaten regularly, like gongs" (it was actually Noel Coward who used the line), Clara is quick to respond to the effect that if that line belonged to Oscar Wilde, then let him have it. When Rosie and Duke first meet at Duke's club, Duke calls women "dames." Rosie responds sharply, "I don't like that term." Duke backs up and uses the still somewhat derogatory "gals."

The plot involves Rosie's brother, Steve, portrayed by unknown actor Ed Kelly, who only made three films to my knowledge. Duke and his girlfriend, Clara, frame Steve for a bookie heist, during which time a patrolman is killed. The police are after a quick conviction and are getting ready to go to trial and ask for the death penalty when Police Sgt. Mickey Ferguson (Hugh Beaumont, aka Ward Cleaver) falls for Rosie and decides that her brother may not be guilty after all. Ferguson attempts to help Rosie find the real murderer when Rosie decides to conduct her own investigation by becoming chums with Duke. This all leads to more murders until the ultimate confrontation between Ferguson and Duke. The film is fast-paced and somewhat violent for its day.

The creative use of darkness and shadow was an important ingredient of noir cinema, but as one IMDb reviewer has already noted, there is so much darkness in "Railroaded!" that at times it is difficult to see what is happening. One reason for this may be viewing the film on a TV screen. Perhaps on the big screen there was no problem. Outside of this minor weakness, "Railroaded!" is a winner all the way.

This is another fine Mann noir – though I'd personally rank it lower than, say, RAW DEAL (1948) or SIDE STREET (1950).

On the debit side are the weak male leads – Hugh Beaumont as the cop (though he's better here than in BURY ME DEAD [1947]) and Ed Kelly as the framed boy – and the somewhat familiar storyline. On the other hand, John Ireland (surprisingly top-billed) is impressive as the heavy and Jane Randolph (hair dyed blonde) makes for an interesting femme fatale – but, just as striking, is lovely Sheila Ryan playing the spunky if naïve leading lady.

As befits the genre – in which Mann excelled, before changing course eventually with the psychological Western – the film is at its best when relying on shadowy lighting to create mood or highlight moments of suspense, menace and outbursts of violence (notably the final showdown between Beaumont and Ireland in a darkened bar-room). The film is available on an old and expensive bare-bones DVD from Kino, from which the DivX copy I watched was culled.

Jane Randolph (Clara) stages a robbery at her own beauty parlour. Her boyfriend gangster John Ireland (Duke) is in on it but things go wrong when his partner Keefe Brasselle (Kowalski) is shot and kills a policeman in the process. Ireland, Brasselle and Randolph all set up Ed Kelly (Steve) to take the blame and go to the electric chair for this crime that he did not commit and his sister Sheila Ryan (Rosie) sets out to prove his innocence.

This is a predictable film that contains some inexplicable actions that don't make sense. Why would Ireland get in touch with sister Sheila? No sense at all. I also briefly fell asleep for a part of this film and have to report that when I awoke the film panned out exactly as expected. There are no surprises with this one but John Ireland makes a good baddie.

This is just the sort of Film Noir film I love--one that features realism and gritty dialog PLUS some dynamite actors who are anything but what you'd expect to be starring in a Hollywood film! Like many of the great Noir characters, John Ireland is menacing, kind of ugly as well as cruel and unrepentant. The way he slaps around his girl and the darkness of his soul made him a great leading thug in this movie. His nemesis is Hugh Beaumont (yes, that's the Beaver's dad) and he did a decent job overall as the lead investigator except for one very, very brief moment when he planted a very clumsy kiss on the leading lady--this just didn't make much sense and didn't fit at all into the film.

The bottom line is that this is a good detective film--much like the original DRAGNET movie or T-Men. While you don't see the familiar Noir stars (such as Edmund O'Brien), it does deliver in regard to mood, snappy dialog and intensely gritty realism.

Compare Jane Randolph in her role in "Cat People" or "Curse of the Cat People" with her role in this film. I think she did equally well as Kent Smith's perky, caring, white bread wife in the Cat People films as she did as Clara, the hard-bitten alcoholic criminal in "Railroaded". She showed a special sensitive quality in both roles, I thought.