bensonmum2 Harold Dunlap (Charles Russell) commits a murder on what he believes to be a deserted train platform. However, the platform isn't as empty as it seems. The witness is a young boy named Mike (Dale Belding) who, at first, isn't quite sure what he's seen. Over time, however, Mike understands he's seen a murder. With Dunlap closing in, can he escape in time and notify the authorities before he becomes the next victim.Inner Sanctum will never make it on a "Best of Film Noir" list, but it's a decent little film that I found entertaining. Dunlap (Charles Russell), is a ruthless character, capable of just about anything - even murdering a child. Hiding in plain sight in the same boarding house where Mike lives is a nice touch that leads to some interesting situations. Dunlap makes several attempts to get rid of young Mike - like suggesting he go out at night to see the flooded river. The fact that Dunlap and Mike share a room only adds to the tension. The framing device used to tell the story is also a nice touch. At first I thought having a psychic telling Dunlap's story to a stranger was odd and misplaced, but it all makes sense in the end. At 62 minutes, Lew Landers' direction is snappy with, other than one notable exception - the beer can scene, no wasted minutes. The film moves at a nice pace. The films' technical aspects (lighting, cinematography, set design, etc.) are all more than adequate - falling somewhere between that of a big studio production on one end and a Poverty Row production on the other.While I could probably list a number of things about the Inner Sanctum that bothered me (like the annoying Dale Belding or the misplaced comedy for example), I suppose my chief complaint would be the lack of any real character development. We know Dunlap is a murderer and a killer, but we have not idea why or what motivates him. He's just a murderer - nothing more. He's not a fully fleshed-out, three dimensional person. Another example, when another boarding house tenant, Jean Maxwell (Mary Beth Hughes), falls for Dunlap, there's really no reason for it to happen. She falls for Dunlap because she's expected to fall for Dunlap. While the runtime might have made for a quick moving film, it hurts the overall movie by cutting out the time that might have been devoted to better understanding the characters and their motivations. In the end, the good outweighs the bad and I can easily rate Inner Sanctum a 6/10.

Martin Teller I picked up the "Midnight Mysteries" cheapo DVD set for some other noirs (THE SCAR, THE RED HOUSE, WOMAN ON THE RUN) but I hadn't seen this one before. A low-budget thriller in which a murderer hides out in a boarding house... but one of the occupants may have witnessed his crime. There's nothing too special going on here, but it has a brisk pace, some snappy dialogue, and Mary Beth Hughes (most famous for THE OX-BOW INCIDENT, or perhaps the Mystery Science Theatre fodder I ACCUSE MY PARENTS) is a steamy presence. Radio star Charles Russell isn't particularly riveting or anything, but he carries the film well enough. Some of the comic relief is kinda stupid, but some of it actually works. The child actor who plays a key role is a bit annoying, but not intolerably so.

classicsoncall As I watch Charles Russell in the lead role, I get the nagging feeling that I've seen him before, but I know I haven't. With a limited film career spanning six years, I begin to wonder if he could have gone on to bigger and better things if he hadn't been so one dimensional as he appears here. Then it hits me, the part could have just as well gone to someone like John Payne or Rory Calhoun, virtual Russell look-alikes who were on the way up around the same time who eventually wound up in classic TV Westerns (Payne in 'The Restless Gun' and Calhoun in 'The Texan').As film noir, this one works pretty well if you get beyond some of the quirks in the plot. Russell's character, Harold Dunlap, seems hell bent on dispatching a young teenage witness (Dale Belding) to the inadvertent murder of his fiancée. The cover of night and out of the way location provide the perfect opportunity, but Dunlap misses the chance when the kid turns around and looks at him. Now I ask you, if you're determined to kill a kid with a crowbar, why would his seeing you make any difference?The follow up to all this is that Dunlap and Mike the Kid play a game of second guessing each other's identity and real intentions, and Dunlap winds up looking like a sap by the time it's all over. In essence, he winds up being the most inept hoodlum ever, to the point where he doesn't even care if he gets caught or not. And by the way, is he blind? Mary Beth Hughes goes from coyly demure to smoking hot 'come on boy', and Dunlap just brushes her off. Now I know she was never meant for anything but trouble in this picture, so you think Dunlap would have obliged. But even with the criticism, this was an interesting flick that had one of those neat hooks that happened to bookend the story. You should have seen the ending coming, and because you didn't, it didn't leave you feeling blind sided like the 1953 film "The Limping Man". Just don't get too caught up in the way the story arc progresses, or you'll wind up going loop-de-loop well after it's over.

Cristi_Ciopron INNER … is exactly what it promises to be--yet somewhat better. Mrs. Hughes and Russell are good and even, though morally objectionable, likable leads. It's made with some sense of economy, varied and suspenseful. The supporting characters are well sketched. INNER … starts confusingly, with a succession of scenes given backwards (the descending from the car, THEN the picking, AND THEN the railway station episode); anyway, the device is nice. For its time, INNER … is disturbingly violent; the atmosphere is caught with great gusto, and, if Russell's character remains unexplored and unexplained, blank, as it were, he nevertheless functions in the flick. Thou may not like this kind of movies, so unpretentious and modest; but you can not ask them to be something they are not meant to be.