dougdoepke Nightclub owner Joe returns from WWII only to learn gangsters have taken over his business and killed his partner. Being a tough guy himself, he gets the money back, but now needs to hightail out of the country. But before his ship sails, he's thrust into a neighborhood settlement house, whose winsome supervisor tempts him with a different kind of life.Oddball Xmas film, sort of like gangster noir meets Xmas spirit. I'm surmising it's holiday fare since Santa and the spirit of giving amount to the subtext. Plus, "Miracle" is Joe's (Ford) last name— no guess work there. Nonetheless, the tough guy overlay is heavy and darkly photographed. And catch that ending—certainly not what I expected as noir triumphs. Then too, just count actor Ford's number of smiles, or leading lady Keyes'. It's more like dour Xmas than the merry kind. Still, I kind of enjoyed the overall result. Maybe because it manages to convey a spirit of giving without rubbing our nose in it. After all, Joe's more interested in keeping the hundred-grand than doling it out to the needy. Good thing the kids are there to ease his greed. Still, the movie's pretty uneven. The gangster part sort of drops in and out. I get the feeling no one in production had a clear concept of the desired result. Overall, the parts may not fit well, but they are lively, never dragging. Still, it's an interesting little film, but don't expect it to show up for holiday celebration, except maybe for fans of 40's noir.

edwagreen Simply wonderful holiday yarn starring Glenn Ford and Evelyn Keyes. This is a heartwarming 1949 film dealing with the true meaning of holiday giving.When Joe Miracle returns from the war, he discovers that his nightclub has been taken over by the mob and his partner killed.Joe, Ford, takes the money back that belongs to him and of course the mob pursues him.Joe takes refuge in a friend's home. The latter is quite eccentric, but who is aided by Evelyn Keyes, a settlement worker who mistakes the guy for Joe.Joe hides out in the settlement house and practices good deeds by helping those less fortunate. Naturally, romance blossoms between Joe and the Keyes character.The mob remains in pursuit and Joe takes a bullet for his efforts. He probably survived but we're not 100% positive of that.The two matronly older settlement workers here are Beulah Bondi and Clara Blandick, the latter remembered as Auntie Em in "The Wizard of Oz."Percy Kilbride provides comic relief as a resident in the place spewing forth his practical philosophical ideas.A heartwarming tale depicting the basic good in man and how it is restored.

bkoganbing The ingredients are all there for a superb Christmas holiday classic, but Mr. Soft Touch somehow fails to measure up. It could be because two directors with two different visions if any, Gordon Douglas and Henry Levin got assigned to this film from Columbia.The film starts out with the same premise as Angels With Dirty Faces. Glenn Ford is a former nightclub owner who while serving in World War II was done out of his share of the club by the mob. Unlike James Cagney who expected to move back into partnership with Humphrey Bogart and George Bancroft, Ford's a bit more realistic than that. He just robs the place and he's got both the law and Ted DeCorsia and assorted hoods looking for him.Circumstances manage to place Ford in a settlement house in San Francisco where Evelyn Keyes takes an interest in him. He actually starts to help out around the place and spreads just a bit of that hundred grand he robbed from the mob. But Keyes who can't help falling for Glenn and her boss Beulah Bondi know he's trouble.Mr. Soft Touch is not a bad film, but it could have been a holiday classic, it goes wide of the mark with some bad direction. Or maybe no direction, could happen with two directors. The most interesting character in the film is John Ireland who plays a sleazy tabloid columnist, but a man with an impeccable nose for news and trouble.Glenn Ford's fans should like Mr. Soft Touch and Evelyn Keyes is absolutely radiant as the social worker. They teamed a few times as well for Columbia, but never got the acclaim that Ford did with Rita Hayworth in Gilda. Of course Mr. Soft Touch isn't Gilda.

laura-magnus The credentials for a superb Noir are all there: Glenn Ford has been one of the most convincing (and still strangely unsung) anti-heroes American cinema has produced. The wonderful opening sequence (in which Ford escapes both the police and the mob) is as minimalistic ally brilliant as the seemingly tight budget would have allowed. Yet after only a short while the film's tone changes radically: sweeter music, romantic comedy and a (however underplayed) Christmas tear-jerker emerge from what promised to be a crisp, economic little masterpiece.I'm not saying the uneven pacing ruin the film completely but my suspicion is, looking at the credits (no, I don't mean the cast which features a wonderfully noir-ish array of characters: Evelyn Keyes, John Ireland, Ted de Corsia) there are TWO directors (one made good noirs with Ford, the other made Rat Pack flicks with Sinatra, Davis Jr, Martin et al), TWO directors of photography...For what it's worth my guess is the producer got cold feet and hired a second director to save (a lame comedy? a routine noir?) a product he wasn't very happy with. He probably made a mistake...