A gal goes searching for her missing sister and uncovers an illegal baby trade ring. This is unique subject matter for noir, at least I can't recall having seen it before. The film is slightly too light-hearted in tone for the topic, but it's otherwise a pretty good flick. The dialogue is snappy and witty, the story unfolds at a good clip, and the cinematography is quite strong, especially during the more suspenseful scenes. Dennis O'Keefe isn't the most compelling leading man but he has a good stack of noir credits (Raw Deal, T-Men, Woman on the Run) and a sharp line delivery. This is my first experience with Gale Storm, who didn't really impress me but was definitely at least okay. Raymond Burr makes a memorable appearance as the shady private detective. And who do you get when you need someone to beat up Burr? The even more menacing Mike Mazurki, naturally. The score is quite good, too. Unfortunately there's some incredibly unnecessary narration to point out the blatantly obvious, but it's a minor flaw in a solid film.

I had my doubts about bubbly ingénue Gale Storm (Paula) starring in a crime drama. But she's actually well cast and manages an appropriately restrained performance. Here she's the sister of a dead girl who's left a baby under mysterious circumstances. So Paula's investigating with help from brash newsman Sitko (O'Keefe). What they uncover is a ruthless ring that sells newborns and gets rid of mothers who complain.Like many others of its time, the movie makes good use of LA locations, along with some effective noirish touches. However, these touches are not developed into a prevailing atmosphere, despite the presence of noir icon Raymond Burr (Kerric). Actually, it's hard to recognize Burr since he's either lurking in the shadows or peeking around corners. In my book, the best scene is when Kerric tangles with that other movie heavyweight Mike Mazurki (Hoppe). It's like King Kong taking on Godzilla. Also, the unexpected plot wrinkle with Kerric is a good one.But my money's on Marjorie Rambeau (Donner). She's scarier than anyone else in a movie loaded with baddies. Too bad she doesn't have a face-off scene with that other formidable actress, Jeanette Nolan (Major Ross). Too bad also, that O'Keefe has drifted into obscurity. He was quite a good actor, at home in either comedy (Up in Mabel's Room {1945}) or drama. Here he's typically persuasive as an aggressive newshound.All in all, the movie's a better than average crime drama, with a good cast, a crisp narrative, and a suspenseful climax. It's second-tier Universal coming up with better results than usual.

This excellent thriller deals with the sale of stolen babies by baby broker racketeers. It is thus more relevant to today, when this problem is much more widespread, than it was in 1949. The plot is sound, the script first rate, and the acting is extremely good. It is interesting to see an early Jeff Chandler performance, in a supporting role, before his hair went prematurely white, and when he was so thin he looked like he needed a good meal. There is some crackling dialogue: 'I couldn't sleep, so I took my gun for a walk,' and 'The idea of you going straight is like a vulture becoming a vegetarian.' Raymond Burr, to whom the latter remark is addressed, is a heavy of suitably sour disposition. Dennis O'Keefe is an excellent clean-cut B hero, and Gale Storm is a rather sombre and expressionless 'good girl' from a small town who has come to the wicked city in search of her murdered sister and her stolen baby; she is convincing, though unexciting. A sinister sub-plot about the father of the two sisters making his daughter get rid of her illegitimate baby seems to have been cut because it was too shocking, but enough of it survives to show that it was clearly once there. Maybe the producers thought they had enough of a social message without getting that grim and frightening their audiences further. The sale of stolen babies was an issue that needed raising, and it was thoroughly portrayed in this film well ahead of its time. The director, Joseph Newman, did an excellent job, and at one point showed off by cutting from a match being struck by one character to a lit match being used by another character. Every thriller director is entitled to at least one arty moment, especially if it hypes the pace of the action, though this was probably in the script by Irwin Gielgud. Probably the few good one-liners constituted the 'extra dialogue' by William Bowers.

In Abandoned's opening shot, that iconic edifice, the Los Angeles City Hall, looms menacingly into the night sky. From then on, it's a fast, rough ride through a brutal baby-adoption racket. Gale Storm is best remembered (if at all) as TV's My Little Margie, but she co-starred in a few noirs like Underworld Story and Between Midnight and Dawn; Abandoned is the best of them. She's come to town hunting for her vanished sister, knowing only that there's an out-of-wedlock baby girl involved. Storm links up with Dennis O'Keefe, a newspaper man, and Raymond Burr, a private detective supposedly hired by the missing girl's father back east (an enigmatic specter hanging over the story: Storm confides that her sister left home because "he wouldn't leave us alone"). Turns out that Sis was murdered for developing maternal instincts after having giving the baby up. The web of baby-nappers includes grandmotherly but lethal Marjorie Rambeau, some even less savory characters behind her, and, of course, Burr. Abandoned, despite its Hollywood-"happy" finish, stands as one of the grittier offerings in the noir cycle (Burr's being tortured with matches is one especially painful speck of grit).