The question is asked by Lucille in her last scene, as she lies in the hospital to be detoxicated, and she is in hell. She is one of many female victims of Dutch Becker (Forest Tucker) who "owns" fallen girls "body and soul" all over the country, according to the police only in nine states. Frank Lovejoy as a frequent jailbird gets a chance for a clean slate if he helps the police to frame Dutch Becker to make it stick. That is the plot.It's a grim film of spartan conciseness, and there are many interesting minor details that are important but risk getting bypassed by the action. All the scenes with Gladys Baker (Peggy Castle) are captivating, especially the last one, the longest shot in the film. In fact, it's all the expressive scenes with the women (and they are not many) that makes the film magic and of lasting interest beyond the limits of its time and age.Frank Lovejoy reminds in this film very much of Eddie Constantine, the forerunner of James Bond but with a school of hard knocks behind him and a scarred face, that ultimately ruined his career. Frank Lovejoy has no scars, but he does have knuckles and uses them frequently. You simply have to love him, and the more for each trouble he starts.The music is also outstanding, excellently composed and suited perfectly to every scene. This is a great film on a small level that will outshine most film of the period that were made to be more spectacular. This is a noir down to basics and extremely efficient as such.

Times have changed and one of the stranger examples is the poorly named film "Finger Man". While today such a movie would clearly incite giggles (especially since it starred Frank Lovejoy), back in the day it was a taut crime drama...and perhaps one worth your time.When the story begins, ex-con Casey Martin (Lovejoy) is identified as participating in a robbery. However, instead of locking him up, the authorities offer to give him a walk...if he'll help them catch the mobster, Dutch Becker (Forrest Tucker). Martin is no squealer...but when he learns that his sister is addicted to smack...heroin provided to her by Becker, Casey decides to help bring him to justice. As he puts it, it's a choice between 'life in prison or probably a bullet in the head! However, he goes very slow...very easy in order not to scare Dutch off and so that he'll win his trust.While the film lacks the dark look and film angles used in classic film noir, it is tough enough to be noir...and the story is well worth seeing. Not among the very best crime films of the era, but still quite good. Lovejoy was a terrific actor--too bad he died so young.

Frank Lovejoy, a petty criminal out after his third stretch in prison, gets lucky on a new gig hijacking a truck. The cops catch him – he dropped a cigarette pack covered with his fingerprints – but offer him a deal. If he can bring in mob kingpin Forrest Tucker, they'll let Lovejoy walk.Not one to sing, Lovejoy turns them down until he meets up with his sister, strung out on the dope Tucker pushes. With the help of Peggie Castle, alumna of Tucker's stable of doxies, he makes himself known to the boss and gets a job running bootleg hooch. Something of a hothead, Lovejoy manages to rub Tucker's henchmen the wrong way, particularly Timothy Carey as his usual psychotic torpedo. As the movie nears its climax, the police wire Lovejoy to tape Tucker at the same time Tucker, his suspicions roused, decides to put Lovejoy on the hit list....Coming late in the noir cycle, Fingerman avails itself of the flat, brutal style of 1950s crime dramas. So there are no unforgettable characters or characterizations, no flamboyant cinematic set-pieces. But the storytelling stays hard and unsentimental, with a fairly high quotient of violence. And the cast does well with what's written for them. Lovejoy (The Hitch-Hiker, Try and Get Me) does the laconic, low-key noir protagonist – he's good at the basically decent guy in over his head, while Carey creeps us out (his specialty). Best of them is Peggie Castle, usually a hard-boiled blonde but here, as a woman with a past who wants a good future, she reveals an unexpected subtlety and ambiguity in her portrayal. She also gets the best shot in the film: Leaving Lovejoy's apartment, she disappears poignantly into a desolate urban nightscape. It's the last time we see her alive.

"Casey Martin" can take the final fall for a life of crime or cut a deal with T-Men to go undercover. It takes a tough guy, up against the wall, to tackle the assignment. The actors and script follow through to deliver a good tale. It's surprising that major studios were still making Black & White films in 1955, but the format seems to fit this story.