Who doesn't like and enjoy Edward G. Robinson? He was a unique person that brought what ever scene or movie he was in alive and believable. He is just a natural entertainer and Hollywood did well to have him. This little gem of a movie is a nice short story that gets to the point and keeps you there. Yes, it is not accurate in its court scenes and the portrayal of the D.A.'s office but for entertainment back then it was considered a nice night out perhaps with a double feature too. Can't go wrong here and the ending is satisfying. Good snack movie with a tasty drink to up the enjoyment. Thank you

ILLEGAL - 1955Illegal is the second remake of the 1932 film, THE MOUTHPIECE. Here, Warner's lets W.R. Burnett (The Asphalt Jungle)punch up the story and move it up to the 50's.Edward G. Robinson plays a slick D.A. who wins far more cases than he loses. He wins a big one and decides it is time to run for higher office. This idea goes south when the man he sent to the chair, turns out to be innocent. Robinson resigns and takes to the bottle in a big way.One day, after spending a night in the drunk tank, Robinson helps a man, Jay Adler, beat a murder beef. He decides to dry out and open up a civil practice. He is soon in demand with all the wrong people. Mobster, Albert Dekker hires him to get various mob types off.Nina Foch, a friend from his D.A. days is not amused with Robinson's working for the "dark side". The new D.A. Edward Platt, is sure that Robinson must have a source inside the D.A.s office. Platt is sure that the source is Miss Foch. Actually, it is Foch's husband, Hugh Marlowe. Marlowe got in deep with the mob over a large gambling debt. He is paying the debt off by feeding Dekker info on cases.This arrangement soon ends when wife Foch learns the truth. She ends up shooting hubby Marlowe when he tries to silence her. D.A. Platt, believes that Foch had murdered Marlowe to stop "him" from informing on Foch. She is charged with murder.Robinson quickly steps up and takes her case. Needless to say no one believes a word that Foch says. Robinson digs around and comes up with a witness to Dekker and Marlowe being in cahoots. Dekker is not the least bit amused with this, and sends a hit-man to deep six Robinson. Robinson survives the attack and presents his witness, Jayne Mansfield. Mansfield coughs up more than enough evidence to get Foch off and mobster Dekker in deep trouble.A quite watchable film noir with Robinson as usual, giving a reliable performance. Foch, Marlowe and Dekker are also good. The hourglass figured Mansfield, in her first billed role, seems to spend all her limited screen time leaning her upper-works into the camera.The director here, Lewis Allen is in good form as well. His other film noir include, SUDDENLY, DESERT FURY, A BULLET FOR JOEY, APPOINTMENT WITH DANGER and CHICAGO DEADLINE. The sharp looking film was shot by veteran cinematographer, Pev Marley. The two time, Oscar nominated Marley's work, includes, THE TWO MRS. CARROLLS, LIFE WITH FATHER, PRIDE OF THE MARINES, DRUMBEAT and KISS TOMORROW GOODBYE.

How ironic in the following year that Robinson and Foch would play supporting, but yet extremely important roles in "The Ten Commandments.""Illegal" is just a terrific movie all the way. Robinson, the gruff district attorney, sends an innocent man to the chair and turns to drinking and dealing with shady characters after his resignation.Nina Foch's father gave him his start and he has taken care of her, making sure she has landed a position in the D.A.'s office. Go know that her husband, Hugh Marlowe, gives information to corrupt people and Foch kills him when he discovers she is on to him and nearly kills her.Robinson defends Foch despite the fact that Albert Dekker, the chief of the crooks, doesn't want the trial to implicate him.Nice change for a turn for Ellen Corby who plays Robinson's devoted secretary.

This movie starring Edward G. Robinson brings mixed feelings: Admiration for Robinson's skill and stature as an actor; affection for the man, who was a decent and admirable human being; and sadness bordering on disgust for the kind of movies, such as this one, Robinson made beginning in the early Fifties. He'd been unofficially blacklisted during the Commie witch-hunts of the late Forties and Fifties. The studio heads wanted no trouble from Congressional investigations or write-ups in such virulent rags as Red Channels. Robinson's crime: It was whispered that he was too liberal. To make a living and to continue acting, Robinson had to take on such things as Vice Squad (1953), Black Tuesday (1954), Tight Spot, A Bullet for Joey and Illegal (all 1955). It wasn't until Frank Sinatra insisted Robinson be cast in A Hole in the Head in 1959, when Robinson was 66, that studio heads decided that he was safe enough to be used in A-level movies. Ambitious, competitive D.A. Victor Scott (Robinson) sends an innocent man to the chair. It was a mistake, but that doesn't help the man who was executed. Now the man the newspapers called the Napoleon of the Courtroom not only has his career destroyed, but his belief in himself as a prosecutor. He quits as D.A. From now on Scott will fight for the defense. Well, you know how it goes. Before long Scott is defending crooks and killers. He's aggressive in the court, using every trick, emotion and manipulation to win. It's not long before he finds himself ensnarled in the affairs of the powerful Frank Garland, a kingpin of oil wells, breweries, trucking, hotels, investment companies and vice. Garland is a man who buries his mistakes. Sooner or later Victor Scott, manipulator extraordinaire of juries, is going to come face to face with his conscience, especially when Ellen Miles (Nina Foch), a woman he realizes he may love, is charged with murder and Garland is involved. He'll have some decisions to make. Illegal isn't an A-movie. It's a melodramatic not quite B-movie. The difference, or course, is Edward G. Robinson. While the melodrama piles up, Victor Scott stays tough and smart. Robinson makes him effortlessly believable. Robinson, a noted art collector, loaned two paintings from his collection for a scene in the movie he shares with Albert Dekker as Garland. It's an amusing moment watching Robinson as Scott comment on Garland's collection of Impressionist masterpieces that were owned by Robinson. "Degas!...and isn't that a Gauguin?...I've always had to content myself with reproductions." Robinson plays it absolutely straight. It's always a pleasure to watch Nina Foch at work. Jayne Mansfield shows up in her first movie as a singer in a nightclub who earns Garland's pay in more ways than one. What she does to "To Marvelous for Words" should have stopped her career in its tracks.