The File on Thelma Jordon is directed by Robert Siodmak and written by Ketti Frings and Marty Holland. It stars Barbara Stanwyck, Wendell Corey, Paul Kelly, Joan Tetzel, Stanley Ridges and Richard Rober. Music is by Victor Young and cinematography by George Barnes.Assistant district attorney Cleve Marshall (Corey) falls for Thelma Jordon (Stanwyck) after she seeks help solving a problem with prowlers and burglars. But is there more to Thelma than meets the eye?Probably due to availability issues in home viewing formats, this appears to be one of film noir legends Siodmak and Stanwyck's under seen pictures. Which is a shame, for although it is often tagged as something of a lesser value Double Indemnity, it's a noir that noir lovers can get great rewards from.As we are in noirville the plot isn't at all surprising. Stanwyck fronts up for what we expect is femme fatale duty, Corey looks to be on course for being a hapless loser dude, Kelly is up for some tough copper portrayal, while Rober stalks the edges of the frame as bad news bloke. A despicable crime is at the core of the story, and characterisations are straight out of the dark alleyway (Thelma has murky secrets and ideals, Wendell is unhappily married with a drink problem). Running at 100 minutes in length, the pic does feel a touch too long, especially given that the first thirty minutes is focused on building the principal players, where they are at in their life and the build up of their relationship. This asks for faith in staying with the piece, in hope it rewards for the following hour plus. Thankfully it does.As the crime arrives, we are treated to noir nirvana as per style of film making. It's the middle of the night in a house menaced by shadows as the wind bashes an open window shutter. For a good twenty minutes, prior to - during - and post the crime, the house is a scary monstrous place, perfect for a dark deed to be enacted. The great Siodmak (The Killers, The Spiral Staircase, Criss Cross) is in his element on this, where aided by the superb photographic skills of Barnes (Rebecca, Force of Evil), the staging of scenes and the visuals enhance the moody machinations of the plot. As does Young's dramatic musical score. So with acting performances comfortably on par for the good, the tech credits are high.Irks come with that drawn out first third of film, and the ending poses some question marks as well. Personally I would have liked it to have finished five minutes earlier, but as it stands there's a sort of double whammy with the finale. Some will find it contrived, others will applaud the ultimate outcome since it doesn't cop out. Either way, this is a noir film worthy of seeking out for the like minded purveyors of such things. 7/10

Great beautiful actress Barbara Stanwyck, always very credible and convincing in her roles. In this one too, not an easy part to play. Wendell Corey convincing too in the role of Cleve Marshall. Same Joan Tetzel in the role of the wife. All the cast is very good. Again, Robert Siodmak doing a very good job. He made also "The Killers" with Burt Lancaster and Ava Gardner, "Pyramid of the Sun God"(which enjoyed my childhood) and many others good films.

Wendell Corey had a long career in film and television. In this film he plays Cleve Marshall, an assistant DA who is staying late at the office to avoid going home on his anniversary because his father-in-law (Minor Watson) is there.While he knocking back shots as fast as he can pour them, in walks Thelma Jordan (Barbara Stanwyck) looking for help. Now, one would certainly be suspicious if a beauty like that immediately began a relationship, but our intrepid hero is too drunk to notice, and, after all, he wants to go out and find a dame. He is no better the next day when his wife (Joan Tetzel) takes the kids to the beach house, and leaves him alone during the week.As one would expect in film noir, everything is not as it seems. Cleve gets himself into hot water and uses all his wits to get out. I have to admit the ending was a big surprise.

Barbara Stanwyck might be great in film-noir (films-noir?) but when the story runs similar to her Double Indemnity, comparisons are inevitable and naturally no movie can measure up to Billy Wilder's classic. Once again, Stanwyck's the femme fatale who seduces an investigator to her cause. But this time, she's not all that fatale, which isn't as fun, and he's not all that bright either, so it's kinda like the melding of melodramatic elements into a film-noir. Nonono. The director, Robert Siodmak, was renowned for films-noir (film-noirs?) and I much preferred his direction of Olivia de Havilland (as twins!) in The Dark Mirror.