Showing on the Moonlight Movies Channel. The only name i recognize in here is Hugh Beaumont... Dad, from Leave it to Beaver. Larry Craig's wife, thought long-dead, shows up and threatens the new girl-friend. then gets bumped off. A couple good songs, probably actually sung by Claudia Drake in this one, since most of the film takes place in a night club. The coppers question everyone, but one guys tells a different story than everyone else. A film noir... except that it feels like even the writers didn't know who dunnit until almost through filming. Suddenly, someone starts doing stuff, and now we know they must be involved. It's pretty good, but gets cheesy right near the end. It's ok. Directed by Sam Newfield, long-time bigshot at PRC film company.

Despite this being a low budget B-movie, I enjoyed "The Lady Confesses". Part of it is because although the story is rather familiar, the film has some nice twists to keep it interesting and that show the writers were at their best.The film begins with a lady learning that her fiancé's long-lost wife has suddenly shown up--just before she is to marry the guy (Hugh Beaumont)! Hugh responds to this by going off on a bender. Finally, a lady in a night club feels sorry for him and asks her to use a nearby room to sleep it off for the night. However, when he awakens in the morning, his wife has been murdered. Now he's the #1 suspect, as he had so much to gain by her death. But, his fiancée is determined to work behind the scenes to determine who REALLY murdered the wife.As I said, it was a nice film because there were some good twists (which I won't tell you about because it would spoil it). And, although I've seen him in quite a few films, it's nice to see a young Beaumont (Beaver's dad from "Leave It To Beaver") in such a role. A nice combination of mystery, suspense and a bit of noir.

By the humble standards of both director Sam Newfield and bottom-rung distributor P.R.C., The Lady Confesses (irrelevant title but catchy) shapes up as an outstanding little film noir. The screenplay is reasonably gripping and intriguing, the players (particularly the four leads: Hughes, Beaumont, MacDonald and Drake) are all on the ball, and more importantly both director Sam Newfield (I'd rate this as his best film) and photographer Jack Greenhalgh give it their best college try, using lots of effective close-ups, framed against noirishly glossy, black backgrounds. Even Emmett Vogan (minus his usual trademark glasses) comes across with reasonable conviction, while Dewey Roninson makes the most of his comparatively large role as an over-buoyant bartender. My only complaint is that all three of Claudia Drake's pleasing song numbers are either cut short or interrupted by the demands of the swift-moving plot.

Moderately interesting. Has Hugh Beaumont, the Beave's dad, playing a likable guy who is set to marry a sweet young thing, then has his wife (who disappeared seven years ago) show up. She is murdered and the plot is set in motion. The fiancé begins to investigate things. The problem is that she stands out like a sore thumb. Basically, everyone knows who she is but she is able to impose herself into secure locations and do her thing. There are series of red herrings and obvious suspects, a detective who is calm and vigilant most of the time, ready to protect her. Still, it lacks credibility of plot. When we get to the end, we have it pretty much worked out.