This film was the product of two main thoughts; 1) "Lets make a film about Nazi fifth columnists...." and 2) " hang on, let's make the bad guys ex-Nazis who are now Communists instead..." and so a muddled, overly expensive film is born. It would have been bad enough if the second thought had been shortly after the first, but it wasn't; the film had to be re-shot in part, and it shows.This film isn't entirely without merit, but for me the story just doesn't make sense; leave alone the usual business where the bad guys insist on explaining their dark deeds in detail whilst not disposing of the good guys, or taking the opportunity to push the button etc (as seen in countless films ranging from 'The thirty-nine steps' to various Bond outings); here we are expected to believe that one of the main bad guys has comparatively recently been the subject of an exposé in a national magazine, but, er, this didn't immediately alert the bad guys when the writer turns up. Even though they knew all about it.Oh, and while we're at it, you might notice that the good guy gets hit on the head twice, but in exactly the same place each time. What are the chances of that...? Quite high if you are trying to cobble a film together without having to reshoot the whole thing, as it turns out....Just about worth watching if you have an interest in films of this type.

THE WHIP HAND, an interesting curio of a film that's very much of its era, tells the story of a small rural town in the American South which finds itself at the mercy of a band of merciless Communists who'll do anything in their power to keep their plans for germ warfare a secret. Yes, welcome to the world of '50s paranoia and McCarthyist witch-hunts, where the ordinary-looking guy next door just might be a closet pinko.The guy helming this little B-movie is William Camercon Menzies, responsible for the equally paranoia-laden INVADERS FROM MARS. And THE WHIP HAND turns out to be an entertaining little movie, one which thrives on building a sense of mistrust throughout as the crusading reporter hero gradually becomes aware of a sinister plot in darkest Minnesota. Cuddly bad guy Raymond Burr (REAR WINDOW), a go-to guy for '50s villainy, is inevitably one of the bad guys behind it all.THE WHIP HAND is watchable and features an unfamiliar cast doing their best with the lines they're given. Sure, it's very much dated these days, but the same dating makes it interesting as a product of its era. The bad guys are far more interesting than the good, especially the well-defined characters like the pervy guy with the flat leather cap or the creepy gamekeeper. The decision to change said bad guys from Nazis to Communists at the last moment makes it all feel a little muddled, but it's certainly not a bad film and rewarding to those with an interest in film as a medium for social commentary.

This film was, obviously, made during the era when communists were considered to be the major threat to the security of the USA. If the viewer watches the film strictly to indulge in approximately 85 minutes of escapism it can provide some low key entertainment. The story moves pretty fast and never bogs down with any over-emphasis on character development or plot. I had never seen this film prior to my viewing it on Turner Classic Movies. I was pleasantly surprised by the performance of Elliott Reed. I have seen him in several movies and, in all of the others, he portrays, basically, the same type of character, that is, a slightly officious mid level executive, a spurned suitor, etc. I really enjoyed seeing him, in this film, actually portray a romantic, leading man hero, type of character. Yes, this film is strictly fluff. But, it can provide enjoyment and, IMHO, is notable, for the casting of Mr. Reed as the "star".

Atrocious. The first 20 minutes or so are competent, establishing the normally reliable premise of a curious stranger stumbling upon a paranoid, hostile town. But "Bad Day At Black Rock" this isn't. At a certain point, the viewer develops the queasy feeling that the producers gave up and said "Oh to hell with it. We don't know what we're doing here. What do you say we just try to wrap things up and go bowling?" Bad performances abound, especially from "leading man" Elliott Reid (sort of a poor man's Farley Granger) who does everything except raise his eyebrow and stroke his chin whenever he puts together another piece of the puzzle. Whoever plays the pitiful old shopkeeper rather embarrassingly seems to break character a couple times. The only person who leaves any kind of favorable impression is Raymond Burr (playing a sleazy local). He hams it up entertainingly, undoubtedly aware of how awful the whole thing is.There is one incredibly weak exchange during a supposedly suspenseful chase towards the end. Reid and his cardboard love interest are trying to escape and he inquires "Are you wearing a watch?" She answers in the affirmative. His matter of fact reply? "Good." I half expected her to fire back with "Yes. Did you comb your hair?" At another point the love interest is in a reflective mode. "I can't believe my brother's a Communist" she states sadly. I want to say that Reid responds with "Yeah, tough break huh?" but it's hard to recall. I had lost a number of brain cells by that point.The last ten minutes of this sorry excuse for a motion picture have to be seen to be believed. Just goes to show that clunkers were indeed made back then as well. Then again it is quite unintentionally funny if one watches it in the right frame of mind.