Paul Madvig
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- Ion the film’s release, Variety magazine gave the film a favorable review: "Parading a murder mystery amidst background of politics, gambling czars, romance and lusty action, this revised version of Dashiell Hammett's novel—originally made in 1935—is a good picture of its type...Mixed well, the result is an entertaining whodunit with sufficient political and racketeer angles to make it good entertainment for general audiences.
en.wikipedia.org/wiki/The_Glass_Key_(1942_film)
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The Glass Key's greatest strength is Lake's dazzling performance with an endearing and enigmatic femme fatale heroine in her own right.
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All things considered, 'The Glass Key (1942)' is a solid film noir, but not a timeless one. When political boss Paul Madvig (Brian Donlevy) decides to back reform candidate Ralph Henry (Moroni Olsen), he stirs up the anger of crime boss Nick Varna (Joseph Calleia), who will be crippled by the partnership.
The Glass Key is a 1942 American film noir based on the 1931 novel of the same name by Dashiell Hammett. The picture was directed by Stuart Heisler starring Brian Donlevy, Veronica Lake and Alan Ladd (who plays the actual lead despite being billed third).
Jan 8, 2021 · In The Glass Key, Alan Ladd plays Ed Beaumont, right-hand man to Paul Madvig (Brian Donlevy), a boorish, ambitious player with political aspirations. When the murder of a reckless playboy casts suspicion on his boss, Ed works to protect Madvig.
May 22, 2014 · The Glass Key is a real treat. While it is not the perfect Hammett adaptation, it is pretty darn good considering when it was made. William Bendix (in only his fourth film role) creates one of the most memorable villains of 40’s cinema. The film has finally received U.S. DVD release and certainly deserves a view. Brian Donlevy
Sep 10, 2012 · Discover the best of the city, first. Not quite so resonant an early example of noir as The Maltese Falcon, partly because the novel's ending has been clumsily softened, but still a remarkably...
Sep 17, 2016 · If the film The Glass Key doesn’t quite use its resources to their best advantage, the same couldn’t be said for Arrow Academy’s disc. The extras are hefty and fascinating, from Alastair Phillips’s half-hour visual essay to crime cinema expert Barry Forshaw’s in-depth, discursive commentary.
