I must have had some expectations about this one since I DVR'd it when it was on TCM. Not sure if it was just a title I didn't recognize, or the fact that it featured Edward G. Robinson, who's always good. In any case, even though it doesn't really cover any new territory, it does contain some fine performances by Eddie G., its other headliners Ginger Rogers and Brian Keith, and also its supporting cast which includes Lorne Greene, Katherine Anderson, Doye O'Dell, and Eve McVeagh as Rogers's estranged sister.Rogers plays streetwise and sassy Sherry Conley, who's in prison where she's serving the last 11 months of a 5-year sentence until government prosecutor Lloyd Hallett (Robinson) has her moved to a luxury penthouse apartment the weekend before his big case to export gangster Benjamin Costain (Greene). The well-connected gang leader had successfully eliminated all previous witnesses to his criminal activities, the last just before his extradition trial, hence Hallett's desperate and expensive enticements to get Sherry to testify. She's treated to room service meals, hot showers, her own room and even gets to watch television, though there's only a telethon with a goofy cowboy (O'Dell) on the air.While each of the aforementioned characters is in a "tight spot", it's then revealed that Vince Striker (Keith) is perhaps in the "tightest" spot of all. He's the cop assigned to protect Sherry, even though he's been on the take from Costain for 10 years. Vince, who's initially dismissive of Sherry calling her "sister", becomes more and more attracted to her as they hole up in the apartment over the weekend. Both are lonely and rough edged individuals who find a mutual physical attraction as well. Vince not only buys Sherry a dress, he actually protects her from one of Costain's thugs, killing him in the process but not before Sherry and prison matron Willoughby (Anderson) are wounded in the process.It's Willoughby's subsequent death from her injuries that enrages Sherry so much that she agrees to testify, forcing Vince to make a fateful decision.

Tight Spot is directed by Phil Karlson and adapted to screenplay by William Bowers from the play "Dead Pigeon" written by Leonard Kantor. It stars Ginger Rogers, Edward G. Robinson, Brian Keith, Lorne Green and Eve McVeagh. Music is by George Duning and cinematography by Burnett Guffey.Sherry Conley (Rogers) is offered a way out of her prison term if she agrees to testify as a witness in the trial of mobster Benjamin Costain (Green). Holed up in a hotel room under police protection, Sherry starts to form a close relationship with Lt. Vince Striker (Keith). Just as Costain's hit-men start to close in...Is it noir or not? That's a question that has cropped up quite a bit since Columbia released it as part of their Film Noir Classics III Collection. The presence of Karlson (Kansas City Confidential), Guffey (In A Lonely Place), Bowers (The Mob) and Robinson (Scarlet Street) certainly gives it strong noir credentials on the makers front. What transpires is more crime melodrama than noir, but Tight Spot does feature noir traits. From Guffey's shadows and half lights photography, to the characterisations portrayed by Rogers and Keith, there's enough here to keep the noir faithful replenished.Rogers' performance (casting) has also been much cause for debate, which is understandable as it is a role that could quite easily have been given to better femme fatale actresses of the time. Yet although she takes some getting used to, and that hair cut is just bizarre, Rogers does a nice line in sharp tongued sass, even putting some sexy sizzle in to the bargain during a slow dance sequence with Keith. She does fine work, a bit over theatrical maybe? But she nestles in nicely alongside the strong turns from Keith, Green and Robinson to lift an average story to better heights.Much of the film is set within the confines of one hotel room, which is both a blessing and a curse. At times it works in the film's favour because Karlson is able to wring out some claustrophobia, a real sense of impending threat is evident at times. However, at other times the picture feels just too stage bound, stripping away some of the realistic atmosphere the makers strive for. There's also a problem of tonal shifts as comedy sticks its oar in at regular intervals, including a frequent visit to a hillbilly television show that serves no purpose other than to annoy Keith's increasingly agitated detective.A mixed bag without doubt, and at the half way point some may be wondering what they have let themselves in for? But the cast and makers come through in credit once the second half arrives. Because then we get action, twists and a grand finale. 7/10

I love it when Mississippi Mac bangs out a tune on his head using a rubber mallet, a clever touch getting comedy relief from a TV parody of a country and western telethon. Otherwise, it's a pretty somber movie and extended showcase for Rogers then coming off a reverse blacklist of Hollywood right-wingers. As it is, Rogers gets ninety minutes of snappy dialog with more brass than spent cartridges on a rifle range. But, frankly, all the tough talk and attitude does get tiresome despite her spirited effort. The fact that she's 40-something and starting to bulge strikes me as just right for the aging party-girl part. Remember, Sherry (Rogers) is supposed to have been around the block more than a few times and is now looking back over what she suspects is a misspent life. That's what makes her otherwise hardened character rather poignant and vulnerable. What a shrewd piece of casting to pair the high-key Rogers with the low-key Bryan Keith. At this career stage, Keith was one of the more subtle actors around, able to convey a lot by doing very little. Director Karlson apparently liked him too, casting him also in his 5 Against the House (1955). And for Robinson and Rogers, it must have seemed like old home week at Warner Bros.But truth be told, cult director Karlson is wasted in a crime drama that any one of a dozen lesser directors could have handled. At the same time, I didn't see the major plot twist coming which strikes me as the most memorable part of a too-stagey film; although, like other reviewers, that family spat with sister Clara (McVeagh) is a real barn burner and high point. Anyway, the film's an okay crime story that really serves as a vehicle for a Ginger Rogers career revival.

Ginger Rogers' performance (straight out of "Roxie Hart") makes this film. Others have found Ms. Rogers to be too old for the film. I think that the fact that she is a bit "past her prime" adds to her character, which has (let's face it) been "around the block" a few times. She and Brian Keith (doing his patented tough-as-nails copper) make a potent team. It is a pity that they did no more work together. The film itself is a strange mixture of Rogers' comic sass and Karlson's brand of hard-hitting melodrama. Ultimately, the film is sunk by an unbelievable plot contrivance that leaves the audience feeling betrayed. However, the performances (including, of course, Robinson's) make this a worthwhile experience.