User Reviews

Joe Gargen (George Raft) is an ex-con, who takes a job at a tire factory. Trouble seems to be brewing as factory workers have been enticed to borrow money to payoff gambling debts. The factory owner knows of Gargen's past and offers him a job to go undercover to learn how his business is being infested by loan sharks. Gargen finally goes to the dark side to bust up the organized loan racket.

May not be true noir, but crime stopping in B&W with thrills and shadows. Kudos to director Seymour Friedman. Rounding out the cast: Dorothy Hart, Paul Stewart, Helen Westcott, John Hoyt, Russell Johnson and Margia Dean.

Despite not being a George Raft fan I found this B-noir to be quite entertaining. Raft is a convict just out of prison. He moves in with his sister and brother-in-law. The brother-in-law gets murdered after threatening to go to the police about a loan shark racket. The gang has been emptying the pockets of the workers where the brother-in-law was working. Raft decides on a little payback. He worms his way into the gang in-order to get the goods on the mob. Several well staged bouts of fist-i-cuffs and a blazing gun battle ensue before all is settled. Good support is given by noir regulars Paul Stewart and John Hoyt. Photographed by noir vet Joseph Biroc who lensed the noirs THE GLASS WALL, WORLD FOR RANSOM, CRY DANGER and FORTY GUNS. Also of note are several of his later films, HUSH, HUSH SWEET CHARLOTTE, and FLIGHT OF THE PHOENIX. A rather entertaining time-waster.

Loan Shark - 1952 George Raft vehicle about an ex-con who is recruited to break up a Loan Sharking ring in a tire factory.Solid movie following Raft's infiltration of the local mob.A good cast and crew make this typical material a solid entertainment.We see Russell Johnson(the professor on Gilligan's Island) as the tout/shill for the mob.John Hoyt(the doctor in the Star Trek pilot:The Cage) does a good job as the mob boss. Sure some of the fight scenes are clumsy and the dialogue is clichéd at times,but is a decent movie with some good shots inside the tire factory and a decent storyline with a laundry/loansharking industry.Nothing outstanding- but a good escape for fans of the genre and Raft's rakish charm.The DVD has an informative commentary track Richard M. Roberts. C+

This film is included as part of the "Forgotten Noir" DVD series, which really means B-movie bottom billed Robert Lippert movies. Be warned! No wonder they are forgotten. The best Lippert Picture, however, now in a new fantastic DVD version, is 'Rocketship X-M' (1950) with uncredited script by Dalton Trumbo!

This one is a fair time passer. It's clearly built as a vehicle for George Raft, (who is in almost every scene) and his screen persona as a "tough guy." He walks like he has a coat hanger stuck in his back (a walk 'copied' by Jimmy Carter and Al Gore): this is the kind of walk you practice with a book on your head to improve your posture. It doesn't seem right these days for a tough guy, but Raft's look and famous staccato monotone compensate greatly for his stiff walk.

It's not really a noir film. Noir films have nice guys being caught up in a corrupt world-- they had titles like 'Undercurrent,' 'Whirlpool,' 'Quicksand,' 'Detour,' 'Roadblock,' 'Criss Cross,' etc. and often were shot in extremely low light and shadows like the amazing 'Out of the Past'(1947). This one is actually 'the good guy goes undercover to trap the Big Boss.'

Anyway, George Raft carries the film. For fans of George Raft, this is a must see. He's in his 'element' here with loan sharks, thugs and criminals, not hanging out in Morocco in the Foreign Legion. When he's on screen, we watch him. We also get great bad guy from Paul Stewart, the butler from 'Citizan Kane' (1941). With those eyes and eyebrows he's so good as a heavy! A young John Hoyt is also nicely bad. Dorothy Hart, a former fashion model, as Raft's 30 year younger love interest (!) has eyes that put you on Cloud 9. She quit movies and mostly did work for the UN, since she "hated Hollywood." This movie may be one reason why.

This is also for fans like me who enjoy seeing Los Angeles in the early fifties. Hey, when I was growing up in the fifties in the boondocks of Northern California (Petaluma), seeing black and white films of crime in LA, added to the thrill of my first visit to Los Angeles. Best of all, of course, is 'Kiss Me Deadly' (1955) where we get to see the apartments next to Angel's Flight on Bunker Hill before they were razed, and the super noir 'D.O.A.' (1951) which takes us inside the Bradbury Building in downtown LA.

Not an Oscar contender. I give it a four.

Rather better than "Arson Inc" with which it's pared on a VCI DVD is "Loan Shark" which benefits from an obviously larger budget and something of a name cast, though it's still clearly a b-picture at heart. George Raft, rather old and perhaps a bit miscast at 57 and stiff and humorless is Joe Gargan, out of prison after a few years for assault and battery, trying to make a new life by getting a straight job at the tire factor his brother-in-law works for. But we know right away it ain't gonna be easy as the film opens with one of the most awesome quick, violent scenes in noir as an unknown man leaves his apartment and is quickly followed to an alley and brutally beaten within an inch of his life.

The beatings it turns out come courtesy of a loan shark ring that has much of the plant, and much of the unnamed city in thrall. The young workers get in debt, wanting to buy their wives nice things or betting on the horses, and they're led to the ring by an unknown stooge. Gargan comes to just get a simple job, but is recruited instead by the tire company president to investigate the goings-on and find out who is the stooge, and as much as he can about the operation. At first Gargan resists the notion, wanting nothing to do with this, but after his brother-in-law is killed he goes all in, even going so far as to infiltrate the loan shark operation by becoming the protégé of the group's leader at the tire factory, Donelli (the always wonderfully slimy Paul Stewart) and eventually working his way into starting a new operation with a dummy laundry service. By this point he's on the same page as Donelli, with only the big boss Phillips (John Hoyt, enormously charming and catlike dangerous) above him. Or is there someone else...we and he don't get to find that out until the nicely staged finale which culminates in a shootout in a theater.

Along the way Gargan starts a romance with a young lady who lives on the same floor as his sister, but loses her when he goes deeply into the mobsters' racket, even going so far as to beat up her brother for non-payment of loans. The romantic scenes are obvious reminders of one of the few problems this tough and exciting little picture has - Raft, who is definitely old enough to make his job prospects at the plant rather unbelievable and his romance with Ann (Dorothy Hart, about half his age) a little creepy. But beyond that, he's wooden and monotonal in a way that reminded me more of Charles Bronson 30 years later than Raft's own much better work 20 years earlier. Oh well, he does get the job done and he's still tough and mean-looking enough that he doesn't really detract from a nice little slightly off-the-beaten track entry in the cycle. A noir set in a tire factory? Who'da thought.

Always cool to run into an unexpected gem like this one cruising the streaming channels. The title alone was enough of a hook but George Raft's name in the credits was a clincher. Raft's character, Joe Gargen, is a former boxer just out of prison who's determined to go straight. He does so by taking the long way around when he agrees to investigate a loan shark ring responsible for the death of his sister's husband. The early going takes place in a tire factory where he starts getting the lay of the land, and the location offers a neat look at a rubber plant assembly line at various stages. That had to be a nasty and smelly line of work.

To get in with the hoods, Joe takes out a fifty-dollar loan, and purposely falls behind on the weekly interest so the mob's enforcer would come after him. When he does, Joe makes short work of him, thereby gaining the attention of lower boss Lou Donelli (Paul Stewart). A job interview with Vince Phillips (John Hoyt) gets him on the loan shark payroll, where he starts to get an inside look at the business end of the operation. As Joe proves his worth, he starts moving up the chain, until he's one step away from learning who the top boss is.

Joe's 'career' climb estranges him from his sister Marty (Helen Westcott), her brother Paul (Henry Slate), and love interest Ann Nelson, who portrayed by Dorothy Hart is just a shade over half of Raft's age when the picture was made. The age difference is palpable, but Raft could be suave when he had to be, and he finds it easy enough to pour on the charm when he isn't going toe to toe with the bad guys. It's only a matter of time before Joe puts it over on the loan shark bunch, bringing him back into the good graces of Ann and sister Marty. I found this film to be worth the trouble, and if you're a Raft fan, you need to give it a go.

It's marvelous what skillful photography and a good tailor can do. Here's George Raft, just a year away from his tired, weary, sagging, crumpled pseudo-hero of Man from Cairo, looking as neat and natty and almost as vigorous as his just-stepped-out-of-a-bandbox tough-guy of the 1940s. George not only looks like a star, he's in fiery action and smart-talking fettle. And he has a wonderful support cast here too, led by superbly costumed Dorothy Hart. Margia Dean in a small role as a café waitress is also up front in the looks department as is gorgeous TV cheer-leader, Spring Mitchell, in her only movie appearance. The villains are top too, with Paul Stewart in fine form as a suspicious blood-sucker. The plot, stolen from Richard L. Breen and Warren Duff's Appointment with Danger (1951) – and used again by Lippert in Portland Expose (1957) – generates plenty of excitement, thanks to the pacey, always-on-the-mettle direction of Seymour Friedman, one of the more inventive and astute of "B" men. Of course with this movie, he did enjoy four big advantages in the solid cast line-up; the ability to use atmospheric natural locations such as the Goodyear Tire Factory; and the inventively noirish cinematography contributed by Joseph Biroc, a master of the art of black-and-white suspensers such as Johnny Allegro, Cry Danger, Glass Wall and World for Ransom; and last but not least, a $250,000 budget!