I like the storyline of this show,it attract me so much

How sad is this?

Brilliant and touching

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Oil paintings and oil wells. Ricki ( Lucy) and her friend "Ace" are somehow involved in selling things. John Hodiak is "Ace" Connors, and he and Ricki are trying to sell oil wells or paintings, but neither one seems to be authentic, so the buyers back out, and then there are the mysterious missing bonds. Elisha Cook is the dark horse "Feletti". It's all very 1940s noirish, with Lucy all dolled up in fancy costumes, and many things are only partially explained. They all meet on a train when Bob Simms (Lloyd Nolan), is bringing Connors in for justice. Simms tells Ricki why they are on the train, and tries to get her on his side. Then, they end up on the Mexican side of the border. Now, they are all at a Mardi Gras party. Wow, they sure have a lot of adventures for someone on their way to Sing Sing; it's all in good fun as we wait to see if Simms, Feletti, or someone else will find the stolen bonds. You have to really pay attention or you'll miss important details. It's more of a get-away adventure than a who-dunnit. It's okay, but not a lot of meat on the bones of this story. This was a couple years before I Love Lucy. They hardly ever show this one, but her best films were Long Long Trailer, Big Street, Fuller Brush Girl, and Meet the People. Hodiak had just done Hitchcock's Lifeboat, and Harvey Girls.Directed by Jules Dassin, nominated for two Oscars for "Pote tin Kyriaki" 1960. He had also directed Rififi and Topkapi, and was harassed by the House Unamerican Activities Committee in the 1950s. Looks like this is the only time Dassin and Lucy worked on a project together.

In order to enjoy this movie, you have to start out with the understanding that the plot makes ABSOLUTELY NO SENSE! A convicted con man (John Hodiak) convinces a stupid police officer who is accompanying him to prison (Lloyd Nolan) to make it a leisurely first class trip together -- by way of New Orleans, Mexico, and some top notch night clubs and restaurants. Apparently this is the idiot cop's brilliant way of trying to loosen up the con man and trick him into revealing where he has hidden some valuable bonds. Add a beautiful con woman (Lucille Ball) who finds out about the bonds from the idiot cop, complete changes in personality on the part of the key characters near end of the film, and a particularly ridiculous non-explanation for how the bonds were recovered at the finale. It's a lot for a reasonably intelligent mind to discard.But if you can, there are some notable performances. Lucille Ball is very believable in a non-comic, romantic role. She was quite a hot-cha-cha back in the day, if you can get Lucy Ricardo out of your head (another one of the mental challenges this movie presents). Lloyd Nolan plays his usual straight arrow, trustworthy role so convincingly that it's hard to believe that he makes so many dumb decisions and gets into so many stupid jams during the trip. It's almost like he's the world's most unfunny member of the Three Stooges. I never understood why the con man didn't just escape with the bonds during one of the many moments when Nolan was distracted, then come back and get Lucille Ball later if he was so in love with her.I was impressed with the solid acting job that John Hodiak did as the con man, so I looked him up on the internet to find out why he didn't become a bigger star, and sadly discovered that he died fairly young. He did a good job of being just rogue-ish enough to be a convincing con man, but just soft enough to fall in love with a glamorous woman.Anyway, this isn't the only movie ever made that requires you you check your brain at the door. And if you can, there are worse ways to pass a couple of hours.

This obscure B-movie was Jules Dassin's last film before embarking on a series of classic noir and crime films--and actually it's the first of his crime films and shows his interest in developing the genre. As another critic reports in a previous post, this film is NOT a comedy (as Maltin's book describes it) about two con artists mixed up "in art forgery." Actually, it's a crime/road movie about stolen bonds, co-written by the creator of "The Saint." True, Lucille Ball co-stars, and she and John Hodiak meet cute in a TROUBLE IN PARADISE manner, blowing each other's cons with a mutual pigeon. But from the first shot, Dassin reveals his interest in crimeLike Dassin's forgettable comedy A LETTER FOR EVIE, this film is shot by the great Karl Freund, in decline from his silent heyday and not yet arrived at his groundbreaking I LOVE LUCY three-camera period. He gives us expressionist shots aplenty, and such privileged moments as a pan shot with window reflection from outside a train, a cactus-by-moonlight scene, and a chiaroscuro moment when Ball is menaced by Elisha Cook Jr lighting a match. The presence of Cook, Lloyd Nolan, and Hugo Haas (on their way to being entrenched noir icons) also counts for something. The road trip plot (on a train) allows stops in Mexico and New Orleans. The last third (set at Mardi Gras) is suspenseful and colorful, with Cook in fool's motley.In conclusion, if this 1946 film doesn't hold up as well as Dassin's later, truer noirs, we can still see it's an early step in the development of that genre.

For some reason the Maltin book looks for laughs in this film. It is not a comedy. I guess some folks were expecting comedy because of the presence of Lucille Ball. In actuality she plays a con woman who is on the lam from the law in Arkansas. She meets up with John Hodiak, a con man who has struck a deal with New York police authorities and who is being transported back to New York by Lloyd Nolan, a good cop who has become friendly with Hodiak. Nolan agrees to indulge in a fun filled train trip back to New York, which ultimately includes stops in places such as New Orleans (at Mardi Gras time). Hodiak tricks Nolan into entering Mexico, where he intends to remain, outside US jurisdiction. But, Nolan comes up with a neat way to get Hodiak back to the US. Naturally, Ms. Ball just happens to be on the same train and is with the two men at all stops along the way. There's an attempt at a love story between Hodiak and Ball which is pretty lame. Another big mistake was the casting of Elisha Cook Jr. as a former partner of Hodiak's who had been double crossed. He is supposed to be a menacing figure throughout the train trip and during the Mardi Gras scenes in New Orleans. But, there is no way that Cook, with his wimpy look, could ever appear to be a menace, even when he has a gun pointed at someone and tries to talk tough. Nolan, by far, does the best job in this movie. He is believable as a very nice cop who stays one step ahead of Hodiak's plots. As I said before, this movie is not a comedy. Unfortunately, it is also not a particularly good film.