FEARMAKERS CINEMA OF DANA ANDREWS

Having found the last clue, which lets him know who murdered who and how, too, Dana Andrews as Detective Mike McPherson and Gene Tierney's titular LAURA wait for the suspenseful turnout: for them and the audience in the Otto Preminger Film Noir classic.

Dana Andrews with British import Patricia Roc in CANYON PASSAGE, the only American film she'd ever take part in before returning to her homeland melodramas.

In CRASH DIVE, Dana Andrews loses the girl to Tyrone Power: which lasted until 1944 when LAURA made him a leading man but he'd lose the girl again in ELEPHANT WALK exactly ten years later: Here he's with SWAMP WATER and THE NORTH STAR ingenue Anne Baxter, before she gets stolen...

Soon after Dana Andrews cleaned up Anne Baxter in SWAMP WATER, turning her from an Okefenokee urchin to a small town cutie, she was already his steady girlfriend in the technicolor WW2 propaganda picture CRASH DIVE, where Tyrone Powers (his actual rank on the opening credits) uses his powers to steal her away.

As all Westerns starring or featuring Dana Andrews have something to do with a kangaroo court, here he's searching for the real killer of a murdered man Dana's character was not only blamed for, but he has a rope burn on his neck to prove it: and he wants answers and revenge, with only THREE HOURS TO KILL.

Jeanne Crain was gorgeous in her and Dana Andrews's first of four features, STATE FAIR, and remained so twenty-two years later in HOT RODS IN HELL: here's the picture before that one, MADISON AVENUE, where she's a love interest he's only interested in using to "build up" a client, who's female. 

"There is also a physical side to love; and some women are more demanding than others... And some automobiles are blue," slurs Dana Andrews, drunk in real life and in-character as a reporter in Fritz Lang's WHILE THE CITY SLEEPS, here with Ida Lupino as the Film Noir's serial killer, John Barrymore Jr., waits in the wings.

The third of four movies starring Dana Andrews and Jeanne Crain is the only where Crain plays the sort of "other woman" on the sidelines wherein Dana's MADISON AVENUE mover/shaker is building-up the career of Eleanor Parker. The scenes between Andrews and Crain, though, are the longest and last throughout the entire story.