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.

However, at other times the picture feels just too stage bound, stripping away some of the realistic atmosphere the makers strive for. 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. Much of the film is set within the confines of one hotel room, which is both a blessing and a curse.

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. 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. 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. 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. What transpires is more crime melodrama than noir, but Tight Spot does feature noir traits. 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. 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. Just as Costain's hit-men start to close in. Holed up in a hotel room under police protection, Sherry starts to form a close relationship with Lt. 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). Music is by George Duning and cinematography by Burnett Guffey.

Robinson, Brian Keith, Lorne Green and Eve McVeagh. Tight Spot is directed by Phil Karlson and adapted to screenplay by William Bowers from the play 'Dead Pigeon' written by Leonard Kantor.

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