One Girl's Confession (1953)





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Movie Info

Filmmaker Hugo Haas unfolds his usual cautionary "old man-young woman" story in One Girl's Confession. Perennial Haas leading lady Cleo Moore stars as Mary Adams, whose first step on the road to ruin is a $25,000 robbery. Mary hides the money, then confesses to the crime, secure in the belief that she can dig up the loot upon her release from prison. A few years later, Mary is placed on probation, whereupon she takes a waitressing job at the seaside eatery run by Dragomie Damitrof (Haas). A chronic gambler, Damitrof is on the verge of losing his café when Mary offers to loan him money. When Damitrof begins spending cash like a sailor, Mary is convinced that he's located her hidden loot, whereupon she hits him on the noggin and leaves him for dead. Deciding that the money is too much trouble, Mary donates the rest of the loot to an orphanage and confesses to Damitrof's murder. But that's not the end of the story ....
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Written By:
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Columbia Pictures


Cleo Moore
as Mary Adams
Hugo Haas
as Dragomie Damitrof
Glenn Langan
as Johnny
Anthony Jochim
as Father Benedict
Burt Mustin
as Gardener
Leonid Snegoff
as Old Gregory
James Nusser
as Warden
Russ Conway
as Police Officer
Mara Lea
as Girl
Gayne Whitman
as District Attorney
Leo Mostovoy
as Gambler
Martha Wentworth
as Old Lady
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Critic Reviews for One Girl's Confession

There are no critic reviews yet for One Girl's Confession. Keep checking Rotten Tomatoes for updates!

Audience Reviews for One Girl's Confession

The plot may be a bit overly complicated at times, but overall this one was pretty engaging and something I might return to at a later date, knowing how the story plays out might make some of the lulls less glaring. Rental.

Bill Bryant
Bill Bryant

Cleo wasn't a great actress but she had a certain something and here is quite appealing as a girl who makes a lot of wrong decisions but in her odd way is a straight shooter.

jay nixon
jay nixon

Super Reviewer


Starring: Cleo Moore, Hugo Haas, and Glenn Langan Director: Hugo Haas Tempered by the school of hard knocks from an early age, Mary (Moore) robs $25,000 from her mobbed-up employer out of revenge for him ruining her father many years earlier. She then confesses to the theft, but never reveals where she hid the money, so she is sent to prison where she is safe from retaliation. All she has to do is serve her time and then quietly retrieve the hidden fortune once she is released. But when the kindness shown to her by a professional gambler (Haas) inspires her to share the money with him to help him out of a tight spot, and he appears to repay her by stealing the entire secreted fortune, she sets out get "her" money back or to gain revenge. I imagine that in 1953 "One Girl's Confession" had all the plot twists and reversals to keep viewers satisfied. Further, the acting is good, the cinematography is serviceable, and the direction is steady and well-focused. Personally, I think that Cleo Moore's character of Mary was a little too quick to develop such trust in Hugo Haas' character given her background, but if one accepts the idea that she was just a little girl at heart looking for decent father-esque figure. But nearly seventy years later, the film's story comes across as feeling too straight-forward, too pat, and under-developed. When watching it, there are numerous complications that seem to be set up as the story unfolds, but which are brought to fruition. The mob angle is dealt with kinda-sorta, but it feels too easy for someone watching the film in 2011, and there are a couple of characters that are just begging to be revealed as duplicitous or as something other than what they appear to be on the surface. But, without spoiling anything, I can tell you that whatever twists you THINK might be coming, you'll only get a tiny fraction of the proverbial "storm" can one would expect to come down on Mary's head as she moves to collect the money she's "worked for." Now, the plot twists that do materialize are all well-executed, and the signature "ironic twists" in a Hugo Haas picture are here in spades, but as "The End" flashed on the screen, I was left feeling like I'd somehow been short-changed. This isn't exactly a bad movie, it's just a little tame. I suppose it might be a nice, light-weight introduction to the film noir genre if you have a 11-14 year-old girl in your household with a love of crime fiction and mysteries (and the same might be true of a boy, but I think it might be less likely), but I think time has left this movie behind as entertainment for adults. I'd move to hear other opinions, though.

Steve Miller
Steve Miller

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