Framed (1947) watch online HD

Janis Carter boasted a largely undistinguished filmography from the 1940s but she deserved (as so many of her female peers from this era did) better parts and greater exposure. As the scheming and duplicitous Paula Craig, she personifies the cool blonde bombshell (while her line readings are a wee bit stilted, her body language is instinctive and sensational). She's the spider into whose web drifts Glenn Ford, an out-of-work mining engineer with a bit of an alcohol problem who's looking for a break. Meanwhile, Carter's on the lookout for her embezzling boyfriend's lookalike, to furnish a warm body to provide a charred corpse. This is James M. Cain territory, and, though we've been through it with Barbara Stanwyck and Fred McMurray and with Lana Turner and John Garfield, this effort by Carter and Ford deserves more prominence; its writing, direction and cinematography are all well above average. One unique moment: a banner head in the local newspaper lets us know that one of the characters has been charged with murder, but just below it, in the mock-up, is the smaller headline "Meteorite lands near baby." I think they made that movie, too, about 10 years later.

I can't think of a movie in which he lost out, anyway.

Here he is a drifter who falls in with a treacherous woman. Initially, he offered work by her romantic interest, the king of film noir, Barry Sullivan. Someone once asked what movie star I felt I identified with most and it was Sullivan. The guy never gave a bad performance.

His girl here is played by Janis Carter. Her biography says that she was a hit in musicals on Broadway. I can see that. She has a boyishly cute look. (Ann Savage is hard to imagine in a musical. But look at Constance Towers, so fine in two Samuel Fuller movies and a Broadway darling.) Carter plays one evil woman! Wow, I would keep my distance from her! She's a waitress at a place called La Paloma when Ford meets her by she has high ambitions.

Edgar Buchanan is exceptionally touching as the miner who's willing to give engineer Ford a job. We can see he's kind of a loser but he is a very decent guy.

This is a tough little film. I recommend it highly.

What an opening! Mike's truck goes careening down a mountain road before pinballing through town. It's not only a riveting effect, but establishes Mike (Ford) as an honest workingman when he turns over his proceeds to the injured Jeff (Buchanan). Too bad he meets up with spider woman Paula (Carter) who spins a greedy web around the well- meaning patsy. As Paula, Carter is a powerful presence. She's got a way of acting that shows a lot of eyeball that's kind of scary. Actually, I think she's too strong, making her switch to the laid-back Mike not very believable. Their chemistry never really gels the way Paula's does with Steve (Sullivan). Unfortunately, that's a lack that undercuts the script's central twist.

Still, it's a solid noir thanks to the classic elements of the screenplay. Ford makes an interesting low-key fall guy. Not too many mining engineers turn up in noir, which I guess accounts for his occasional spiffy suits that look more like uptown Manhattan than temporary truck driver. Still, he's basically the classic working stiff looking for a job. Too bad he sees Paula's well-turned ankle first. Anyway, director Wallace films in journeyman style, except for that one inspired moment after the crash when Paula does a sharp gasping intake. It's a brief cameo shot whose only purpose is to connect Paula's sexuality with violence. For 1947, that's daring and Carter brings it off memorably. I guess it just goes to show how less can imply so much more in the imagination—a lesson contemporary film seems to have forgotten.

The movie may not be front rank noir, but it does have its moments.

Ford was a natural for film noir, and "Framed" illustrates this. He is a more vulnerable character than we're used to seeing him play in his other films, and he seems to be easily duped by a beautiful blonde(Janis Carter).

Carter puts in a solid performance and should have been in more films of this type. She is perfect as the scheming and seductive Paula.

Barry Sullivan is a bad guy here, the co-schemer with Paula. While the plot is somewhat predictable, it does include enough surprises to make it a good film noir.

It puzzles me that Framed has apparently not been released on any format in video in either Region 1 or Region 2.

Perhaps Sony will produce a Volume 4 of Columbia film noir and include Framed.

Framed casts Glenn Ford as the drifter with a chip on his shoulder who doesn't make a good impression on his first arrival in town. He takes a job driving a truck with faulty brakes that crashes into Edgar Buchanan's car and gets himself arrested in the process.

A mysterious blond waitress played by Janis Carter pays his fine and gets him out of a 10 day jail sentence. For what she's got in mind, it would have been better if he took the 10 days.

She's the tootsie on the side of Barry Sullivan the Vice President of a local bank by marrying the boss's daughter. He's embezzled a whole lot of cash and wants to run away with Carter. But Carter starts to develop ideas of her own.

This starts the web of a whole lot of double crossing and dirty dealing by the feckless lovers. Framed is a nice little noir film and I love that Maltese Falcon ending.

This little film, made by Columbia Studios, is very enjoyable!! All about a woman who is greedy and wants to get hold of a quarter of a million dollars and plans to rob a bank with the bank president himself, but then something goes awry and well........ you will just have to watch this great B-movie to find out the rest, but I assure you that it is a film that is very good!! Nice work by Glenn Ford and Janis Carter. This film is a bit like "Double Indemnity", only with a twist ending, and a lower budget. Oh, to have this released on DVD--I would be so happy. I just love these old black and white film noir type films from the 1940's and 1950's.

Glenn Ford plays a stranger who drifts into town one day. However, he soon finds himself in a tiny bit of trouble and a beautiful lady (Janis Carter) comes to his rescue. However, this is NOT a kind lady but a femme fatale with an evil plan. Her and her married lover (Barry Sullivan) plan on murdering him in order to cover up some embezzlement. However, two huge monkey wrenches are tossed in--Carter's character is evil more evil than you might expect and Ford's is not nearly as stupid as she hoped. While the plot is decent (not great), the film is ultra-stylish, smoking hot and full of femme fatale badness--exactly what I like in a film! Not quite as hot and exciting as Ford's later film, "Gilda" but still quite good. It makes you wonder why Carter never really took off as an actress--she was exquisitely nasty and hot.

FRAMED - 1947

I have had this one laying around for several years gathering dust so i decided it was time for a viewing. What a great little film noir it turned out to be!

Glenn Ford, Barry Sullivan and Janis Carter headline this classic femme fatale ditty. Ford is a man who gets set up to take the fall for a bank robbery. The bank manager and his girl, played by Sullivan and Carter, plan to help themselves to $250 grand of the bank's cash. They plan to liquor Ford up, plant Sullivan's id on him and stick him behind the wheel of Sullivan's car. Then off a cliff and let the fire take care of the rest.

Sullivan however has underestimated just how much Carter wants the cash. She applies a monkey wrench to the back of Sullivan's head instead of Ford. She then lets Sullivan take the spin off the cliff. Carter then sets Ford up as Sullivan's killer.

Needless to say Carter's perfect plan is anything but. Carter comes across as a Joan Crawford clone in this one. A cold and calculating femme fatale if ever there was one. A brisk and to the point noir with cast and crew all shining. Great time-waster. (b/w)

The moment JANIS CARTER pays GLENN FORD's fine for driving recklessly you know the two are going to meet their fate together in FRAMED. At this point in his career, Ford seemed to be specializing in playing men hooked by a dame at first glance and willing to suffer the consequences.

FRAMED is a neat little crime melodrama from Columbia in which the title almost gives away the plot. Carter and BARRY SULLIVAN devise a crooked scheme to get their hands on a quarter of a million dollars, involving GLENN FORD and a bank robbery.

JANIS CARTER resembles a blonde version of Ann Sheridan as she plays a cunning femme fatale with silky ease planning to make mining engineer Ford take the fall for an embezzlement.

Like all good noirs, there's a final plot twist that comes as a surprise and confirms suspicion that Carter was even more of a schemer than she let on.

Well worth seeing--maintains taut suspense all the way. And, of course, Ford's moral fiber wins out over Carter's amoral seduction.

One of the great things about film noir is that even though the key ingredients are over-familiar, if cooked up right they still taste fresh. A case in point is Framed, with a storyline straight out of chapter One of "Let's make a Film Noir". Down on his luck drifter meets a conniving dame who thinks he's just the ticket to act as the fall guy in her murderous scheme. Except that the potential patsy is way ahead of her and saved by his suspicion of dames that are just a tad too eager to help a total stranger they barely met. He almost falls for her obvious charms, but pulls away from the abyss just in time to turn her over to the law. No way he's gonna take the fall for her. When his partner is falsely accused of murder, he's supposed to do something about it, right? (Thanks,Bogey!). Yes, you've seen it all before in better and worse movies than this, but this one has everything we like about noir and served up in just the right way. Enjoy!

FRAMED", Columbia, 1947, 82 min. This the one in which a slightly scruffy Glen Ford (just after "'Gilda", which made him a highly bankable Star) plays a mining engineer down on his luck, drifts into town, gets busted for a brakeless truck driving accident for which he gets thirty days in the local hoosegow, but is bailed out by a mysterious blonde (Janis Carter) for no apparent reason other than that she seems to have eyes for him. If he knew what she really had in mind for him he would have taken the ten days, gladly! As the plot thickens the incredibly alluring Carter really racks poor lovesick Glen over the coals setting him up for an insurance scam where he will be "accidentally killed" in a car crash so she and her real boyfriend (Barry Sullivan) can collect on the policy and scram. Glen barely survives and Janis gets her just deserts but her performance is so subtly-shaded with both hidden menace and obvious allure, and she is just so all-around fantastic in "Framed", that I couldn't help thinking that, all kidding aside, this must have been the Best Performance by an Actress for all of 1947 - - the year that Loretta Young actually got it for "The Farmer's Daughter".

Film noir was Janis Carter, Glenn Ford and Barry Sullivan in the midst of quite an interesting story.

Miserable with his wife, played by Karen Morley, Sullivan, a bank Vice President, has an affair with Carter and the 2 plot the demise of a victim, similar in built to Sullivan so that they can abscond with lots of money.

Glenn Ford, a miner, becomes their target, but fate intervenes and Carter falls for Lambert (Ford) instead so she bumps off Sullivan.

Old prospector, Edgar Buchanan, gets blamed as he had threatened Sullivan when the latter turned down his request for a loan.

The twists and turns makes this an interesting film. The only problem here is the rush act that the picture made to end after 1 hour and 24 minutes.

Glenn Ford is Mike Lambert in "Framed," a 1947 noir also starring Janis Carter, Barry Sullivan, and Edgar Buchanan. Ford plays a man who takes a job driving a truck that ends up having no brakes. Once at his destination, he enters a bar/restaurant called La Paloma and comes to the attention of waitress Paula Lambert (Carter) - and vice versa. Turns out she's been waiting for someone like Ford to come along. Well, hasn't every woman? Paula and her boyfriend, Steven Price, need someone to be identified as Price in a car accident/explosion so that she and Price can take off with the $250,000 Price has embezzled from his bank. Unfortunately for them, they're pretty sophomoric, and Mike gets suspicious.

I can't share the deep thrill others have expressed about this film, though I love Glenn Ford's combination of gentleness, toughness, and sexiness. He had really just hit big stardom around the time of this film. As beautiful, slender and accomplished a Broadway performer as Janis Carter was, I thought her acting was - well, awful is the only word for it. This is a Lizabeth Scott/Ann Sheridan type of role - smoky, mysterious, ambiguous as to motive. Carter had none of these shadings, offering instead wooden line delivery with nothing going on underneath. A better actress would have made this a much stronger film.

The plot (to me anyway) was very predictable, in part due to the casting. As for the denouement, there was no explanation as to how it all came together, i.e., there were holes.

Ford and Edgar Buchanan, who plays a miner hoping to get a loan from Barry Sullivan's bank, are very good in their roles. Sullivan is fine, but he has a non-showy part. A stronger female lead and a little more developed script at the end would have helped "Framed" immensely.

Mining engineer Glenn Ford (Mike) trucks into town and is befriended by barmaid Janis Carter (Paula). She's a bit too friendly isn't she? The clue to this film is in the title.

You know Janis Carter is up to something from early on. Always be suspicious of people who are too friendly. Carter is plotting with bank vice-president Barry Sullivan (Steve) and they are looking for a scapegoat. There are twists along the way and Glenn Ford is a sympathetic character to identify with as he begins to suspect and unravel what has been happening. Who gets all that money? Someone starts the film with nothing….and ends the film with nothing.

Framed (AKA: Paula) is directed by Richard Wallace and adapted to screenplay by Ben Maddow from a story written by Jack Patrick. It stars Glenn Ford, Janis Carter, Barry Sullivan and Edgar Buchanan. Music is by Marlin Skiles and cinematography by Burnett Guffey.

Mike Lambert (Ford), down on his luck and fed up of getting nowhere in life, meets sultry waitress Paula Craig (Carter) and things will either get better or worse?

There's a road sign in this that grabs the attention, it reads DANGEROUS CURVES! Now that initially is in reference to a perilous road - with roads featuring prominently as dangerous parts of the play - but it quite easily could be, and in all probability is, a sneaky reference to Janis Carter's femme fatale. Paula Craig in Carter's hands dominates the film, not that Ford or Sullivan are pointless fodder, but it is both the actress and her character's show.

After a burst of pacey excitement opens the pic, action moves on to a cafe, from where we are introduced to Guffey's talents, from this point on almost everything is atmospherically shot. Slats and shads, lamps and cell bars, all get the Guffey lens treatment that's sitting superbly with the unfolding psychological dynamics. Very early on we are delivered two characters who basically are a cheater and a viper, while the main man of our story is a guy who struggling with his identity in life. He also likes a drink, but with that comes memory loss, which is never a good thing when you are holed up in a noirville town.

Stripping it back for examination you find the story is very simple, which is surprising and a little disappointing given the screenplay writer also did The Asphalt Jungle. Yet the characters and the actors performances, helped by some classy tech work, more than compensates - that is until the finale, which for some (me for sure) is a bad choice for character tone. But it's not a film killer, for we get everything from orgasmic glee shown in the process of a callous crime being committed, to characters either in need of a soul or facing their days of judgement. 7/10

Glenn Ford, young and brittle, plays an unemployed, hard-drinking mining engineer saved from ten days in the hoosegow by a blonde waitress with evil in her eyes; turns out she and her partner need a fall guy once they swindle the local banker. Crosses and double-crosses in a mostly predictable vein, though just about saved by excellent directorial touches and intriguing noir detail (the wrench in the backseat, the poisoned cup of coffee). Ford isn't really convincing playing drunk and reckless--and it doesn't sit well with us having him cast as the possible dupe--yet he cuts a solid presence on the screen and the picture would be nothing without him. ** from ****

FRAMED starts out with a bang, with Glenn Ford trying to steer a speeding truck with no brakes to its destination, but gradually it started to lose me as it sped along into increasingly illogical plot turns. Janis Carter plays the least appealing femme fatale I've ever seen in a film noir. (In any lineup of great ladies of film noir, her name has never come up.) Here she's plotting with her lover, a married banker (Barry Sullivan), to fake his death, retrieve the money he's embezzled, and head off to happier climes. But they need a patsy with no ties to substitute for the banker. And that's where Ford, a mining engineer looking for work, comes in. We're supposed to believe Ms. Carter can entice Ford, but he never displays anything but rank hostility in her presence. When he finally kisses her, it's more of a physical assault than an act of lust. When it comes to carrying out the death-faking part, they enact a scene straight out of DOUBLE INDEMNITY. The plan they adopt is so poorly thought out that even the most cursory police investigation would see through it.

Ford at least is punchy and irritable throughout, a side of him I've never quite seen before. He glares with the best of them and passes out drunk a couple of times. He's nice to Edgar Buchanan, though. And who wouldn't be? As silly as the proceedings get, it's never too predictable and moves at a fast clip throughout. This is low-end film noir, a far cry from James M. Cain and Raymond Chandler, but still worth recording off TCM and watching once. Barry Sullivan (whose centennial is tomorrow, August 29) plays a solid citizen with a corrupt core, a long way from the rugged western heroes he'd portray ten years later (e.g. FORTY GUNS), but closer to the antagonists he'd specialize in playing on TV dramas in the 1960s and '70s.

I like Glenn Ford and he does a good act for whatever role he is assigned. Here he plays a guy just trying to get a break which really means a job and he runs into this story. Interesting to note the scene where there is a courtroom procedure and how inadequate justice was and how it was dispensed. It helps you to realize how we got to where we are today as people in court rooms know not what they do and the powers that be don't care either. The plot involves money, love, betrayal and hope all the emotional traits humans suffer from and need. The problem is that all the wrong stuff is too available while the better opportunities take time, patience and some discernment. The ending is satisfying and one can relate to it no problem. You never know what to expect with film noir but you always get atmosphere, intrigue and down to earth surprises. Recommend a snack and a tasty drink to compliment the viewing

Like in so many noirs, the most enjoyable ingredient of this film is the excellent dialog. It keeps you spellbound by its wit and suggestive innuendos all the way, everyone is clever and an interesting character, even the most idiosyncretic Edgar Buchanan as Jeff Cunningham, although they are all rather basic and normal - except Janis Carter, who is the leader of the film, very suavely leading you on in her very incalculable mind to some extreme surprises she didn't even expect herself. Glenn Ford made thjs before "Gilda" but it's the same character, - he always made the same character. Here he is more vulnerable and actually gets more than enough drunk twice, which makes him such a suitable puppet to use for an extremely criminal plot. It's a classic noir, the story will not disappoint you, and the final looks of Glenn Ford and Janis Carter will endure and follow you beyond the film.

Janis Carter steals this film; she is the femme fatale who is responsible for much of the mayhem that takes place in the movie. Glen Ford (Superman's dad) does a fine job as the pigeon that is set up by everyone in the town except the newspaper boy. Barry Sullivan plays his role with the usual suave faire that he was capable of in several of his other roles. The film has excellent atmosphere and dialogue, and suffer from only one silly occurrence, which I will not mention, as it would be a spoiler. But a high school kid would know better than to commit this mistake. Other than that, the film is very watchable, and better than most other films from this genre. Recommended.

This isn't an exceptional film, but it's a nice little "noirish" picture (it has a good femme fatale, anyway, in Janice Carter) with Glenn Ford as a hard-luck mining engineer (yeah) who rides into a town with no brakes on his truck and soon finds himself in an elaborate setup involving the VP of a local bank (Barry Sullivan). Along the way, he befriends another hard-luck guy, a local miner who's just found a lode of silver (Barry Sullivan).

The setup itself is a bit too convenient, too transparent, and we never really believe Ford is going to fall for it. There are scenes where the screenwriter's inventions are laughably inadequate, such as Ford's big discovery of Sullivan's and Carter's tryst via an embroidered robe hanging in the bathroom.

Carter is excellent in the film and I wonder why she did not get more attention from audiences and directors.

The film does not aim for much, but it's a great bottom of the program picture with a couple good scenes for Ford and Carter.

A runaway truck without brakes that barrels down a mountain road and into a small town provides an exciting start to a film constructed on an intriguing premise. However, if only "Framed" had been able to maintain the initial momentum and build upon the underlying idea, a classic might have emerged. Handsome Glenn Ford of the thick dark eyebrows is behind the wheel of that truck, and, as Michael Lambert, he is quickly arrested and hauled into court, when his truck reaches a stop and he is discovered to have an expired drivers' license. Either dazed by the wild ride or congenitally naive, Ford fails to notice that the sultry blonde bar waitress, who bails him out, pays for his hotel room, and leaves him spending money, has an expensive coiffure, pricey dyed hair, and a chic wardrobe far beyond the means of someone living on tips. If he overlooked those clues, her cozy apartment and her casual job resignation should have tipped him off. However, the college-educated mining engineer is easily taken in by the obvious wiles of Paula Craig, played by Janis Carter in a role that cries out for a Barbara Stanwyck. Carter is as unconvincing in the part as is Ford's keen interest in her.

The screenplay by Ben Maddow, adapted from a story by Jack Patrick, reveals that Craig's obvious come-on masks intentions to enlist him as a fall guy for the plot she is hatching with boyfriend Barry Sullivan. The mix of dumb nice guy, evil seductress, money, sex, and murder have produced some classic films, but unfortunately "Framed" falls short. The mediocre production is nicely photographed in black and white by Burnett Guffey, but Richard Wallace's direction, after a great start, falters.

The film's disappointment, however, does not lay with star Glenn Ford. Always an affable, likable actor, Ford is engaging in the central role, even if his initial gullibility is hard to swallow. Seeking employment, Ford befriends a colorful local miner, Edgar Buchanan, who strikes pay dirt and offers him a job, which complicates the plans Carter and Sullivan have laid. Veteran character actor, Buchanan, is always fun, and he and Ford make the film worthwhile. However, the lines and situations are often trite, Sullivan is only passable in his role, and Carter is the big void at the film's center. If the audience can quickly see through Paula's character and grasp her intent during her first few moments on screen, the credibility of Ford's tough guy character unravels. While the skill, depth, and sex appeal of a Barbara Stanwyck would have elevated "Framed" several notches, even she may not have been able to make it a classic. However, for fans of Glenn Ford, the film is a must see.

This one will never be on anyone's Great Film Noir list, but it will be on the list of Film Noirs. Keeping it from enduring greatness is the rather wooden stare and less than dramatic line readings of the Femme Fatale. The other is the standard Studio Friendly ending.

Remember Double Indemnity (1944)...Postman Always Rings Twice (1946)...Out of the Past (1947)...Kiss Me Deadly (1955). Those are quintessential Noir. If you are the Patsy or victim of Fate, you either end up dead or on your way to the Big House. Otherwise, it is just light Film-Noir. So here we have it, a watchable, if unremarkable entry in the Genre. Glenn Ford makes a great brooding, conflicted, fuzzy-headed everyman and is as likable as they come. Always generating much empathy.

After all, this is pretty standard Film-Noir, but even routine Noir is better than most of the Drama that was Hollywood Product made from 1940-1960.

"Framed." A great title. Plus there is Glenn Ford, who brought so much torque to the role of heedless avenger in "The Big Heat." Then there is the plot, involving embezzlement, attempted poisoning, drunkenness, betrayal, murder, and playing doctor.

The narrative is really too twisted to go into in any detail but the general idea is that Barry Sullivan is a banker who pretends to lend the grizzled old prospector, of which there is no other kind, a quarter of a million dollars, then steal the money himself, murder the old prospector, and frame the innocent mining engineer, Glenn Ford, for the crime. After that, Sullivan and his girl friend, Janice Carter, will take the loot and leave town. I hope I got that right.

Sadly, although it looks like a neat noir thriller, it's just an ordinary, rather slapdash story of greed and treachery.

Example of "slapdash." There's a scene towards the end in which Janice Carter realizes that Ford suspects her of the murder of which she is, in fact, guilty. She offers to make him some coffee. Alone in the kitchen, she reaches for a bottle of poison in the spice rack. Now, this bottle deserves some attention. It's not labeled "rat poison" or "weed killer." It's just labeled in bold black letters "POISON", as it would be in a Laurel and Hardy short. Add to it that the bottle is simply tucked in among the sugar and condiments -- probably alphabetized, just after "paprika" and just before "rue." She dumps some in his cup of coffee. Anyone who imagined how, say, Hitchcock would have handled this scene must have wept.

Ford does little to help the narrative along. He's sullen and intense throughout, though capable of a much better display of skills. Janice Carter may have been a genuinely nice lady in real life -- kind to children and small animals. And she was a singer too. But her every expression, each utterance, each movement, are variations on the theme of perfidy. She telegraphs what she's thinking, and she does it with the subtlety of a traffic light. This is "worried." Now I'm "plotting." Here is "lying." Edgar Buchanan gives what is, for him, an animated performance. He's good natured and trusting, but dignified and practical too. He's a delight in a solemn movie like this.

***SPOILERS*** It was a desperate looking for a job and out of work mining engineer Mike Lambert's, Glenn Ford, great misfortune in being spotted at a local bar by blond sexy waitress Paula Craig, Janie Carter, as he was gulping down his troubles. Paula together with her boyfriend bank vice president Steve Price, Barry Sullivan, have been planning to embezzle the bank that Steven works in for $250,000.00 and all they needed was a fall-guy or pasty to make their plan complete. And it was the luckless Mike Lambert who fit the bill perfectly.

Lambert for his part gets somewhat lucky by later landing a job with local silver prospector Jeff Cunningham, Edger Buchanan, who's struck a mother load of the white and shiny stuff and needs an experience's mining engineer to help him work it off. At an estimated yield of some 140 ounces of silver per ton that would make both Cunningham & Lambert ,who's been offered not only a job but 10% of the profits, very rich. The big problem in all that is that it would screw up the plans that both Janis & Steven have for Lambert as being a fall-guy in their plan in that his disappearance would not go unnoticed! With a nobody and friendless Lambert disappearing off the face of the earth which the two's sinister plan calls for!

With Steven's bank the only bank in town it's easy for him to deny the never deflating or being late in a payment on a loan Cunningham a loan to buy his mining equipment. With Lambert's job with Cunningham no longer there it makes it easier for Janis & Steven to get him into position to take the fall in the robbery that they both planned. The fall would be in Lambert getting killed in a car crash with Lambert drunk and behind the wheel and burnt to a crisps where he'll be suspected to be Steven Price the guy who robbed his own bank!

****SPOILERS*** It when Janis falls in love with the person that both she and Steven are setting up that things start to unravel for the both of them. That's with Steven the person who's supposed to be killed in a car crash ending up unknowingly taking Lambert's place. That while a dead drunk and out of it Lambert when he finally sobered up thinking that he in fact killed him! What's even worse is that Lambert's friend Cunningham is the person framed in Price's murder when it's discovered by the police that his car accident was no accident at all! It's now up to Lambert to pick up all the pieces in this bizarre puzzle and put them together to get to the bottom to who was behind Steven Prices murder. Not realizing that it's the person closes to him Paula Craig who in fact did him in. And even worse had Cunningham a totally innocent man not only take the rap for his murder but possibly end up paying for it with his very life.

It was Lambert's going out of his way to save Cunningham from being framed by Janis that turned the tables on her without him even knowing it. Being the one slated to be murdered by Janis & Steven Lambert in a way felt responsibly to get those who attempted to murder him to face justice. The fact that he survived due to Janis falling in love with him made it also possible for Lambert to prevent his friend Cunningham from taking the fall for Janis' crime that both she and her now dead partner in crime Steven Price unknowingly,by rejecting him a loan and getting Cunningham all heated up and threatening, framed him for.