Watchable microbudget noir shot largely on location in New York City and taking maximum advantage of subway stations, back alleys, and warehouse districts. The story is hard to follow, even though the big reveal - the identity of the mysterious St. Paul - is pretty easy to guess. Longtime character actor Jesse White makes a brief appearance as an unsuccessful pickup artist at a bar.

I was surprised to see Dmitri Tiomkin credited with the score on such a small movie. I was even more surprised by how much I disliked the score. To me, it felt all wrong for noir - overblown and portentous even when nothing much is happening, excessively romantic and "pretty" at odd (almost random) moments. It's a rare case of film music that seems to have little to do with the action on the screen.

Another reviewer wonders how this movie ended up on a list of the best 250 films noir. I know how. If you make a list of 250 (!) noirs, you'll be including basically all of them. Hollywood made a lot of noirs, but certainly not 250 that qualify as the "best" of anything.

"Guilty Bystander" is neither the best nor the worst of the genre, but there are worse ways to spend an hour and a half.

Incidentally, I'd like to think that when "Dragnet" was taking shape in his mind, Jack Webb saw this movie and thought, "Max Thursday, hmm? Maybe tweak it just a little ..."