Angel in Exile (1948)

90-91 mins | Drama | 1 November 1948

Directors:

Allan Dwan, Phil Ford

Cinematographer:

Reggie Lanning

Editor:

Arthur Roberts

Production Designer:

Frank Arrigo

Production Company:

Republic Pictures Corp.
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HISTORY

A working title for this film was The Blue Lady . In 1954, the picture was re-released as Dark Violence ... More Less

A working title for this film was The Blue Lady . In 1954, the picture was re-released as Dark Violence . More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
1 Jan 1949.
---
Daily Variety
24 Dec 48
p. 4.
Film Daily
27 Dec 48
p. 4.
Hollywood Reporter
19 Mar 48
p. 14.
Hollywood Reporter
9 Apr 48
p. 15.
Hollywood Reporter
24 Dec 48
p. 4.
Motion Picture Herald Product Digest
21 Aug 48
p. 4283.
Motion Picture Herald Product Digest
1 Jan 49
p. 4442.
Variety
29 Dec 48
p. 6.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
Asst dir
PRODUCER
Assoc prod
WRITERS
Orig scr, Orig scr
Scr supv
PHOTOGRAPHY
Dir of photog
Stills
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
SET DECORATORS
COSTUMES
Cost supv
MUSIC
Mus dir
SOUND
VISUAL EFFECTS
Spec eff
MAKEUP
Makeup supv
Hairstylist
PRODUCTION MISC
Prod mgr
DETAILS
Alternate Titles:
Dark Violence
The Blue Lady
Release Date:
1 November 1948
Production Date:
mid March--mid April 1948
Copyright Claimant:
Republic Pictures Corp.
Copyright Date:
2 September 1948
Copyright Number:
LP1788
Physical Properties:
Sound
RCA Sound System
Black and White
Duration(in mins):
90-91
Country:
United States
PCA No:
13119
Passed by NBR:
Yes
SYNOPSIS

In California, as the spring of 1939 approaches, Warden Cramer of the state penitentiary offers discharged prisoner Charlie Dakin the address of his brother and he suggests that Charlie look for honest work at his brother's ranch in Billings, Montana. Outside the prison, Charlie meets his partner, Ernie Coons, and they leave the prison. They are followed by Max Giorgio and Carl Spitz, men Charlie cheated just before going to prison. Max and Carl follow Charlie to the county recorder's office, where a clerk named J. H. Higgins files a claim to the abandoned Durango Mine. At the mine, Charlie and Ernie meet a Mexican peasant girl named Raquel Chavez from the nearby village of San Gabriel. Later, Charlie retrieves the bags of stolen gold dust which he had hidden in the mine before going to prison. Having guessed that Charlie and Ernie have hidden gold inside the mine, Higgins arrives and asks for half of their profit in exchange for help in registering the gold as authentically from the earth. Because they have no other choice, Charlie and Ernie agree to the deal. At San Gabriel, Charlie asks a villager, Ysidro Alvarez, for a table in exchange for an hour's worth of panning for gold in the mine. When Ysidro discovers the gold, the townspeople think that the ghost of a three-hundred-year-old woman known as "the blue lady" has created a miracle by making gold appear in the mine. At the mine, Max and Carl are forced to let Charlie and Ernie go when the townspeople suddenly arrive at the cabin with their mining gear. Some time later, ... +


In California, as the spring of 1939 approaches, Warden Cramer of the state penitentiary offers discharged prisoner Charlie Dakin the address of his brother and he suggests that Charlie look for honest work at his brother's ranch in Billings, Montana. Outside the prison, Charlie meets his partner, Ernie Coons, and they leave the prison. They are followed by Max Giorgio and Carl Spitz, men Charlie cheated just before going to prison. Max and Carl follow Charlie to the county recorder's office, where a clerk named J. H. Higgins files a claim to the abandoned Durango Mine. At the mine, Charlie and Ernie meet a Mexican peasant girl named Raquel Chavez from the nearby village of San Gabriel. Later, Charlie retrieves the bags of stolen gold dust which he had hidden in the mine before going to prison. Having guessed that Charlie and Ernie have hidden gold inside the mine, Higgins arrives and asks for half of their profit in exchange for help in registering the gold as authentically from the earth. Because they have no other choice, Charlie and Ernie agree to the deal. At San Gabriel, Charlie asks a villager, Ysidro Alvarez, for a table in exchange for an hour's worth of panning for gold in the mine. When Ysidro discovers the gold, the townspeople think that the ghost of a three-hundred-year-old woman known as "the blue lady" has created a miracle by making gold appear in the mine. At the mine, Max and Carl are forced to let Charlie and Ernie go when the townspeople suddenly arrive at the cabin with their mining gear. Some time later, after all the gold has been mined, Higgins arrives demanding his share. He suggests that Max kill Charlie and Ernie in order to increase their own profit. Later, Higgins gives Ernie his pistol and tells him that Max is planning to kill them. As Charlie prepares to leave San Gabriel the next day, Raquel begs him to take her with him. Meanwhile, Raquel's father, Dr. Esteban Chavez, treats the villagers, who have contracted typhus from the ground water which had been tainted by mining activities. Charlie visits each of the sick villagers and describes a vision of the blue lady, which miraculously cures them of the disease. Despite his efforts, Charlie feels guilty for inadvertently poisoning the villagers and asks Dr. Chavez to bring the sheriff to the mine. When Higgins demands his share of the money, Max shoots and kills him. Charlie borrows Dr. Chavez's gun for protection and arrives at the mine in time to see both Max and Ernie killed in the shootout. When the sheriff arrives moments later, Charlie turns over the money, asking that it go toward the betterment of San Gabriel. The sheriff arrests Charlie, who promises to return for Raquel. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.