Franchot Tone
Stuart Bailey
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I Love Trouble is a 1948 American film noir crime film written by Roy Huggins from his first novel The Double Take, directed by S. Sylvan Simon, and starring Franchot Tone as Stuart Bailey. The character of Stuart Bailey was later portrayed by Efrem Zimbalist, Jr. in the television series 77 Sunset Strip.
I Love Trouble: Directed by S. Sylvan Simon. With Franchot Tone, Janet Blair, Janis Carter, Adele Jergens. P.I. Stuart Bailey is hired to investigate the past of Ralph Johnson's wife who has gone missing.
1948. Significantly better print of Roy Huggin's I Love Trouble based on his book Double Take (he also wrote the screenplay). I Love Trouble is the first appearance...
A wealthy man hires a detective to investigate his wife's past. The detective (Franchot Tone) discovers that the wife had been a dancer and left her home town with an actor....
I Love Trouble (1948) cast and crew credits, including actors, actresses, directors, writers and more.
This same sleuthing element pushes the limits of comprehensibility in S. Sylvan Simon’s I Love Trouble, adapted by Roy Huggins from his own novel, in which private detective Stuart Bailey (Franchot Tone) is hired by wealthy politician Ralph Johnston (Tom Powers) to investigate the background of his much younger wife who has been receiving ...
A wealthy man hires a detective to investigate his wife's past. The detective (Franchot Tone) discovers that the wife had been a dancer and left her home town with an actor.
A wealthy man hires a detective to investigate his wife's past. The detective (Franchot Tone) discovers that the wife had been a dancer and left her home town with an actor.
Worn-down Peter Brackett (Nick Nolte) and ambitious Sabrina Peterson (Julia Roberts) are reporters working for rival newspapers. Assigned to cover a train derailment, the two...
- (46)
- Mystery & Thriller, Comedy
- PG
Nov 16, 2021 · I Love Trouble is generally forgotten today, as is its director-producer, S. Sylvan Simon, and yet the movie is a swirling labyrinth capable of going toe to toe with anything Marlowe ever faced. The dividing line between tautness and plot holes or logic and absurdity almost ceases to have credence.
