The Strip is a 1951 American crime film noir starring Mickey Rooney and Sally Forrest, with William Demarest, James Craig, and Kay Brown in supporting roles.

Directed by László Kardos, the picture was shot largely on location in and around the Sunset Strip, including performances at the popular nightclubs Mocambo and Ciro's and scenes at the restaurants Little Hungary and Stripps.

A voiceover briefly describes the Sunset Strip, its clubs, and its unusual status as an unincorporated area of Los Angeles County patrolled by its sheriffs.

Police officers are seen going to an apartment building where a young gunshot victim named Jane Tafford (Sally Forrest) lies near death.

He explains he'd received extensive hospitalization for an unspecified condition following duty in the Korean War, before heading home to Los Angeles, where he'd hoped to make enough money as a jazz drummer to some day open his own club.

He is immediately smitten by its driver, an attractive aspiring actress working as a cigarette girl and dancer at Fluff's jazz nightclub, Jane Tafford.

Determined to wear her down, he seizes on the chance to join the house band - a Dixieland quintet fronted by its namesake owner (William Demarest), which includes Louis Armstrong, Jack Teagarden, Barney Bigard, and Earl "Fatha" Hines, all playing themselves.

[1] Film critic Dennis Schwartz discussed the production in his review and praised the work of Mickey Rooney, "A minor mystery story that's given some high gloss in its production by the MGM studio system, as Louis "Satchmo" Armstrong and his distinguished band made up of Jack Teagarden, Earl "Fatha" Hines, and Barney Bigard serenade us with a few numbers and there are various other jazz pieces included from singers Monica Lewis and Vic Damone.

It's set on the intriguing Sunset Strip where Mickey Rooney plays the sincere little guy, Stanley Maxton, a jazz drummer who is accused of murder ...

The breezy story line, the snappy jazz interludes, and some engaging scenes made it very appealing ... Rooney is super as the perennial victim who only finds his soul when he's lost in his music.