be because they are so understanding here at Paramount. Lake returned with roles in the musical Bring On the Girls (1945) with Eddie Bracken and Sonny Tufts; and Hold That Blonde with Bracken. Lake enjoyed making the film, saying "it's a comedy, rather like what Carole Lombard used to do ... It represents a real change of pace". However, neither film was successful, as were minor roles in Out of This World and Miss Susie Slagle's (1946). Final years at Paramount and freelance After her role in Miss Susie Slagle's, producer John Houseman cast Lake in the film noir The Blue Dahlia (1946). The film reunited her with Alan Ladd, who had become one of Paramount's top stars since their last pairing in The Glass Key. Lake was pleased with the role, but her performance in the film did not impress its screenwriter Raymond Chandler, who referred to her as "Moronica Lake". Nonetheless, it became her first success since So Proudly We Hail! and the largest of her career. For the first time in her career, Lake ventured outside of Paramount with the United Artists Western Ramrod (1947). The film was directed by her then-husband Andre DeToth, in their first collaboration together. The film also reunited her with Joel McCrea, despite his earlier insistence that he would not work with her again. The film was also successful, continuing her comeback. Following a cameo in Variety Girl (1947), Lake and Ladd reunited again for the crime film Saigon (1948). Lake returned to her former peek-a-boo hairstyle for the film, which unlike their previous films was not a noir. Reaction to the film was mixed; although financial success, it received a more mixed critical reception in comparison to the couple's earlier vehicles. Coupled with the flops The Sainted Sisters and Isn't It Romantic?, Paramount opted not to renew Lake's contract in 1948. Following her release from Paramount, Lake took a supporting role in Slattery's Hurricane (1949). The film, directed by DeToth, was released by 20th Century Fox. She also appeared with Zachary Scott in the Western Stronghold (1951). Shot in Mexico for Lippert Pictures, Lake later described the film as "a dog" and sued for unpaid wages on the film. Lake and DeToth announced plans to make Flanagan Boy and Before I Wake, the latter from a suspense novel by Mel Devrett. However, neither were made as the couple ran into financial