Has-been director Harry Dawes gets a new lease on his career when independently wealthy Kirk Edwards hires him to write and direct a film. They go to Madrid to find Maria Vargas, a dancer ... See full summary »
Joseph L. Mankiewicz
During the campaign for reelection, the crooked politician Paul Madvig decides to clean up his past, refusing the support of the gangster Nick Varna and associating to the respectable ... See full summary »
A woman secretly suffering from kleptomania is hypnotized in an effort to cure her condition. Soon afterwards, she is found at the scene of a murder with no memory of how she got there and seemingly no way to prove her innocence.
Two professional killers invade a small town and kill a gas station attendant, "the Swede," who's expecting them. Insurance investigator Reardon pursues the case against the orders of his boss, who considers it trivial. Weaving together threads of the Swede's life, Reardon uncovers a complex tale of treachery and crime, all linked with gorgeous, mysterious Kitty Collins. Written by
Rod Crawford <email@example.com>
After leaving Warner Brothers for Universal with The Killers, producer Mark Hellinger initially wanted to borrow Warner director Don Siegel, but the loanout fee proved prohibitively high for a director of his limited reputation at that time, so Hellinger used Universal's Robert Siodmak. Ironically, almost 20 years later Siegel did go on to direct the remake, The Killers. See more »
There were several errors involving the firearms used. When Burt robs his cohorts, the gun is obviously not real, probably rubber, because the barrel is pointed downward from the frame. If he were to shoot at someone's chest, the bullet would probably hit below the belt. When Edmond O'Brien is holding his pistol at the bad guy, he says it is a .45, but a trained eye can see that it is either a .32 or .380, most likely of Spanish origin. When Edmond asks Sam Levine if he has another .45 for him, Levine says yes, but the gun turns out to be a .38 revolver instead. See more »
Big Jim Colfax:
[to Dum Dum]
You can leave anytime you want, friend.
[acting as peacemaker]
Come on! Easy does it, fellas! Easy does it!
I don't like to be asked to come up here and then told I can go. Who do you think you're pushin' around?
Big Jim Colfax:
A minute ago we were talkin' about reputations. Well, you've got quite a reputation yourself - you're supposed to be a troublemaker.
Big Jim Colfax:
[deliberately taking the cigarette out of his mouth]
Okay. Make some.
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I was surprised when I looked at IMDb's list of highest rated film noir pictures, since this movie was well down the list. This review and my subsequent review for DOA are being made to try to correct this oversight. Also note that there was a re-make of this film in 1964 starring Lee Marvin and Ronald Reagan. This review is for the original film only.
This is one of the most stylistic noir pictures made. Like the FANTASTIC opening of Sunset Boulevard, this movie STARTS with the murder of a poor sap and then backtracks to let the viewer slowly understand why this occurred. Surprisingly, the part given to the murder victim in this movie is played by Burt Lancaster in his first picture--what a great first film! Other reasons I liked the film were the cast (I like ugly old Edmund O'Brien--a stand-out noir actor because he is unattractive, beefy and delivers lines like it was from an episode of Dragnet), writing (it keeps you guessing), direction and impressive cinematography.
Do yourself a favor and see it soon.
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