As a train speeds through the Arizona night, a man posing as a physician holds up the baggage-car crew and escapes with a $500,000 payroll. The fake doctor, Paul Bruckner, leaves the train ... See full summary »
Quiet, organised Dr Talbot meets nightclub singer Nora Prentiss when she is slightly hurt in a street accident. Despite her misgivings they become heavily involved and Talbot finds he is ... See full summary »
John Forbes is a family man who's tired of the 9 to 5 humdrum of his job an insurance company executive. Life gets a little more exciting for him when he calls upon femme fatale Mona Stevens. Her boyfriend has embezzled from a store insured by Forbes' company and has showered her with gifts using the loot. Forbes comes to collect the ill-gotten gifts, but the boyfriend is in jail, and Forbes falls hard for Mona and begins an affair. The only problem is that MacDonald, a private dick who freelances for the insurance company, has had his eyes on Mona first. The obsessed MacDonald turns the soon-to-be-released boyfriend against Forbes. Written by
Martin Lewison <email@example.com>
To get by the Hayes Code office, that would normally not allow a good guy (John) to be an adulterer - and suffer no consequences - director De Toth met with two prominent officials with the office who were married and let them know he knew of their mistresses. The production did not have any problems with the Hayes Code after that meeting. See more »
When John goes to Mona's apartment, he walks up the stairs, and at the top there is a window into her kitchen and the apartment door. However, in the next shot from inside her apartment when John pushes her door open, we can see the arrangement and alignment of the hallway and stairway has changed, and the railing of the stairs is different as well. See more »
Andre de Toth's "Crime Wave" is his best and most widely known known noir film, but the rarely seen "Pitfall" is a close second in quality, marred only by an attenuated ending that goes on for an unnecessary ten minutes after the real action of the story is over and the points have been made. Dick Powell continues to kick his boyish image in the teeth by playing a discontented suburbanite who falls into the arms of a ravishing blonde played by noir icon Lizabeth Scott, more sinned against than sinning this time around. Powell and Scott turn in sharp, edgy performances, but the acting prize goes to Raymond Burr, underplaying a creepy P.I. in love with Scott. The role is virtually a deconstruction of the private eye mythos, revealing the dedicated investigator to have the heart of a stalker. De Toth's minimalist direction once again demonstrates that you don't need to be flashy if you know exactly where to put the camera for every shot. This is as good as it gets.
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