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 ... See full summary »
The big national crime syndicate has moved into town, partnering up with local crime boss Nick Scanlon. There are only two problems: First, Nick is the violent type, preferring to do things... See full summary »
Joe Sullivan is itching to get out of prison. He's taken the rap for Rick, who owes him $50 Grand. Rick sets up an escape for Joe, knowing that Joe will be caught escaping and be shot or ... See full summary »
There is a problem with foreign nationals using Cuba as a convenient jumping off point for illegal entry into the United States. So U.S. Immigration Service Agent Peter Karczag (John Hodiak... 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 <firstname.lastname@example.org>
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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