Gun Crazy (1950)
"Deadly Is the Female" (original title)

Passed  |   |  Crime, Drama, Film-Noir  |  20 January 1950 (USA)
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Ratings: 7.7/10 from 7,688 users  
Reviews: 91 user | 54 critic

A well meaning crack shot husband is pressured by his beautiful marksman wife to go on an interstate robbery spree, where he finds out just how depraved and deadly she really is.



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Cast overview, first billed only:
Barton Tare
Berry Kroeger ...
Morris Carnovsky ...
Anabel Shaw ...
Ruby Tare Flagler
Harry Lewis ...
Nedrick Young ...
Sheriff Boston
Mickey Little ...
Bart Tare (age 14) (as Rusty Tamblyn)
Paul Frison ...
David Bair ...
Dave Allister (age 7) (as Dave Bair)
Stanley Prager ...
Virginia Farmer ...
Miss Wynn
Anne O'Neal ...
Miss Augustine Sifert


Since he was a child, Bart Tare has always loved guns. After leaving the army, his friends take him to a carnival, where he meets the perfect girl, Annie, a sharp-shooting sideshow performer who loves guns as much as he. The two run off and marry, but Annie isn't happy with their financial situation, so at her behest the couple begins a crosscountry string of daring robberies. Never one to use guns for killing, Bart is dragged down into oblivion by the greedy and violent nature of the woman he loves. Written by Martin Lewison <>

Plot Summary | Plot Synopsis


Thrill crazy... Kill crazy... See more »


Passed | See all certifications »




Release Date:

20 January 1950 (USA)  »

Also Known As:

Gun Crazy  »

Box Office


$400,000 (estimated)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


The bank heist sequence was done entirely in one take, with no one outside the principal actors and people inside the bank aware that a movie was being filmed. When John Dall as Bart Tare says, "I hope we find a parking space," he really meant it, as there was no guarantee that there would be one. In addition, at the end of the sequence someone in the background screams that there's been a bank robbery--this was actually a bystander who saw the filming and assumed the worst. See more »


The position that Bart holds the gun changes, as Dave and Clyde walk up to Bart on the porch. See more »


Bluey-Bluey: You're gonna see her again tonight, aren't you?
Bart: What's wrong with that?
Bluey-Bluey: Nothing, but she ain't the type that makes a happy home.
Bart: Alright, out with it. What's on your mind?
Bluey-Bluey: It's just that some guys are born smart about women and some guys are born dumb.
Bart: Some guys are born clowns.
Bluey-Bluey: You were born dumb.
See more »


Referenced in Watching the Detectives (2007) See more »


Mad About You
Music by Victor Young
Lyrics by Ned Washington
Sung by Frances Irvin
See more »

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User Reviews

"Bart, I've been kicked around all my life, and from now on, I'm gonna start kicking back."
23 July 2006 | by (United States) – See all my reviews

At the time, such an idea of having the heroes being the criminals was un-heard of, but Joseph H. Lewis's film deservedly has its claim of being the little B-movie that could (forgive the mechanical analogy) by inspiring the French new-wave and other films like Bonnie & Clyde. The idea of having a tragic love story pitted in the middle of noir facade was also seen in the equally powerful low-budget They Live by Night. But while Nicholas Ray's film is more impressive on its emotional stakes, Gun Crazy rakes up points for some of its technical achievements. The style implemented by Lewis and DP Russel Harlan (also responsible for the great photography in Red River) adds excitement to the more suspenseful, even violent scenes, and adds some sentiment to the softer ones involving the couple. And I love the scenes where young Bart can't seem to put away his fascination with guns.

Bart (John Dall) starts off as a boy, and in some of these early scenes (some of the best in the film), we see how he is changed by an unfortunate act, and then the story skips ahead suddenly. Now Bart is an adult, out of the army, and gets re-introduced to guns once he meets his soon-to-be love and partner in crime, Annie, played by Peggy Cummins. From there, after getting married and needing (or rather wanting) money, they start robbing banks across country, but soon to meet their demise. But more than anything, the film's focus isn't one where 'crime doesn't pay' or some kind of typical, of-the-period nonsense. Like the Asphalt Jungle, we're given these conflicted, emotional beings who may meet their own ends with each other before the law. And in the film-noir tradition, it's the woman here who will act as a main catalyst for the end of them. It's psychological side of danger, pathological lies, and the pattern of a downward spiral in having to commit violent acts (even un-intentionally), becomes what really pulls in the viewer into the picture, aside from the more loose, on-location 'real' style and interesting camera-work.

Under more 'B-movie' conditions, Lewis sneaks in plenty of chances to look past some of the more cardboard cut-out forms the characters could have been. The acting by the leads is also very good, the script mostly by Dalton Trumbo is one of his best, and both understand how one reflects the other. Cummins is perfect in her part, even if Dall isn't quite as much a stand-out (though, of course, he's the sap to her more wicked side). Also out of the script comes cool lines like the one listed in the summary. It's a notch above many other B-noirs of the period, and should be seen by most serious fans of the 'mood' that came in noir films. A bit cynical, fatalistic to be sure, but it's smart too.

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