| Peggy Cummins | ... | Annie Laurie Starr | |
| John Dall | ... | Barton Tare | |
| Berry Kroeger | ... | Packett | |
| Morris Carnovsky | ... | Judge Willoughby | |
| Anabel Shaw | ... | Ruby Tare Flagler | |
| Harry Lewis | ... | Deputy Clyde Boston | |
| Nedrick Young | ... | Dave Allister | |
| Trevor Bardette | ... | Sheriff Boston | |
| Mickey Little | ... | Bart Tare (age 7) | |
| Russ Tamblyn | ... | Bart Tare (age 14) (as Rusty Tamblyn) | |
| Paul Frison | ... | Clyde Boston (age 14) | |
| David Bair | ... | Dave Allister (age 7) (as Dave Bair) | |
| Stanley Prager | ... | Bluey-Bluey | |
| Virginia Farmer | ... | Miss Wynn | |
| Anne O'Neal | ... | Miss Augustine Sifert | |
| Frances Irvin | ... | Danceland Singer (as Frances Irwin) | |
| Robert Osterloh | ... | Hampton Policeman | |
| Shimen Ruskin | ... | Cab Driver | |
| Harry Hayden | ... | Mr. Mallenberg | |
| rest of cast listed alphabetically: | |||
| Tony Barr | ... | Proprietor / Diner Cook (uncredited) | |
| Don Beddoe | ... | Man from Chicago (uncredited) | |
| Joseph Crehan | ... | Plant Foreman (uncredited) | |
| Eddie Dunn | ... | State Policeman on Phone (uncredited) | |
| Dick Elliott | ... | Man Running Out of Robbed Market (uncredited) | |
| Ross Elliott | ... | Detective (uncredited) | |
| Franklyn Farnum | ... | Cashier (uncredited) | |
| Pat Gleason | ... | Carnival Barker (uncredited) | |
| Arthur Hecht | ... | Ira Flagler (uncredited) | |
| George Lynn | ... | Holdup Victim (uncredited) | |
| William J. O'Brien | ... | Customer at Sharpshooting Act (uncredited) | |
| Jeffrey Sayre | ... | Court Clerk (uncredited) | |
| Ray Teal | ... | California Border Inspector (uncredited) | |
| Dale Van Sickel | ... | Meat Plant Guard (uncredited) | |
Directed by | |||
| Joseph H. Lewis | |||
Writing credits(WGA) | ||
| MacKinlay Kantor | (screenplay) and | |
| Dalton Trumbo | (screenplay) front Millard Kaufman | |
| MacKinlay Kantor | (story "Gun Crazy") | |
| Millard Kaufman | (front for Dalton Trumbo) | |
Produced by | |||
| Frank King | .... | producer | |
| Maurice King | .... | producer | |
Original Music by | |||
| Victor Young | |||
Cinematography by | |||
| Russell Harlan | (director of photography) | ||
Film Editing by | |||
| Harry W. Gerstad | (as Harry Gerstad) | ||
Production Design by | |||
| Gordon Wiles | |||
Set Decoration by | |||
| Raymond Boltz Jr. | |||
Makeup Department | |||
| Carla Hadley | .... | hair stylist (uncredited) | |
Production Management | |||
| Allen K. Wood | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Frank Heath | .... | assistant director (as Frank S. Heath) | |
Sound Department | |||
| Tom Lambert | .... | sound engineer | |
Stunts | |||
| Dale Van Sickel | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Lloyd Garnell | .... | gaffer (uncredited) | |
| Eddie Jones | .... | still photographer (uncredited) | |
| Harry Lewis | .... | grip (uncredited) | |
Costume and Wardrobe Department | |||
| Norma Koch | .... | wardrobe: Miss Cummins (as Norma) | |
Music Department | |||
| Sidney Cutner | .... | orchestrator | |
| Stuart Frye | .... | music editor | |
| Leo Shuken | .... | orchestrator | |
Other crew | |||
| Arthur Gardner | .... | assistant to producers | |
| Jack Herzberg | .... | continuity | |
| Herman King | .... | technical advisor | |
| Madeleine Robinson | .... | dialogue coach | |
| Al J. Jennings | .... | technical consultant (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb USA section |
What is the quintessence of a film-noir? A good answer is: an evil strong woman that manipulates a weak, although basically decent, man, involving him in a crazy love, doomed to a tragic ending. Then we can safely state that "Deadly is the Female" is a perfect instance of film-noir.
The movie has outstanding merits. The cinematography, and especially the camera-work are excellent, and comparable to the best achievements in the film-noir genre. Justly celebrated are the scenes filmed with the camera inside the car, like that of the bank shot in Hampton, a true cinematic gem. John Dall and Peggy Cummins, in the roles of the doomed lovers Bart and Annie Laurie, make a great job. The story starts slowly (a minor drawback), but as soon as the two lovers cross the border of legality, the movie acquires a quick, exciting and ruthless pace and presents a powerful finale.
The psychology of Bart and Annie Laurie is studied with care. Annie Laurie is a systematic liar. With Bart she always looks sweet, deeply in love, even subdued to her man. To justify her shootings and murders, she always whines with Bart that she had lost her nerves, that she was scared. But when Bart is not present, the viewer gets from her body language and the cruel expression of her eyes that she just loves to kill. Great job by Peggy Cummins.
So does Laurie just make use of Bart for her dirty purposes, to satisfy her own depravity? Not at all. Oddly enough, in another famous scene we see that Laurie really loves Bart with all her heart. Only, she is bad and cruel, that's her inner core. And is Bart so stupid and bewitched not to realize that Laurie is going to ruin him? No, he knows it, and he deeply suffers, but ultimately he doesn't care. Only Laurie counts. Desperately crazy love... how fascinating! (at least in a film-noir).
The script offers several memorable lines, and the many subtleties give realism to the story. For instance, Bart and Laurie are not professional criminals, and they show it when they carelessly spend "hot" money, which will cost them dearly.
"Deadly is the Female" is an excellent film, a relevant nugget in the film-noir gold mine. Highly recommended.