"Pop" Hodges runs an equipment store and a fishing boat as blinds for a gold-smuggling operation, unknown to his niece, Susan Clarke who is engaged to deep-sea diver Mike Sloan. Mike knocks... See full summary »

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(screenplay) (as Daniel Ullman), (story)
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Cast

Cast overview:
...
Mike Sloan
...
Susan Hodges
Carl Benton Reid ...
'Pop' Hodges
Peter M. Thompson ...
Chief Frank Warren (as Peter Thompson)
William 'Bill' Phillips ...
Chet Blake
William Forrest ...
Arthur Rayburn
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Storyline

"Pop" Hodges runs an equipment store and a fishing boat as blinds for a gold-smuggling operation, unknown to his niece, Susan Clarke who is engaged to deep-sea diver Mike Sloan. Mike knocks out a member of the fishing-boat crew who is trying to steal gold from Hodges' storeroom. Hodges kills the man and convinces Mike he did it in the fight. Mike replaces the dead man on Hodges' boat and postpones his marriage to Susan. When Mike learns of the smuggling racket, Hodges holds the murder over his head, and forces him to dive for the smuggled gold. Written by Les Adams <longhorn1939@suddenlink.net>

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Crime | Drama | Adventure

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Approved
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5 May 1951 (USA)  »

Also Known As:

Guld over bord  »

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1.37 : 1
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User Reviews

 
Tarnished Production
13 May 2010 | by (New York City) – See all my reviews

This one is another of the early 1950s Columbia "shaky A" productions, with all the technical details nicely done, but a script which is a bit too complicated for the rushed manner in which the dialogue is directed. Cameron Mitchell gets himself caught in the middle as his fiancée's uncle has been running gold for a mine owner who prefers the higher prices he gets overseas; and who is trying to get a bigger piece of the action.

The weak performance is by Carl Reid, usually a dependable actor, in the role of 'Pop', the chandler/shipowner who has been running the gold. He speaks all of his lines in a manner that underlines that he is a mean SOB masquerading as a nice guy, at all times, no matter whether he is urging Amanda Blake to have another cup of coffee or threatening lead Cameron Mitchell.

The whole production is shot in that middling light that marks the transition from Film Noir to the sunlit 'Western Noir' of the late 1950s. Although the script puts a bit of uncertainty into the entire double and treble crosses, the monotony of lighting and performances -- and the mildly overwrought score -- make this no more than an average programmer.


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