IMDb > Two of a Kind (1951)

Two of a Kind (1951) More at IMDbPro »


Overview

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Down 36% in popularity this week. See why on IMDbPro.
Director:
Writers:
Lawrence Kimble (screen play) &
James Gunn (screen play) ...
(more)
Contact:
View company contact information for Two of a Kind on IMDbPro.
Release Date:
July 1951 (USA) See more »
Tagline:
The kind that don't die in bed!
Plot:
Brandy Kirby and crooked Lawyer Vincent Mailer plan to rob William and Maida McIntyre by producing a convincing double for their long-lost son... See more » | Add synopsis »
Plot Keywords:
User Reviews:
Promising noir wastes its potential and its cast by pulling too many punches See more (8 total) »

Cast

  (in credits order)

Edmond O'Brien ... Michael "Lefty" Farrell

Lizabeth Scott ... Brandy Kirby

Terry Moore ... Kathy McIntyre

Alexander Knox ... Vincent Mailer
Griff Barnett ... William McIntyre
Robert Anderson ... Todd
Virginia Brissac ... Maida McIntyre
rest of cast listed alphabetically:
Jessie Arnold ... Woman at Phone Booth (uncredited)
Kathryn Card ... Bingo Woman (uncredited)
Claire Carleton ... Minnie Mitt (uncredited)
Louis Jean Heydt ... Chief Petty Officer (uncredited)
J.M. Kerrigan ... Father Lanahan (uncredited)
James Kirkwood ... Ben (uncredited)
Al Murphy ... Desk Sergeant (uncredited)
Emory Parnell ... First Deputy (uncredited)
Blackie Whiteford ... Man at Police Station (uncredited)
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Directed by
Henry Levin 
 
Writing credits
Lawrence Kimble (screen play) &
James Gunn (screen play)

James Edward Grant (from a story by)

Produced by
William Dozier .... producer
 
Original Music by
George Duning 
 
Cinematography by
Burnett Guffey 
 
Film Editing by
Charles Nelson 
 
Art Direction by
Walter Holscher 
 
Set Decoration by
Louis Diage 
 
Costume Design by
Jean Louis (gowns)
 
Makeup Department
Clay Campbell .... makeup artist
Helen Hunt .... hair stylist
 
Second Unit Director or Assistant Director
Sam Nelson .... assistant director
 
Sound Department
Frank Goodwin .... sound engineer
 
Music Department
Morris Stoloff .... musical director
Arthur Morton .... orchestrator (uncredited)
 

Production CompaniesDistributors
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Additional Details

Also Known As:
Runtime:
75 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Certification:
Belgium:16 | Finland:K-16 | USA:Approved (certificate #15006)

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18 out of 22 people found the following review useful.
Promising noir wastes its potential and its cast by pulling too many punches, 1 March 2003
Author: bmacv from Western New York

If you like your film noir declawed and defanged, then Henry Levin's Two of a Kind is the movie for you. The vexing part is that it starts off strong, keeping the viewer off balance. Lizabeth Scott is scouring the continent looking for a particular man. Her quest takes her from a Chicago orphanage to the carny circuit to the Department of the Navy in Washington; she finally finds him, working in a bingo parlor, in Los Angeles where she started.

He's Edmond O'Brien, and she's after him because he fits the bill for a con job that she and her lover Alexander Knox have been hatching for a long time. A wealthy old couple has nobody to leave their fortune to, because their son vanished when he was only three years old. Knox, their attorney, and Scott are grooming O'Brien as a ringer to show up and claim the inheritance, which they'll all split. There are a couple of catches. For one, the kid lost the tip of his finger in a childhood accident, but since he can cash in his own fingertip for millions, O'Brien falls in with the scheme. The other is that Scott, to Knox's chagrin, starts to go sweet on O'Brien.

Up to the scene when Scott smashes O'Brien's finger in a car door, so he'll have reason to have the first two joints amputated, Two of a Kind promises to be low-down and unsentimental. But the movie's tone suffers an incapacitating fracture with the arrival of Terry Moore, as a niece of the old couple and the patsy through which O'Brien will secure his entry into the family's affections. (She's a vapid dilettante whose hobby is collecting `causes;' falling for no-good men and trying to reform them seems to be one of them.)

O'Brien gains admittance to the family; his candor about his raffish past puts him in good stead. But when the pot of gold seems just within reach, the patriarch drops a bombshell: He won't leave a cent to his newfound son on the grounds that it would ruin him. This prompts Knox to rachet up the swindle to the next level - arranging an early send-off for his unwitting benefactors. Scott and O'Brien demur, but by this time they're in too deep....

The dark tone of the opening returns briefly, but it's too late and doesn't last. Despite that brutal finger-smashing, there's a squeamishness to the movie that doesn't let it pursue the expectations it raises. The insipid ending opens regretful speculation: Whatever happened to the Lizabeth Scott of Too Late For Tears, the Edmond O'Brien of 711 Ocean Drive, and the Henry Levin who directed Night Editor?

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