Kansas City Confidential (1952)

Not Rated  |   |  Crime, Drama, Film-Noir  |  11 November 1952 (USA)
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Ratings: 7.4/10 from 3,559 users  
Reviews: 77 user | 42 critic

An ex-con trying to go straight is framed for a million dollar armored car robbery and must go to Mexico in order to unmask the real culprits.



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Complete credited cast:
Joe Rolfe
Tim Foster
Boyd Kane
Tony Romano
Pete Harris
Mario Siletti ...
Howard Negley ...
Scott Andrews
Don Orlando ...
Ted Ryan ...


A down-on-his-luck ex-GI finds himself framed for an armored car robbery. When he's finally released for lack of evidence--after having been beaten up and tortured by the police--he sets out to discover who set him up, and why. The trail leads him into Mexico and a web of hired killers and corrupt cops. Written by frankfob2@yahoo.com

Plot Summary | Plot Synopsis


Every city wears a mask! This is the picture that goes behind that mask to bare the bullet-scarred face of a brutal underworld!..... See more »


Not Rated | See all certifications »





Release Date:

11 November 1952 (USA)  »

Also Known As:

Kansas City 117  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?


Veteran actor Preston Foster plays a character whose last name is also Foster. See more »


Tim Foster sent telegrams dated May 22 containing the message "BORADOS, NINETEENTH", presumably meaning meet in Borados on the 19th, so it would have to mean June 19th which is the next 19th. When Joe Rolfe checks in at the Hotel Hacienda the register sheet shows May. When Timothy Foster receives the telegraph from the Police Chief of Tijuana it's dated "de Monday de fourth de 1952" and states "... MAN SHOT TO DEATH HERE NIGHT OF 14 OCTOBER ...". So Peter Harris would have had to be shot October 14, 1951 but the license plate on the Western Florist van had a 1952 date. And the closest Monday the 4th after May 1952 is August 4th. See more »


Tim Foster: If I can spot you back of those trick cheaters, so can the cops!
Boyd Kane: [Removes dark glasses] The job you're talkin' about - I said I'd listen.
Tim Foster: You're a cop-killer! You killed one on that last deal!
Boyd Kane: I don't like heroes!
Tim Foster: You can tell that to the warden when they burn ya!
See more »


Referenced in M*A*S*H: The Gun (1975) See more »


La Cucaracha
Sung by Tomaso as he delivers the mail
See more »

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User Reviews

The first Payne/Karlson collaboration: Everyman thrown to the wolves
18 April 2004 | by (Western New York) – See all my reviews

Driving a truckful of posies for a florist seems about as safe an occupation an ex-con could hope for. But for John Payne in Phil Karlson's Kansas City Confidential, it gets him framed for a million-two robbery. His trouble is that you can set a clock by his punctual rounds, and that one of his deliveries coincides with the arrival of the armored car at the bank next door. His comings and goings have been meticulously stop-watched by the mastermind of the heist (Preston Foster), a disgruntled policeman forced into retirement who seeks his weird sort of revenge.

Foster's plan assembles a gang who wear masks during the plotting so they can't recognize one another, or him. Payne's just the innocent fall guy who's thrown to the cops. Those cops try to beat a confession out of him, but it won't stick. He nonetheless loses his job and ends up on the front pages as the prime suspect. So he goes on the earie and follows the robbers (Jack Elam, Lee Van Cleef and Neville Brand) down to Mexico, where they're to meet with `Mr. Big' again and divvy up the take.

The spanner in the works proves to be Foster's daughter (Coleen Gray), striking sparks with Payne as he poses as one of the conspirators killed in Tijuana en route to the rendezvous. Gray's an aspiring lawyer in ignorance of daddy's scheme – which is to turn over the robbers, thus rehabilitating himself with the force, and to collect the insurers' reward of $300-large.

Those south-of-the-border resort bungalows, during the noir cycle at any rate, were hotbeds of passion and gunplay. Karlson gives us a little of the former (not his long suit) but plenty of the latter. Over cardgames in the lobby and chance meetings amid the subtropical foliage at night, the unknown players try to sniff one another out and gain whatever edge they can. Their final gathering, aboard a boat called the Manana, shakes out as a crashing intersection of cross-purposes.

Like Dick Powell, Payne started off as a crooner and hoofer, a light leading man (his best remembered role is as Maureen O'Hara's fiancé in Miracle on 34th Street). But in three films under Phil Karlson's direction (plus Robert Florey's in The Crooked Way and Allan Dwan's in Slightly Scarlet), he ended up one of the most convincing ordinary-guy protagonists in the noir cycle. He's tough, all right, but still shows the flop-sweat of fear; and he's smart, too, but because he's forced to be – what he's trying to hang onto is all he's got.

Off-screen, he was even smarter, seeing the potential revenue in color films (like Hell's Island and Slightly Scarlet) when selling to television was at most a pipe dream. But as an actor in the ambiguous world of film noir, he's seldom given the credit he deserves. He's every bit as good as Powell or Glenn Ford, if not quite so emblematic as Humphrey Bogart or Robert Mitchum or Burt Lancaster. Karlson's brutal, accomplished works late in the noir cycle gave Payne his place in the dark sun.

57 of 63 people found this review helpful.  Was this review helpful to you?

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