A police lt. is ordered to stop investigating deadly crime boss Mr. Brown, because he hasn't been able to get any hard evidence against him. He then goes after Brown's girlfriend who despises him, for information instead.
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
The $1.2M stolen from the bank would be the equivalent of almost $10,750,000 in 2015. 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 »
[Showing off the earings she wants him to buy as 'souvenirs']
Tony, you're not even looking at how pretty they are and only 11 American dollars!
[Looking at her knowingly]
Everything around here's 11 bucks!
Tony, you like?
Charge it with the rest.
See ya later!
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A tense, compact crime picture (not really a noir, but they're calling everything noir these days) about a man framed for a robbery he didn't commit, and how he goes after the bad guys at a Mexican resort. John Payne plays the put-upon leading role in his usual keyed up, hyper-virile manner, and while I would not call him a charming actor, he was capable in the kind of modest tale. Coleen Gray is his love interest, and proficient in a thankless part. The trio of bad guys,--Neville Brand, Jack Elam and Lee Van Cleef--are as manna from heaven in this sort of film, and are, as always, fun to watch. Preston Foster's easygoing warmth is nicely utilized in a major role. His somewhat vague personality and amiable nature make him a more agreeable character than the putative hero of John Payne. Phil Karlson directed the film with his trademark paranoid edge, and the high contrast black and white photography makes the movie if nothing else a pleasure to watch.
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