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Dangerous Crossing (1953)When a beautiful bride goes on a ocean liner with her new husband, he goes into hiding, and she becomes the target of a murder conspiracy. Director:Joseph M. Newman |
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Title: Dangerous Crossing (1953)
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Cast
| Complete credited cast: | |||
| Jeanne Crain | ... |
Ruth Stanton Bowman
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| Michael Rennie | ... |
Dr. Paul Manning
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| Max Showalter | ... |
Jim Logan
(as Casey Adams)
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Carl Betz | ... |
John Bowman
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| Mary Anderson | ... |
Anna Quinn
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Marjorie Hoshelle | ... |
Kay Prentiss
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| Willis Bouchey | ... |
Capt. Peters
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Yvonne Peattie | ... |
Miss Bridges
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Plot Summary
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Storyline
A young bride is set to begin her honeymoon aboard a luxury liner. Her happiness does not last when she finds that her husband has disappeared. Trouble is, no one else ever saw him board the ship with her and his name has mysteriously dropped from the passenger list. Written by Daniel Bubbeo <dbubbeo@cmp.com>
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Details
Country:
USALanguage:
EnglishRelease Date:
August 1953 (USA) See more »Also Known As:
Gefährliche Ăberfahrt See more »Company Credits
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Technical Specs
Runtime:
Sound Mix:
Mono (Western Electric Recording)Color:
Black and WhiteAspect Ratio:
1.37 : 1
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(uncredited)
Music by Harry Warren
Played when Paul receives a telephone call at dinner
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Did You Know?
Trivia
Filmed on the same sets as Titanic and Gentlemen Prefer Blondes and A Blueprint for Murder See more »Goofs
At the swimming pool scene during the voyage, we see a girl in a dark or black swimsuit just about to dive into the pool, then the camera angle changes, we then see a girl in a light colored swimsuit just about to dive into the pool instead. See more »Soundtracks
"You'll Never Know"(uncredited)
Music by Harry Warren
Played when Paul receives a telephone call at dinner
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Wow! What a great little noir. Apparently made utilising sets from 'Titanic' and 'Gentlemen Prefer Blondes', films made the same year, this is a great example of fast (three weeks shooting) low budget film making. Not a wasted frame, this spooky, thrilling mystery, looks good all the time and many shots are exceptional. Lots of shadowy, foggy or against the light close-ups and a sensational sequence in the ballroom. All menace and subterfuge as we begin to feel that Jeanne Crain's character is surely going to break down despite the restrained and reassuring Michael Rennie, who doesn't even get a kiss. The film races along and has your attention all the time. Set on an ocean liner we do not get the dark streets and lamplight shadows but Newman certainly makes the most of what he's got; the drone of the foghorn, the swirling fog itself and a slew of fellow travellers Crain is not too sure about. And nor are we! Splendid.