6.5/10
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Plunder of the Sun (1953)

Approved | | Action, Adventure, Drama | 26 August 1953 (USA)
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An American insurance adjuster, stranded in Havana, becomes involved with an archaeologist and a collector of antiquities in a hunt for treasure in the Mexican ruins of Zapoteca.

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(screen play), (based on the novel by)
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Cast

Complete credited cast:
...
Al Colby
...
Julie Barnes
...
Anna Luz
Francis L. Sullivan ...
Thomas Berrien
Sean McClory ...
Jefferson
Eduardo Noriega ...
Raul Cornejo
Julio Villarreal ...
Ulbaldo Navarro (as Julio Villareal)
Charles Rooner ...
Captain Bergman
...
Consul (as Douglas Dumbrille)
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Storyline

An American insurance adjuster, stranded in Havana, becomes involved with an archaeologist and a collector of antiquities in a hunt for treasure in the Mexican ruins of Zapoteca. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Plot Synopsis


Certificate:

Approved | See all certifications »
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Details

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Release Date:

26 August 1953 (USA)  »

Also Known As:

Das geheimnisvolle Testament  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Glenn Ford turned down the lead role in Hondo (1953) because he had not enjoyed working with director John Farrow on this film. See more »

Goofs

At Mitla, Colby shows Julie a hole, indicating that it was a place for offerings to the gods, including human sacrifices. In central America, cenotes (or sinkholes) were used by the native population as water sources and also were used for offerings of human sacrifices and objects. However there are no cenotes at Mitla. See more »

Quotes

Julie Barnes: You stood me up because you think i'm a tramp.
Al Colby: I don't think you're a tramp.
Julie Barnes: Yes you do... cuz I am. I'm a tramp and everybody knows it; Julie the tramp. What's a lady have to do to get a cigarette around here?
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Crazy Credits

Plunder of the Sun was filmed in its entirety in Mexico in the Zapotecan ruins of Mitla and Monte Alban. We wish to express our gratitude to the wonderful people of Oaxaca, Veracruz and the Churubusco-Azteca Studios in Mexico City for their help and cooperation. See more »

Soundtracks

Sin ella
Written by Enrique Fabregat
Sung by an unidentified singer in the saloon
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User Reviews

 
thin but pungent noir
30 July 2012 | by (United States) – See all my reviews

Thin, ultimately silly film is given unearned heft by virtue of Jack Draper's cinematography which turns ancient Mexican ruins into the nightmare city of classic noir, the wet streets and shadowy alleys that are the essence of the genre. Glenn Ford is sour and surly as an American insurance man who travels the tropics with a full wardrobe of tweed suits (maybe that's why he's so grim). Down on his luck in a vividly evoked pre-Castro Cuba, he signs on to smuggle a certain antiquity BACK into the Mexico from whence it came for reaasons that never make much sense. Soon there are three or four factions vying for whatever he has taped under his left nipple: a sleazy archaeologist (Sean McClory), an American hot thang with plasticene-brassiere breasts that jut like nose cones (Dianna Lynne), a sultry hispanic gal (Patricia Medina), and finally some kind of Mexican expert and his thug son. There's too much fist fighting over a gun--Glenn and Sean duke it out about four times over Sean's Colt Detective Special--and the whole thing never makes much sense. But damn, it looks GREAT! Don't know who this Draper guy is--he seems mostly to have worked in Mexico--but his deep focus photography really brings the location to menacing, palpable life. The best passage follows as Ford evokes the ruins and what they mean to dim, pointy-titted Lynne, and it's pre-PC so he's able to make vivid the human sacrifice that blasphemed the place and thus give it a vibration of tragedy and death otherwise unearned in the movie. The other delight is McClory's debauched archaeologist, under a blonde crewcut and some heavy tortoise-shell specs. He's very vivid and far more charismatic than the dreary, mumbly Ford The movie really looses it in its climax, and ends in a silly shootout and fistfight in a backlot Hollywood set that wastes all the good will it had built up with the location work; suddenly, it looks like early TV and in a sense it has become early TV.


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