IMDb > Bad Day at Black Rock (1955)
Bad Day at Black Rock
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Bad Day at Black Rock (1955) More at IMDbPro »

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Overview

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7.8/10   11,683 votes »
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Director:
Writers:
Millard Kaufman (screen play)
Don McGuire (adaptation)
(more)
Contact:
View company contact information for Bad Day at Black Rock on IMDbPro.
Release Date:
7 January 1955 (USA) See more »
Genre:
Tagline:
Suddenly you realize murder is at your elbow! - and there's no way out! See more »
Plot:
A one handed stranger comes to a tiny town possessing a terrible past they want to keep secret, by violent means if necessary. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for 3 Oscars. Another 3 wins & 5 nominations See more »
User Reviews:
My favourite Spencer Tracy film See more (123 total) »

Cast

  (in credits order) (verified as complete)
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Directed by
John Sturges 
 
Writing credits
Millard Kaufman (screen play)

Don McGuire (adaptation)

Howard Breslin (based on a story by)

Produced by
Herman Hoffman .... associate producer
Dore Schary .... producer
 
Original Music by
André Previn 
 
Cinematography by
William C. Mellor (director of photography)
 
Film Editing by
Newell P. Kimlin (film editor)
 
Art Direction by
Malcolm Brown 
Cedric Gibbons 
 
Set Decoration by
Fred M. MacLean (set decorations) (as Fred MacLean)
Edwin B. Willis 
 
Second Unit Director or Assistant Director
Joel Freeman .... assistant director
 
Sound Department
Wesley C. Miller .... recording supervisor
Ed Haight .... sound editor (uncredited)
Kurt Hernfeld .... sound editor (uncredited)
Harold Humbrock .... sound editor (uncredited)
 
Stunts
Danny Sands .... stunts (uncredited)
 
Editorial Department
Alvord Eiseman .... color consultant
 
Music Department
Leo Arnaud .... orchestrator (uncredited)
Alexander Courage .... orchestrator (uncredited)
Wally Heglin .... orchestrator (uncredited)
André Previn .... conductor (uncredited)
André Previn .... orchestrator (uncredited)
 
Other crew
John Indrisano .... judo instructor (uncredited)
 
Crew verified as complete


Production Companies
  • Metro-Goldwyn-Mayer (MGM) (controlled by Loew's Incorporated) (presents) (as M-G-M also) (A CinemaScope Production) (made in Hollywood, U.S.A. by)
DistributorsOther Companies
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Additional Details

Also Known As:
Runtime:
81 min
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
2.55 : 1 See more »
Sound Mix:
Mono (35 mm optical prints) (Western Electric Sound System) | 4-Track Stereo (35 mm magnetic prints)
Certification:
Australia:PG | Finland:K-12 | New Zealand:PG | Norway:16 | Sweden:15 | UK:A (original rating) (passed with cuts) | UK:PG (tv rating) | UK:PG (video rating) (1993) (1994) | USA:Passed (National Board of Review) | USA:Approved (PCA #17184) | USA:TV-PG (TV rating) | West Germany:12 (f)

Did You Know?

Trivia:
The script called for Macreedy to light matches one-handed. Spencer Tracy had difficulty with this and convinced director John Sturges to let him use a Zippo lighter, as every veteran he ever met had one.See more »
Goofs:
Continuity: At the climax of the film, Macreedy is attempting to use his tie as the 'fuse' for a fire-bomb. Though his 'dead' arm remains stuffed in his jacket pocket, he clearly uses its hand when tearing the tie.See more »
Quotes:
Pete Wirth:My memories are so pleasant as it is...
John J. Macreedy:It's gonna take an awful lot of whiskey to wash out your guts. Go on, go on! Swill it! What is there left for you to do? You're as dead as Komoko and you don't know it...
Pete Wirth:You don't have to remind me. I've never forgotten.
John J. Macreedy:Oh, isn't that noble of you. You haven't forgotten. And you're ashamed. That's really noble of you. I suppose four years from now, you'll be sitting around here telling people you haven't forgotten me either. That's real progress. In the meantime, I'll be as dead as a - WHY DON'T YOU TELL ME WHAT HAPPENED?
See more »
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FAQ

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20 out of 30 people found the following review useful.
My favourite Spencer Tracy film, 24 January 2002
Author: Jugu Abraham (jugu_abraham@yahoo.co.uk) from Trivandrum, Kerala, India

Spencer Tracy did not get an academy award for this film but he was compensated with a more important award--the Cannes Film festival award. It is always interesting that Europe recognizes the better Hollywood works than the Academy ("Thin Red Line" got the top award in Berlin, "Scarecrow" in Cannes--two geat American films ignored at the Oscar ceremonies).

I read a review of the film on IMDB pointing out the flaws in the script. They are all correct, if we go by rational thinking. But the merits of this film are the superb editing, the beautiful cinemascope photography and the arresting performances. Every time I see this film I am reminded of Spielberg's little known film "Duel" that had similar thrilling tension packed into less than 24 hours of screen time--a film I admire much more as good cinema than the recent box office outputs of Spielberg.

Compare this film with Sturges' "The Magnificent Seven." Sturges like King Vidor, seemed to pick up stories to film that looked at the oppressed and tried to present a world that could be better. "The Magnificent Seven," like this film, had a predominantly male cast. It appealed to most viewers. And some could see a social and even a political layer beneath these films.

What I find most appealing is the the ability of Sturges, Vidor, and the early unsung Spielberg's ability to use cinema to combine thrills, human values and craft in say 81 minutes as in this film. Spencer Tracy is not to be admired for the way he delivers his lines, but his body movements which remind you of majestic caged animal that can be deadly if provoked. Sturges brings to the fore evil in different ways--the dead buck strapped on the front of a vehicle, menace on empty roads by big vehicles (used in "Duel" to great effect), evil women when you expect them to be good, laws used in illegal ways (the hotel registration scene), etc. Sergio Leone made similar films in Europe--the famous spaghetti westerns--with laconic dialogues and emphasis on body movements and photography

In spite of its flaws, it is a film Hollywood can be proud of. I only hope TV reruns show the film in its original cinemascope grandeur, which grabbed me the first time I saw it decades ago.

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