Hell on Frisco Bay (1955)

When ex-cop Steve Rollins is released from San Quentin after five years, his only thoughts are of revenge on the men who framed him for manslaughter. Back in San Francisco, his quest for ... See full summary »

Director:

Frank Tuttle

Writers:

Sydney Boehm (screenplay), Martin Rackin (screenplay),

Stars:

Alan Ladd, Edward G. Robinson, Joanne Dru

Cast

Cast overview, first billed only:
Alan Ladd	...	Steve Rollins
Edward G. Robinson	...	Victor Amato
Joanne Dru	...	Marcia Rollins
William Demarest	...	Dan Bianco
Paul Stewart	...	Joe Lye
Perry Lopez	...	Mario Amato
Fay Wray	...	Kay Stanley
Renata Vanni	...	Anna Amato
Nestor Paiva	...	Louis Fiaschetti
Stanley Adams	...	Hammy
Willis Bouchey	...	Police Lt. Paul Neville
Peter Hansen	...	Detective Connors
Anthony Caruso	...	Sebastian Pasmonick
George J. Lewis	...	Father Larocca
Tina Carver	...	Bessie Coster

Storyline

When ex-cop Steve Rollins is released from San Quentin after five years, his only thoughts are of revenge on the men who framed him for manslaughter. Back in San Francisco, his quest for the truth brings him up against ruthless waterfront gang boss Victor Amato.

---

Plot Keywords:

san quentin penitentiary | san francisco california | ex convict | prison | gangster | 

---

Genres:

Crime | Drama | Film-Noir

---

Certificate:

Unrated

Details

Country:

USA

Language:

English

Release Date:

December 1955 (USA)

Also Known As:

Blutige Straße

Company Credits

Production Co:

Jaguar Productions

Technical Specs

Runtime:

98 min

Sound Mix:

4-Track Stereo (RCA Sound System) (magnetic prints) Mono (optical prints)

Color:

Color (Warnercolor)

Aspect Ratio:

2.55 : 1

User Reviews

Robinson outshines a wooden Ladd and the wide open spaces.

Edward G Robinson dismissed this one with a passing comment in his autobiography and it's not hard to see why. He exudes menace in the classic 'Little Caesar' manner and his interplay with the underrated Paul Stewart does have a touch of real quality. However, Cinemascope is not a process designed for urban thrillers and the wide open spaces rob the film of any sense of tension or claustrophobia. The greatest weakness, however, lies in Ladd's robotic performance. His boredom is evident throughout and the lacklustre supporting cast do little to help. In the end Robinson is left out on his own, gat in hand, the true professional giving it all he's got.