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Illegal (1955)

Approved | | Crime, Drama, Film-Noir | 15 December 1955 (Italy)
After an overly aggressive district attorney unknowingly sends an innocent man to the chair, he resigns, turns to drinking, and acquires a criminal clientèle.

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(screenplay), (screenplay) | 1 more credit »
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Cast

Cast overview, first billed only:
...
...
Ellen Miles
...
Ray Borden
...
...
Frank Garland
Howard St. John ...
...
Miss Hinkel
...
Ralph Ford
...
Andy Garth
...
Joe Knight
Jay Adler ...
Joseph Carter
Henry Kulky ...
Taylor
James McCallion ...
Allen Parker
...
Steve Harper
Lawrence Dobkin ...
Al Carol
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Storyline

Ambitious D.A. Victor Scott zealously prosecutes Ed Clary for a woman's murder. But as Clary walks "the last mile" to the electric chair, Scott receives evidence that exonerates the condemned man. Realizing that he's made a terrible mistake he tries to stop the execution but is too late. Humbled by his grievous misjudgement, Scott resigns as a prosecutor. Entering private practice, he employs the same cunning that made his reputation and draws the attention of mob kingpin, Frank Garland. The mobster succeeds in bribing Scott into representing one of his stooges on a murder rap and Scott, in a grand display of courtroom theatrics, wins the case. But soon Scott finds himself embroiled in dirty mob politics. The situation becomes intolerable when his former protege in the D.A.'s office is charged with a murder that seems to implicate her as an informant to the Garland mob. Can Victor defend the woman he secretly loves and also keep his life? Written by Chris Stone <jstone@bellatlantic.net>

Plot Summary | Plot Synopsis

Taglines:

He was a guy who marked 100 men for death - until a blonde called 'Angel' O'Hara marked him for life! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

15 December 1955 (Italy)  »

Also Known As:

Schakale der Unterwelt  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Frank Garland's impressive collection of Impressionist art actually was loaned to the film by collector Edward G. Robinson. Included are works by Gaugin, Degas, Duran, and Robinson's wife, Gladys Lloyd. See more »

Goofs

When Victor Scott addresses the jury he refers to the 45 revolver used to kill Gloria Benson in the opening scene. The gun in fact is a semi-automatic pistol, not a revolver. See more »

Quotes

Frank Garland: I want you to know, Victor, that you'll be very well paid for this case, whichever way it turns out.
See more »

Connections

Version of The Man Who Talked Too Much (1940) See more »

Soundtracks

Too Marvelous for Words
(uncredited)
Music by Richard A. Whiting
Lyrics by Johnny Mercer
Performed by Jayne Mansfield (dubbed by Bonnie Lou Williams)
See more »

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User Reviews

 
A Clever Man and a Wrong Move
24 October 2011 | by (Toronto, Canada) – See all my reviews

"Illegal" is an intelligent and nimble little crackerjack of a crime thriller starring Edward G. Robinson as a D.A who's maybe a little too smart - and smart-assed - for his own good. He's ruthless because his job requires him to be. He wins cases. That's what he's paid for. He's quick of wit and tongue. He's ambitious, canny and - technically, at least - in compliance with the law. He's, at heart, a good man, and he's in the public eye, but he's not universally well-liked. One day, he sends the wrong man to the chair. And he comes undone.

This sets in motion a plot that winds and twists without becoming outlandish. The picture, which doesn't strike me as a "noir", moves at a nice clip, each of the broad spectrum of characters is painted with a defining brush stroke, and the dialogue is efficient and snappy. It's the kind of movie that hooks you and hooks you good. It did me.

"Illegal" is, above all, an Edward G. Robinson picture. It doesn't seem like a star vehicle. Robinson shares the screen with everyone, yet he is such a forceful presence and creates such a complex and complicated character, sympathetic yet warped, you search him out in every scene. You want to watch him. He's magnetic. I'm becoming a real Edward G. Robinson fan on the strength of his 40's and 50's films alone, some of them comic reminders of his earlier gangster persona. He's as good in this movie as he is in "Scarlet Street", which I saw recently for the first time and which, well... kinda sorta blew my mind. I've lived a little and can recognize the truths that some of these lively, well-written B-movies shine a light on.


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