A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran ... See full summary »
Ex-spy Jacob Keane is drawn back into the shadowy world of international espionage when his former partner Marta reappears after 17 years, her memory erased, on the run from a pair of deadly, psychopathic assassins.
Private Investigator Mike Hammer gets involved in a murder case after he gives a lift to Christina Bailey. She is obviously on the run as she is barefoot and wearing nothing but a trench coat. Whoever was after her eventually catches up with them. She has information they want but dies while being questioned. They fake an accident by pushing Hammer's car off the road but he survives, waking up in the hospital two weeks later. As he investigates Christina's death he's told by the police to stay out of it but the hard-nosed PI proceeds anyways. Little did he know that Christina's secret would lead to death and destruction. Written by
Although Victor Saville is credited as Executive Producer and director Robert Aldrich is credited only as producer, in reality Aldrich had it written into his contract that he had complete control over the picture and it would be made the way he wanted it, specifically stipulating that his decisions could not be overruled by any studio representative. See more »
When Nick discovers Hammer's Corvette, a crew member's reflection is visible in the driver-side door. See more »
The best thing I can say about this tedious film is that the lighting and set design were really enjoyable. I loved the dark streets and those endless staircases throwing shadows of the banister rails on the walls. The cars were out of this world and made me almost weep with nostalgia. However, for this kind of film Mike Hammer's penthouse pad was a bit out of place.
Now for the gripes: some of the actors were so grating and over the top that I can only assume they were graduates of the Strasberg school of bad acting, or that they had been told they were in a comedy. Most irritating was the noisy mechanic, so much so that I was relieved when someone dropped the car on him and put us out of our misery. Next to him was Gaby, who seemed to be giving her impersonation of Shelly Winters in 'A Place in the Sun.' I could not concentrate on anything but Velda's lacquered hairdo and wondering why she was sweating so much, and were the 50's women so stiff and awkward when kissing a man? Add to them a host of TV actors, the whole film looked like a cross between the Outer Limits and 50's TV Detective show.
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