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The Burglar (1957)

 -  Film-Noir | Thriller | Drama  -  June 1957 (USA)
6.8
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Ratings: 6.8/10 from 522 users  
Reviews: 14 user | 17 critic

Dan Duryea and his cronies rob a fake spiritualist and then take it on the lam to Atlantic City.

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(screenplay), (novel)
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Cast

Cast overview, first billed only:
Dan Duryea ...
Nat Harbin
...
Gladden
...
Della
Peter Capell ...
Baylock
Mickey Shaughnessy ...
Dohmer
Wendell K. Phillips ...
Police Captain
Phoebe Mackay ...
Sister Sara
Stewart Bradley ...
Charlie
John Facenda ...
News Commentator
Sam Elber ...
Gerald
Frank Hall ...
News Reporter
Bob Wilson ...
Newsreel Narrator
Steve Allison ...
State Trooper
Richard Emery ...
Harbin as a Child
Andrea McLaughlin ...
Gladden as a Child
Edit

Storyline

Dan Duryea and his cronies rob a fake spiritualist and then take it on the lam to Atlantic City.

Plot Summary | Add Synopsis

Plot Keywords:

based on novel | See All (1) »

Taglines:

A trail of perfume...and violence!


Certificate:

See all certifications »
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Details

Country:

Language:

Release Date:

June 1957 (USA)  »

Also Known As:

Ein Toter lügt nicht  »

Box Office

Budget:

$90,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Producer Louis W. Kellman had difficulty finding a buyer for the film. Finally, Columbia Pictures chief Harry Cohn said that he would do Kellman "a favor" and "take it off his hands" if the film's director, Paul Wendkos, was part of the deal. See more »

Goofs

The 1951 Chevy driven by Nat Harbin is described as "light gray" over the police radio and in the teletype voice-over, yet the description on the teletype reads that the car is "green." See more »

Crazy Credits

and introducing stewart bradley See more »

Connections

Remade as The Burglars (1971) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Breathtakingly ostentatious noir
14 May 2004 | by (Montreal) – See all my reviews

This is one of those extravagantly stylized late-period noirs, one which palpitates with flamboyant cinematic technique. It belongs in the same club as those other exaggerated, self-consciously arty noirs of the late 50s/early 60s, like Touch of Evil, Kiss Me Deadly, Blast of Silence and Sam Fuller's contemporaneous contributions to the genre. Wendkos directs like a recent A+ film school graduate showing off every Hitchcock and Welles trick he's learned -- there are many stunning edits (he is also credited as the film's editor), several strikingly composed shots, and a suitably seedy background (the fact that the crooks' hideout is right next to a railway line full of speeding streamliners is a boon). At the same time, he toes the studio line of narrative clarity and cohesive action scenes enough to make this suitable viewing for the non-buff (one can see why he spent most of his years in television, but at the same time could dazzle with over-the-top effects in The Mephisto Waltz.) Fans of Atlantic City's Steel Pier are in for a treat in the film's climax (which owes a bit too much to The Lady from Shanghai) -- we even get to see the diving horse. But notably, we also see the soggy marshes that border the city and reflect the protagonists' own situational quagmire. It may not have the integrity of the more subtly devastating noirs of the Siodmak 40s, but it has its own postmodern tradition to uphold. It's worth picking this one up even on the third-generation dupes that are now in circulation; a wide-screen dvd restoration is definitely in order.


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