Joan Collins, Jayne Mansfield and Dan Dailey star in this engaging drama based on a novel by John Steinbeck. Three strangers - a stripper (Mansfield), an alcoholic wife (Collins) and a ... See full summary »
Three thieves rip off a shipment of used money being sent back to the US. As they are escaping the robbery (after having taken a hostage), they wind up on an island in a hotel with an ... See full summary »
A businessman plans to solve his tax problems by financing a film version of "Romeo and Juliet". He hires Maurice Chevalier and Jayne Mansfield to play the title roles, and Akim Tamiroff to... See full summary »
In 1896 it is announced that the Olympic Games will be revived in Athens. A young shepherd, Spiridon Loues, decides to enter the 26-mile marathon. Once in Athens, he meets Christina Gratsos... See full summary »
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 »
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 »
All credits are in lower case, including title card, cast list, crew names and occupations, and "the end". See more »
This film has a lot going for it. The opening few minutes are imaginative. Dan Duryea's acting is excellent, good enough to carry him through patches of hokey dialogue. Jayne Mansfield is nice to look at, with a pretty face, and curvaceous in a 50s sort of way before feminine beauty became thin as a rake (But what was the make-up department thinking giving her those outlandish eyebrows?). Never mind that she couldn't act. You have to enjoy the noirish atmosphere, and there are lots of outdoor scenes that catch the eye. The original music, by Sol Kaplan, is superb, or at least it would be on its own; as background it's a little too intrusive and occasionally over the top emotionally. The climax, with a deadly chase in an amusement park is a nice Hitchcock touch. Yet the movie doesn't quite work. It's hard to say exactly why. One big problem is the writing. Both the plot and the dialogue seem to have the same major flaws: at times hokey, at other times seeming to stall, leaving awkward silences or clumsy transitions. I think The Burglar might have been excellent if the studio had given more resources to developing the script, instead of leaving it in the hands of the man who wrote the novel the movie is based on.
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