Julia Ross secures employment, through a rather-noisy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. Two days later, she awakens in a different house ... See full summary »
Joseph H. Lewis
Dame May Whitty,
Johnny Damico botches a murder case and is suspended from the force. In reality, he is put undercover to identify the mysterious boss of the NY waterfront who has murdered everyone in his way. Will Johnny be next in line?
It was Leonora Eames' childhood dream come true. She had married Smith Ohlrig, a man worth millions. But her innocent dream became a nightmare once she realizes the truth about her husband ... See full summary »
Barbara Bel Geddes,
A renowned and relentless Paris detective takes his first vacation in eleven years at a small inn in the French countryside. There he meets and falls in love with the hotelier's daughter, ... See full summary »
Joseph H. Lewis
At the beginning of the film, Dan Duryea is shown leaving a movie theater where the movie Utopia (1951) (under its 1954 American release title "Utopia") starring Stan Laurel and Oliver Hardy is displayed on the marquee. 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 »
Three burglars steal a valuable necklace before encountering the proverbial web of deceit.
The movie's a highly uneven work, reminding me as much of Kubrick's The Killing (1956) as the arty flashes of Welles and others. Clearly director Wendkos is reaching for an artistic style, but unlike Kubrick, Wendkos imitates more than he originates. Plus he's working with a ham-handed screenplay that lacks the clarity and flow of Kubrick's classic racetrack caper. Unfortunately, the narrative here tends to stumble along rather than evolve. For example, note the holes in just how the crooked cop puts his operation together, and how he knows as much as he knows. Nonetheless, the opening ten minutes covering the jewel theft is very effective, showing real promise. But the fluidity soon lapses.
On a lighter note, I can't help but notice (like another reviewer) Mansfield's unusually bushy eyebrows that undercut her good looks. I'm wondering if they were natural and later pared back by a studio make-over or whether they resulted here from a myopic make-up man. In fact, without all the studio glamorizing of later years, I hardly recognized her.
Anyway, for all its shortcomings, the movie remains a generally interesting curiosity that also affirms an unusual moral. Namely, that there can be more honor among thieves than among cops. Something Kubrick also knew.
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