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The Come On (1956)

6.1
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Ratings: 6.1/10 from 59 users  
Reviews: 3 user | 3 critic

Unscrupulous con woman gets involved in murder.

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(novel), (screenplay), 1 more credit »
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Title: The Come On (1956)

The Come On (1956) on IMDb 6.1/10

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Cast

Complete credited cast:
...
Rita
...
Dave Arnold
...
Harold King, alias Harley Kendrick
Jesse White ...
J.J. McGonigle
Wally Cassell ...
Tony (as Walter Cassell)
Alex Gerry ...
Larry Chalmers
...
Jannings, assistant D.A.
Theodore Newton ...
Detective Capt. Getz
Karolee Kelly ...
Julie, Tony's girl
Tyler McVey ...
Detective Hogan
Lee Turnbull ...
Detective Tinney
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Storyline

Unscrupulous con woman gets involved in murder.

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Taglines:

The frank story of a woman who knew every temptation!

Genres:

Drama | Film-Noir

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Details

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Release Date:

16 April 1956 (USA)  »

Also Known As:

Am Strand der Sünde  »

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 »
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Aspect Ratio:

2.00 : 1
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User Reviews

 
Anne Baxter, Sterling Hayden go through paces in routine crime thriller
20 July 2003 | by (Western New York) – See all my reviews

During the 1950s, Anne Baxter appeared in any number of routine, less than distinguished crime thrillers – last gasps of the dying noir cycle that were long on plot but short on style. One of them, The Come-On, is a warmed-over tale of murder and duplicity, but Baxter, bless her trouper's heart, gives it her considerable all as though she were starring in a major-studio `A' production.

Coming out of the surf down in Mexico, Baxter finds Sterling Hayden ogling her. They strike sparks and agree to meet aboard his boat, the imaginatively christened Lucky Lady. She abruptly leaves their rendezvous; later, in a bar, Sterling sees her with her drunken, abusive husband (John Hoyt). It happens, however, that Baxter and Hoyt aren't really married but partners in a racket – high-class grifters. Only Baxter wants out and wants Hayden to help her – by murdering Hoyt.

It's a mechanical, wheels-within-wheels plot, featuring a mercenary gumshoe (Jesse White) and `accidents' with missing bodies that turn out to be neither missing nor bodies, at least in the dead sense. Through it all, Baxter, emotes all over the place (never more effectively than in a scene near a mail chute, where an incriminating letter may or may not be headed to the police). Sterling's role is less meaty: He's not quite the chump, but except for throwing a couple of slaps and punches, he's pretty passive. Come to think of it, he appeared in any number of routine, less than distinguished crime thrillers during the 1950s, too.


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