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Million Dollar Manhunt (1956)
"Assignment Redhead" (original title)

 -  Crime | Drama  -  October 1956 (UK)
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Ratings: 4.6/10 from 30 users  
Reviews: 5 user | 1 critic

Murderous master criminal Dumetrius flies to London from post-war Berlin plying his trade in counterfeit money and false travel documents. To cover his tracks he later kills one passenger ... See full summary »



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Title: Million Dollar Manhunt (1956)

Million Dollar Manhunt (1956) on IMDb 4.6/10

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Cast overview, first billed only:
Richard Denning ...
Major Gregory Keen
Carole Mathews ...
Hedy Bergner
Ronald Adam ...
Scammel / Dumetrius
Danny Green ...
Yotti Blum
Brian Worth ...
Capt. Peter Ridgeway
Jan Holden ...
Sally Jennings
Hugh Moxey ...
Sgt. Tom Coutts
Peter Swanwick ...
Monsieur Paul Bonnet
Elwyn Brook-Jones ...
Digby Mitchel
Ronald Leigh-Hunt ...
Col. Julian Fentriss, M.I.5.
Robert O'Neil ...
Capt. Hank Godowski
Paul Hardtmuth ...
Dr. Buchmann (as Paul Hardmuth)
Bill Nagy ...
Alex Gallier ...
Max Rubenstein
Robert Bruce ...
Staff Officer


Murderous master criminal Dumetrius flies to London from post-war Berlin plying his trade in counterfeit money and false travel documents. To cover his tracks he later kills one passenger and frames another who then hides out with a cabaret cigarette girl. On the case is an American Major working for British intelligence. Unfortunately he in turn falls for a chanteuse who is under Dumetrius' control. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Plot Keywords:

based on novel


Crime | Drama





Release Date:

October 1956 (UK)  »

Also Known As:

Million Dollar Manhunt  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


Major Gregory Keen: We should have held Yotti Blum!
Col. Julian Fentriss, M.I.5.: No Keen, you should have held Hedy Bergner... and not in your arms either.
See more »


Grand Guignol
Music by Allan Gray
Harmonic Music Library
See more »

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User Reviews

Somewhat ragged, but somehow appealing
16 April 2012 | by (United Kingdom) – See all my reviews

This was a slightly more ambitious project than usual from the Butcher's company, with the budget stretching to hire two American stars. Richard Denning is Major Keen, seconded to MI5 from US military intelligence; not something he shows a great deal of as he blunders about, arresting the wrong man. Informed of the activities of the arch villain Dumetrius, he responds "sounds like a lot of nonsense to me", which is a fair summary of the narrative. Carole Mathews, soon after her labours in Roger Corman's SWAMP WOMEN, provides the glamour as the enigmatic Hedy, and redhead or not she still looks pretty good. One memorable scene has her trying to cope with a large accordion, in what must be London's smallest ever nightclub. Ronald Adam, playing Dumetrius was notable for his incredibly full and busy life, fighting in both World Wars, including being shot down while on active duty in the Royal Flying Corps in the First, as well as later founding theatrical groups and appearing in hundreds of stage plays, films and TV productions. He brings his customary authority to the role, but hardly suggests the kind of cosmopolitan, chameleon like character indicated by the script.

Director Maclean Rogers wrote the screenplay after adapting Lindsay Hardy's 'Requiem for a Redhead' perhaps unwisely lifting whole chunks of dialogue from the book in the process. It appears from the gaps and inconsistencies in the second half of the film that he then found himself tearing pages of it up again. Peter Ridgeway and his pal in the bowler with the monster hangover, Digby Mitchel, are built up then dropped suddenly, while Peter Swanwick's Paul Bonnet, straight from the 'Allo 'Allo school of Frenchmen appears from nowhere but is intimately acquainted with everything that's gone on. Alex Gallier gives an enjoyable performance in a small role as a smooth ex-Nazi whom Dumetrius intends to double-cross. The conclusion, a fight to the death on the roof of a burning building, is an almost identical copy of the ending of Rogers' PAUL TEMPLE RETURNS, made almost five years earlier, including some of the same footage, dialogue and music.

This used to turn up on TV quite often and I've long had something of a soft spot for it, in spite of, or perhaps because, of its ham-fisted approach and lumbering fight scenes. It has all the flaws and pleasures of many other British second features of the period; you either like them or you don't.

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