Set in the 1920s Depression, a gang of half-witted small-time hoods led by Slim Grissom kidnap heiress Barbara Blandish and Slim proceeds to fall in love with her. Remake of the 1948 ... See full summary »
Harry manages The California Dolls, a female wrestling tag team endlessly touring America, and he's also romantically involved with one of them. Their fortunes seem on the slide (... See full summary »
Brendan O'Malley arrives at the Mexican home of old flame Belle Breckenridge to find her married to a drunkard getting ready for a cattle drive to Texas. Hot on O'Malley's heels is lawman ... See full summary »
Police detective Damico, outwitted by mob killer Blackie Clay, is nominally suspended; actually he goes undercover (as Tim Flynn, ex-con longshoreman) to find Clay and expose the waterfront... See full summary »
A renegade USAF general, Lawrence Dell, escapes from a military prison and takes over an ICBM silo near Montana and threatens to provoke World War 3 unless the President reveals details of ... See full summary »
Roscoe Lee Browne
Phil Gaines is a bitter, cynical cop who investigates the case of a dead stripper/porno actress found on the beach. Gaines is experiencing a troubled relationship with a hooker, and things ... See full summary »
The baby that Robert Loggia is holding in the office and hallway of the Dress Union building is different when he enters another room. The first baby is younger with short blondish hair. The other baby is much bigger with longer, blackish hair. See more »
Director Sherman effectively dovetails the lives of the Haves and the Have Nots in New York's famed garment district. For its time (1957), this was a film that attracted an adult audience and delicately handled a very adult subject matter (think "On the Waterfront," but not quite as sophisticated).
Loggia, Scala and Boone deliver memorable performances. Matthews is generally flat, and even Cobb seems uninvolved with the proceedings.
The breast feeding scene and the expletive statement "Go to Hell!" voiced by Matthews during a bitter fist fight with Boone demonstrate that the Code was cracking; both scenes are well done and not exploitive.
The violence is often brutal and anything but subtle.
The all-too-few location scenes are nicely juxtaposed with the studio shots.
The film's down side is that the factory floor and union meeting sets are much too small and do not include enough people to give the moments a sense of realism.
Keep in mind that this film would have been taboo in Hollywood five years earlier with HUAC and the very real threat of blacklisting.
See it for Scala, Loggia and Boone.
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