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Cash McCall (1960)

6.4
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Ratings: 6.4/10 from 728 users  
Reviews: 18 user | 14 critic

Cash McCall is a young and slick business man who buys failing businesses and resells them. Grant Austen's Plastics is even more of a prize to Cash, for Cash is also making a bid for ... See full summary »

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(screenplay) (as Lenore Coffee) , (screenplay), 1 more credit »
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Title: Cash McCall (1960)

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Cast

Complete credited cast:
...
Cash McCall
...
Lory Austen
...
Maude Kennard
...
Grant Austen
...
Winston Conway
...
Gilmore 'Gil' Clark
...
Will Atherson
Roland Winters ...
General Andrew 'Andy' Danvers
...
Harrison Glenn (as Edward C. Platt)
Edgar Stehli ...
Mr. Pierce
Linda Watkins ...
Marie Austen
...
Harvey Bannon
Edit

Storyline

Cash McCall is a young and slick business man who buys failing businesses and resells them. Grant Austen's Plastics is even more of a prize to Cash, for Cash is also making a bid for Austen's beautiful daughter, Lory. This is Cash's toughest deal ever. Written by Kelly

Plot Summary | Add Synopsis

Taglines:

In love and in the money. If they can work out the details. See more »

Genres:

Drama | Romance

Certificate:

See all certifications »
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Details

Country:

Language:

Release Date:

27 January 1960 (USA)  »

Also Known As:

El potentado  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

James Garner's last film under his Warner Bros. contract. After a writer's strike halted all WB productions, even though Garner had a "play or pay" contract, WB refused to pay him. Garner sued the studio for breach of contract and won. See more »

Goofs

The log that Lory and Cash sit on is elevated from the ground and held in place by a bolt. See more »

Quotes

Winston Conway: I'm not a moralist, I'm a lawyer.
See more »

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User Reviews

 
Wheeler-Dealer Instruction Manual that Loses its Nerve
6 July 2010 | by (Claremont,USA) – See all my reviews

The best part of this Technicolor exercise is the light it shines on high-power business dealings and how these were treated in the Production Code 1950's-- and is worth a quick few words.

In that Cold War decade, Hollywood discovered the drama of corporation boardrooms and big business in such films as the ruthless Patterns (1956), the intrigues of Executive Suite (1954), and the comedic Solid Gold Cadillac (1956). All in all, these movies hold up well despite the passage of years. The trick for films of this type was to be realistic enough with the big money scheming to hold audience interest without at the same time indicting the upper tiers of capitalism. For to do the latter would, among other reasons, serve the interests of the Soviet side of the Cold War then at its peak. As a result, in such movies conscience or a force for good usually prevails at the last minute over ruthless business connivings no matter how unconvincing the abrupt triumph. And that's very much the case in the otherwise routine Cash McCall.

At first, McCall is characterized as a corporate vulture—a wheeler-dealer who buys up struggling companies, disassembles them for profit, and then walks away from whatever communities he may have destroyed in the process. But, of course, it's hard to make a sympathetic lead out of such a ruthless character, even for such a likable personality as James Garner. So the screenplay begins to fudge. He's next characterized as a dis-assembler whose aim is to build up anew from the pieces, though the human consequences are not made clear. And finally, after a thorough conversion, he becomes a full-fledged business humanitarian putting communities first for reasons that also remain rather unclear, but does, of course, produce a happy ending. Thus, the ends of the Production Code, the Cold War, and audience expectations are duly served.

The movie itself is pretty unmemorable. To me the pairing of the mature Garner and the rather callow Wood seems a brittle one, no matter how much the winsome Wood is glamorized. Then too, Garner suppresses his charming Maverick side in the interests of getting into McCall's character, but in the process gives up his special appeal as an actor. On the other hand, it's a fine array of supporting players, especially Henry Jones whose Bassett- hound face registers an unusual array of subtle emotions. His is a very different appearance for that glamour-obsessed time period. Anyway, the movie's a decent enough entertainment, but outside of its wheeler-dealer instruction manual, remains pretty forgettable.


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