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Let No Man Write My Epitaph (1960)

 -  Drama  -  October 1960 (USA)
7.3
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Ratings: 7.3/10 from 197 users  
Reviews: 15 user | 1 critic

In this sequel to "Knock On Any Door", the residents of a Chicago tenement building band together to insure that the son of Nick Romano does not follow in his father's footsteps...to the electric chair.

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Title: Let No Man Write My Epitaph (1960)

Let No Man Write My Epitaph (1960) on IMDb 7.3/10

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Cast

Cast overview:
...
Judge Bruce Mallory Sullivan
...
Nellie Romano
...
Nick Romano
...
Barbara Holloway
...
Louie Ramponi
...
Flora
Rodolfo Acosta ...
Max (as Rudolph Acosta)
...
Grant Holloway
...
Fran
Bernie Hamilton ...
Goodbye George
Walter Burke ...
Wart
Francis De Sales ...
Night Court Magistrate
Michael Davis ...
Nick Romano - as a Child
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Storyline

In this sequel to "Knock On Any Door", the residents of a Chicago tenement building band together to insure that the son of Nick Romano does not follow in his father's footsteps...to the electric chair.

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Ripped Raw and Roaring from Real Life!

Genres:

Drama

Certificate:

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Details

Country:

Language:

Release Date:

October 1960 (USA)  »

Also Known As:

Reach for Tomorrow  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Lana Turner originally sought for lead role played by Shelley Winters. See more »

Goofs

After begging Bobbie and her father to leave his apartment, Nick slams the door shut, making the wall shake. See more »

Connections

Follows Knock on Any Door (1949) See more »

Soundtracks

Reach for Tomorrow
Music by Jimmy McHugh
Lyrics by Ned Washington
Performed by Ella Fitzgerald
See more »

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User Reviews

 
So gritty it gets your fingernails dirty
15 April 2008 | by (New York, NY) – See all my reviews

Kind of a cross between "West Side Story" (though it's Chicago's West Side) and "Golden Boy" without Clifford Odets' lyricism, this sleaze-obsessed melodrama benefits from location filming that shows how awful the Chicago slums looked in 1960 and a motley, oddball cast. James Darren is the sensitive hood/concert pianist (and though he's proficient at the keyboard, he's hardly the prodigy the script makes him out to be), being raised by Shelley Winters at her Shelley Wintersiest, screaming and sobbing and unhinging easily. She and an assembly of longtime slum pals, including an uninteresting Burl Ives as a drunken ex-judge, are trying to give the kid a decent upbringing amid all the squalor. There are also Ricardo Montalban, excellent as an insidiously evil-charming dope peddler; Ella Fitzgerald, who gets to act a bit and isn't bad; and Jean Seberg, not quite credible as the Lake Shore girl Darren loves. The direction is uninspired, and the screenplay a little contrived (when it wants us to know Ives loves Winters, it just has him confess to the camera), but what's fascinating is the brio with which the filmmakers depict all the sex and violence and addiction and grimness. It's as if they were trying to show how grownup they are by thrusting all that misery in your face. It moves fast, and if your attention starts to wander, be assured, Shelley Winters will be erupting again soon.


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