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A gunrunner loses his cargo near a small coastal Sudanese town so he's stuck there. When a woman hires him to raid a sunken ship in the shark-infested waters, he sees a chance to compensate for his losses. He's not the only one.
Fourteen-year-old Tolly Devlin sees four hoods beat his father to death. Twenty years later, the killers have risen to the top of the crime syndicate and Tolly has a plan for revenge. Written by
Erik Gregersen <email@example.com>
Hanging on the wall in Driscoll's office is a certificate bearing the symbol of the U.S. Army's First Infantry Division - the unit that Samuel Fuller served in during World War II and depicted in his 1980 film, The Big Red One (1980). The same typestyle for the infantry's numeral "1" is also featured in a reading-campaign poster in front of National Accounts, the gangster headquarters building. See more »
Why don't you take a good look at yourself. What do you see? A doctor? A scientist? A businessman? You see a scar-faced ex-con. A two-bit safecracker. A petty thief who don't know when he really made the big time. Where do you come off to blast her? No matter what she's been, what she's done. She's a giant! And you wanna know why? Well, I'll tell ya. Because she sees something in you worth saving. If only one tenth of one percent of all the good in her could rub off on you, you'd be a giant, ...
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Auld Lang Syne
Written by Robert Burns
Heard as a theme when Tolly's father's body is taken away; played by one of Sandy's dolls; also heard when Tolly's body is in the alleyway See more »
Cliff Robertson plays Tolly Devlin, an embittered ex-convict who has spent a lifetime tracking down the men who murdered his father. Desirous of handling matters on his own, Devlin pretends to be loyal to both the Mob and the Government, playing one against the other in hopes of flushing out the killers. He learns that the three surviving assassins are employed by a supposedly charitable "cover" operation known as National Projects. To get what he wants, Devlin ingratiates himself with mob boss (and outwardly solid citizen) Conners (Robert Emhardt). What Robertson didn't count on was falling in love with "Cuddles" (Dolores Dorn), which leads to his own downfall - but not before justice is served. Producer/director/writer Fuller based "Underworld U.S.A." on a series of "exposé" articles in The Saturday Evening Post. A prime example of Fuller's tabloid sensibility, the film careens through its plot at a lightning pace showcasing his penchant for fevered, sensationalistic imagery and shocking violence. Though not as good as his earlier crime thriller "Pickup On South Street", or his later masterpieces "Shock Corridor" and "The Naked Kiss", this is prime Fuller for afficianados.
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