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Mickey One (1965)

6.6
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Reviews: 32 user | 24 critic

After incurring the wrath of the mob, a comic flees Detroit for Chicago taking the name "Mickey One." As he returns to the stage and becomes successful, he fears that the mob will track him... See full summary »

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Title: Mickey One (1965)

Mickey One (1965) on IMDb 6.6/10

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Cast

Cast overview, first billed only:
...
Alexandra Stewart ...
Jenny Drayton
Hurd Hatfield ...
Ed Castle
...
Ruby Lapp
Teddy Hart ...
George Berson
...
Larry Fryer
Kamatari Fujiwara ...
The Artist
Donna Michelle ...
The Girl
Ralph Foody ...
Police Captain
Norman Gottschalk ...
The Evangelist
Dick Lucas ...
Employment Agent
Jack Goodman ...
Cafeteria Manager
Jeri Jensen ...
Helen
Charlene Lee ...
The Singer
Benny Dunn ...
Nightclub Comic
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Storyline

After incurring the wrath of the mob, a comic flees Detroit for Chicago taking the name "Mickey One." As he returns to the stage and becomes successful, he fears that the mob will track him down. He wishes to square himself with the mob, but doesn't know what he did to anger them or what his debt is. Written by <JeanneArmintrout@juno.com>

Plot Summary | Add Synopsis

Taglines:

Number One... In Excitement... In Drama... In Suspense... See more »

Genres:

Crime | Drama

Certificate:

Not Rated | See all certifications »
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Details

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Release Date:

27 September 1965 (USA)  »

Also Known As:

Acosado  »

Filming Locations:

 »

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Did You Know?

Trivia

Studio publicity claimed actor Kamatari Fujiwara created the large kinetic sculpture, called "Yes" in the film, but the work was actually done by Robert Fields, a industrial design student at The School of The Art Institute of Chicago. The sculpture was set up on the ice rink of the Marina Towers apartment complex. See more »

Quotes

Mickey One: I'm the king of the silent pictures. I'm hiding out till the talkies blow over. Will you leave me alone?
See more »

Connections

Referenced in Day for Night: An Appreciation (2003) See more »

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User Reviews

 
Kafka meets Algren
28 April 2007 | by (United States) – See all my reviews

This is a movie where the landscape is a major character. Arthur Penn made the most of his Chicago locale. Much of what he used is no longer standing, but it is deeply ingrained in true Chicago-influenced art: not just the works of Nelson Algren, but Richard Wright, Theodore Dreiser and James T. Farrell, blues artists from Maxwell Street, Ivan Allbright's grotesque paintings, the non-fiction of Studs Terkel and Upton Sinclair, Gwendolyn Brooks' poems all drew a kind of grimy vitality from this landscape, as well.

There are bits and pieces of that Chicago still standing. I know them when I see them, because--even in person--they leave me with the impression of being in black and white monochrome rather than color. If you get to see this black and white part of Chicago or some other big city (older parts of Tokyo are like this too), you will see how a place can exert such a powerful influence on the people in it. If you accept that premise in this movie, the actions of the characters become more understandable. What may at first glance seem absurd becomes reasonable (if not rational), given the influence of the environment.


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