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Mickey One (1965)

Not Rated | | Crime, Drama | 27 September 1965 (USA)
After incurring the wrath of the mob, a comic flees Detroit for Chicago taking the name "Mickey One" from a stolen Social Security card from a homeless bum he witnesses being beaten up and ... See full summary »



(as Alan Surgal)

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1 nomination. See more awards »
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Cast overview, first billed only:
Jenny Drayton
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 ...
Charlene Lee ...
The Singer
Benny Dunn ...
Nightclub Comic


After incurring the wrath of the mob, a comic flees Detroit for Chicago taking the name "Mickey One" from a stolen Social Security card from a homeless bum he witnesses being beaten up and robbed. 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


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


Crime | Drama


Not Rated | See all certifications »




Release Date:

27 September 1965 (USA)  »

Also Known As:

Acosado  »

Filming Locations:


Company Credits

Production Co:

,  »
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Technical Specs


Sound Mix:

Aspect Ratio:

1.85 : 1
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Did You Know?


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 »


Jenny Drayton: What are you guilty of?
Mickey One: I'm guilty of not being innocent.
See more »


Featured in Arthur Penn (1995) 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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