34 user 36 critic

Mickey One (1965)

Not Rated | | Crime, Drama | 25 March 1966 (Finland)
A comic steals the identity of a homeless man and goes on the run after the mob tries to kill him for an unknown reason.




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Cast overview, first billed only:
Ed Castle
Ruby Lapp
Teddy Hart ...
George Berson
Larry Fryer
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:

25 March 1966 (Finland)  »

Also Known As:

Acosado  »

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 »


References The Cardinal (1963) See more »

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User Reviews

Visually stunning Kafkaesque thriller
23 January 2001 | by See all my reviews

Thanks to AMC's Film Preservation series those of us who had missed the rare previous opportunities to view this out-of-print cult classic on television were recently afforded a cinematic pleasure of the highest order.

Everything about this film impressed me enormously - its startling New Wave-influenced editing and camera angles, its atmospheric noir lighting effects, its surrealistic mise en scene, its Kafkaesque paranoia and philosophical themes, and the incredibly convincing performance given by Warren Beatty in the title role. There isn't a dull shot or moment in the entire film, and some of its images and visual conceits (the automobile junk yard as existential metaphor, for instance) are breathtaking. That this artistically ambitious and ambiguous film ever got made and theatrically released in 1965 is a small miracle. Perhaps I'll think differently after the initial glow has worn off and I have a chance for a second viewing, but right now I'd rank Arthur Penn's Mickey One with such all time great thrillers as The Third Man and Touch of Evil.

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