IMDb > The Glove (1979)

The Glove (1979) More at IMDbPro »

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Down 2% in popularity this week. See why on IMDbPro.
Hubert Smith (screenplay) and
Julian Roffman (screenplay) ...
View company contact information for The Glove on IMDbPro.
Release Date:
10 March 1989 (Portugal) See more »
Wanted: Dead NOT Alive
A bounty hunter is offered $20,000 - off the record - for the capture of a very large man who dons body armor and steel-plated gauntlets for his regular beatings of some unfortunate individuals. Full summary » | Add synopsis »
(3 articles)
User Reviews:
quirky, seedy, low-key--is that a bad thing? See more (10 total) »


  (in credits order)

John Saxon ... Sam Kellog

Roosevelt Grier ... Victor Hale (as Rosey Grier)

Joanna Cassidy ... Sheila Michaels

Joan Blondell ... Mrs. Fitzgerald

Jack Carter ... Walter Stratton

Aldo Ray ... Tiny

Keenan Wynn ... Bill Schwartz
Howard Honig ... Lt. Kruger

Michael Pataki ... Harry Iverson
Frances E. Williams ... Grandma Hale
Misty Bruce ... Lisa
Shane Mooney ... Rachman
Jeanne Lucas ... Miss Wright
Sally Kemp ... Lola Morgan
Candy Bowen ... Prostitute
Nicholas Worth ... Chuck

Logan Clarke ... Young Man
Marie O'Henry ... Cathy
Wynn Irwin ... George Morgan
Noel De Souza ... Cab Driver
Roger Crawford ... Willard
Larry Duran ... Cookie
Bob O'Neil ... Doctor
Diana Hale ... Mamie Hanover

Hoke Howell ... Tex Eastwood
Darwin Long ... Ad Man
Tony Lorea ... Bartender

Susan Davis ... Cheryl
Sandy Serrano ... Roxanne 1
Shauna Sullivan ... Roxanne 2
Gloria Torres ... Nadia 1
Meiko Kobayashi ... Nadia 2
Dean Stern ... Joe Arrigo
John Abramson ... Policeman
John Rivers ... Policeman
Bob Bruce ... Butcher
Marji Martin ... Butcher

Directed by
Ross Hagen 
Writing credits
Hubert Smith (screenplay) and
Julian Roffman (screenplay)

Hubert Smith (story) and
Ross Hagen (story)

Produced by
Julian Roffman .... producer
William B. Silberkleit .... executive producer
Original Music by
Robert O. Ragland 
Cinematography by
Gary Graver 
Film Editing by
Robert Fitzgerald  (as Bob Fitzgerald)
Casting by
Ruth Berns 
Dotti Karlstein 
Art Direction by
Al Locatelli 
Brenton Swift 
Makeup Department
Chris Brice .... makeup artist
Production Management
Christopher Pearce .... production manager
Second Unit Director or Assistant Director
Tony Lorea .... assistant director (as Anthony Lorea)
Concetta Rinaldo-Williams .... assistant director (as Concetta Rinaldo)
Thomas Selden .... assistant director
Art Department
Dan Linkmeyer .... props
Thomas Martens .... props
Sound Department
John Brasher .... sound effects
Wray Chafin .... sound mixer (as Wray Chaffin)
James Monterro .... boom operator
David Wulk .... boom operator
Special Effects by
Spencer Quinn .... special effects
Tony Brubaker .... stunts
Erik Cord .... stunt coordinator
Vince Deadrick Sr. .... stunts (as Vince Deadrick)
Camera and Electrical Department
Ray Bilger .... best boy
John Bollinger .... first assistant camera (as John Bolinger)
Stephen Crawford .... grip
Michael E. Little .... second assistant camera (as Michael Little)
Kal Manning .... key grip (as Carl Manning)
Michael Mileham .... additional photographer
Michael Donovan O'Donnell .... dolly grip (as Michael Donavan O'Donnell)
Scott Spencer .... gaffer
Costume and Wardrobe Department
Rafael Arrazola .... wardrobe
Janet Kusnick .... wardrobe
Editorial Department
Linda Fitzgerald .... assistant editor
Julian Roffman .... supervising editor
Music Department
Arlon Ober .... music editor
Arlon Ober .... music supervisor
Transportation Department
Monte Christianson .... driver
Charles Hamilton .... driver
Other crew
Jeanne Byrd .... production assistant
Diane Farison .... production assistant (as Dianne Farison)
Kevin Marshall .... craft service
Heather McQuarrie .... production assistant
Claire Polan .... location coordinator (as Claire Hagen)
Julian Roffman .... director: action and fight scenes
Lina Shanklin .... script supervisor (as Linda Shanklin)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
92 min
Color (Metrocolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

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9 out of 11 people found the following review useful.
quirky, seedy, low-key--is that a bad thing?, 14 October 2005
Author: Strelnikoff from NYC, NY

A film like this can't be rated on any normative 1-10 scale which we usually enlist to appraise the world's great cinema landmarks. This movie appeals only to the shrewder connoisseur of the halt and the lame, the distressed, and the warped. There is no scale for such a movie as 'The Glove' (except perhaps if we use negative integers or decimals).

'The Glove' has that quintessential charm of the 1970's movie. The grainy stock, fuzzy sound recording, squinty leading men, large automobiles, aimless & episodic screenplay; yes, everything right down to the sentimental piano notes in the score wordlessly 'decrying the violence deep inside man'.

The plot is simple at first. Hulking Marauder, methodically eliminating Taxpaying Citizens in a Relentless Revenge Ritual. Big and ugly in the black leather outfit (+ black motorcycle visor helmet?? yes!) has some incredible wicked strange instrument of death--fascinating in its own unique way--a bonafide 'restricted' riot-glove {sometimes used by law enforcement personnel in the course of their 1970s duties}. You can still buy these via mail-order, you know. They are fearsome devices. OK so, simple plot wrapped around an obscure piece of morbid guy-gear--true. But this film is not without character or psychology.

I say, any film with Rosy Grier is worth a look. Need I remind you of 'The Thing with Two Heads'? Now, in this movie, Grier plays his role with restraint and aplomb. Let's give him some credit. Even if just for his sheer physical size, he is interesting to watch. Combine that with his wispy, faint-hearted voice (in this film, philosophizing about 'defining boundaries' and 'the cyclical nature of violence' and you have the basic ingredients for a memorable cult film. In one scene he even plays guitar.

In fact, he is jovial throughout most of the flick. It's perfect. He plays the anti-hero well, and by the end of the movie, fully manages to evoke a twinge of sympathy. Makes an engaging contrast with our growing suspicion that of course, it is him committing these brutal executions.

The violent scenes we witness (as the film develops), fyi, are not boring at all! Lovable Aldo Ray (another big guy, remember him from 'Battle Cry'?) getting "the Glove treatment" while he is trying to instead cage some nooky in the shadowy back seat of what looks like a Chevy LeSabre. Coitus interruptus! Fantastic. 70's film-making at its seamy best.

Another great 'Glove revenge' scene: a revisitation of that old stand-by of the 70s thriller--masked assailant and victim thrashing around in a brightly-lit bathroom, with the shower curtain flailing wildly around and the light strobing. Ending with victim seeping blood over white grouted porcelain tile. Classic.

As for John Saxon: he is fine in this movie. He does his best. Makes it look sincere as he can. He has a secretary he is pursuing, debts to pay, a young daughter to raise, a great old Caddy convertible to keep up--this is a sensitive guy. You can see he is not really that into the violent side of his work. This is a character that has some delicacy, not just the usual 70s slob cop/bounty hunter/detective.

Saxon's character is soft-spoken--shrewd--and good at his job, where his job requires brainwork. Where it requires the strong arm stuff--well, we see that he gets by. But here's where the psychology comes in: Grier (the suspect) is not just a dumb ex-con and through their game of cat-and-mouse he gradually works on Saxon and makes Saxon at least see Grier's motives for the crazy glove killings.

So the interplay between Saxon and Grier is basically where it's all at in this film. And of course that fiendish glove. You just gotta wonder what its like both to hit someone with that thing and also to get hit by it. Anyway, Grier, tired of being chased, forces Saxon to give him a fair fight. And he gets it. And that Glove is used one last time.

Guys, a good fight scene like this deserves our esteem. Take another look at what's going on. Would you accept the terms of the final fight as laid down by Grier? You can at least see how smart he is, by arranging it just in this manner? Its clever resolution to what would be, in any other movie of the same stripe, just another shootout.

This movie is worth recalling in any retrospective of twisted B-violence flicks. I personally, will always recall 'The Glove' with some fondness.

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