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One by one members of a special project team are being killed by telekinesis - the ability to move things with the power of the mind alone. The race is to determine which of the remaining team members is the murderer and how to stop them.
A mysterious rash of cargo ship sinkings in Panama leads insurers Llewellyns of London to hire vacationer Nick Carter and his eccentric associate Bartholomew to investigate. Nick recognizes influential nightclub owner Al Taurez as a shady operator, but getting the goods on him depends on slick diversions involving the heavyweight champ of the Pacific Tuna Fleet, a Panamanian bombshell armed with American slang, a young couple in love and a whole raft of crooks and cutthroats.Written by
Sister Grimm <email@example.com>
This film was first telecast in Philadelphia Thursday 5 December 1957 on WFIL (Channel 6), followed by Los Angeles 28 March 1958 on KTTV (Channel 11), by San Francisco 31 May 1958 on KGO (Channel 7), and, finally, by New York City 9 July 1959 on WCBS (Channel 2). See more »
At the beginning of the film a bet is made in pesos. The monetary unit in Panama is the Balboa, not the peso. See more »
[Ironically, after seeing Taurez play with a parakeet after throwing a knife in the back of an associate]
Did yuh ever see such a soft-hearted guy as Al?
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Though he's the title character, Welter Pigeon plays a back seat to the villain. The villain is played smoothly by the superb Joseph Schildkraut. The rest of the cast is fun. Nat Pendleton is Schildkraut's bodyguard. Donald Meek is Pigeon's sidekick -- and a beekeeper, to boot. Florence Rice is very good in what looks like a sympathetic role, and is, though she's initially on the wrong side of the law.
What makes this stand out is its plot. We see this at the very start; so I'm giving nothing away: Schildkraut is blowing up ships at sea to collect on their insurance. It's shocking to think of such cold-blooded behavior. But to underline the heinous nature of his crime, we see the captain and some crew members chatting just before theirs is blown to bits.
This isn't the greatest of Jacques Tourneur movies. But his masterly touch is evident. Schildkraut is often photographed in profile and generally partially in shadow. He reminds one of a streamlined, custom-made sports car of the time. He is stylish -- and almost impossibly cruel.
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