NOTE IMDb
6,7/10
2,7 k
MA NOTE
Ajouter une intrigue dans votre langueA high-class crook gets in trouble with the law.A high-class crook gets in trouble with the law.A high-class crook gets in trouble with the law.
Thomas Gomez
- Guido Marchettis
- (as S. Thomas Gomez)
Fred Aldrich
- Hotel Doorman
- (non crédité)
George Alesko
- Practical Dealer
- (non crédité)
John P. Barrett
- Floorman
- (non crédité)
Fred Beecher
- Practical Dealer
- (non crédité)
Brooks Benedict
- Card Player
- (non crédité)
John Berkes
- Waiter
- (non crédité)
Paul Bradley
- Card Player
- (non crédité)
Jeff Chandler
- Turk
- (non crédité)
Histoire
Le saviez-vous
- AnecdotesWhen Lee J. Cobb (Inspector Koch) was called before the UnAmerican House Activities Committee in 1953 and given a chance to 'clear his name' by naming communists he had known, Cobb named Shimen Ruskin who plays the dry cleaner in this film. Many of his fellow actors never forgave Cobb for this.
- Gaffes(at around 51 mins) Johnny and Nancy go into a restaurant to eat. It had been raining outside. The number and size of the wet spots on Johnny's shoulders change several times while they are seated at the table.
- Citations
Johnny O'Clock: Come here.
Harriet Hobson: [as she stays put] I've been there.
- Crédits fousWhile he is listed in the uncredited cast as 'Cop', Kenneth MacDonald's voice can be discerned earlier in the casino as one of the game dealers; it is unmistakable.
- ConnexionsFeatured in Frances Farmer Presents: Johnny O'Clock (1958)
Commentaire à la une
Average, at Best
Powell's O'Clock has a snappy answer for every occasion. Moreover, he's always in charge, whether it's the cops, women, or his conniving partner. Except for a couple points of interest, however, it's a thoroughly average crime drama, even with the noirish overtones. For me, the problem is with the O'Clock character. It looks like the script was tailored to advance Powell's career from sappy song & dance man of the 30's to hardboiled leading man of the 40's. In short, if he's being menaced here by noir's unseen forces, it's crucially not reflected in his one-dimensional behavior.
The makeover started with the excellent Murder, My Sweet (1944). But that crime drama had a fine Chandler script and a sometimes befuddled detective Marlowe (Powell). This film, on the other hand, has the trappings of noir (dark venues, a faithless woman), but without the compelling subtleties. For example, O'Clock is too predictable in his superiority. As a result, we're not drawn into the plot challenges. Instead, we merely observe them, certain that O'Clock will triumph over every situation. Thus, what we're told is a sometimes interesting story, but without the added emotion of participating in it.
Fortunately, there are several engaging characters that color the narrative. Cobb's laconic cop can do more acrobatics with a cigar than any scene stealer I've seen; Drew's faithless wife gets away with more really provocative poses than usual for the time; while, Kellogg's devoted man-servant conveys at one point a rather unexpected overtone. At the same time, it's too bad we don't see more of that priceless old hard case Mabel Paige. On the other hand, Gomez's schemer lacks the kind of wicked edge his key part needs.
This is not meant to take away from Powell the actor. He was, of course, a fine performer as his overall career shows. This film, however, serves as little more than a vehicle for his tough-guy makeover. The trouble is, it comes at a cost to the picture.
The makeover started with the excellent Murder, My Sweet (1944). But that crime drama had a fine Chandler script and a sometimes befuddled detective Marlowe (Powell). This film, on the other hand, has the trappings of noir (dark venues, a faithless woman), but without the compelling subtleties. For example, O'Clock is too predictable in his superiority. As a result, we're not drawn into the plot challenges. Instead, we merely observe them, certain that O'Clock will triumph over every situation. Thus, what we're told is a sometimes interesting story, but without the added emotion of participating in it.
Fortunately, there are several engaging characters that color the narrative. Cobb's laconic cop can do more acrobatics with a cigar than any scene stealer I've seen; Drew's faithless wife gets away with more really provocative poses than usual for the time; while, Kellogg's devoted man-servant conveys at one point a rather unexpected overtone. At the same time, it's too bad we don't see more of that priceless old hard case Mabel Paige. On the other hand, Gomez's schemer lacks the kind of wicked edge his key part needs.
This is not meant to take away from Powell the actor. He was, of course, a fine performer as his overall career shows. This film, however, serves as little more than a vehicle for his tough-guy makeover. The trouble is, it comes at a cost to the picture.
utile•1710
- dougdoepke
- 27 mars 2011
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Détails
Box-office
- Budget
- 1 000 000 $US (estimé)
- Durée1 heure 36 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
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