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The Breaking Point (1950)

Not Rated | | Crime, Drama, Film-Noir | 6 October 1950 (USA)
An otherwise moral captain of a charter boat becomes financially strapped and is drawn into illegal activities in order to keep up payments on his boat.

Director:

Michael Curtiz

Writers:

Ranald MacDougall (screen play by), Ernest Hemingway (based on the story by)
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Cast

Complete credited cast:
John Garfield ... Harry Morgan
Patricia Neal ... Leona Charles
Phyllis Thaxter ... Lucy Morgan
Juano Hernandez ... Wesley Park
Wallace Ford ... F.R. Duncan
Edmon Ryan ... Rogers
Ralph Dumke Ralph Dumke ... Hannagan
Guy Thomajan ... Danny
William Campbell ... Concho
Sherry Jackson ... Amy Morgan
Donna Jo Boyce Donna Jo Boyce ... Connie Morgan
Victor Sen Yung ... Mr. Sing
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Storyline

Fishing boat captain Harry Morgan charters his boat. Due to strained finances, he is none too careful as to whom he does business with. Real trouble erupts when Harry hires out his boat to transport four men who turn out to be criminals on the lam from a racetrack heist. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Taglines:

There's nothing more deadly than a gentle man pushed too far! See more »


Certificate:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

English | Spanish

Release Date:

6 October 1950 (USA) See more »

Also Known As:

Illdåd ombord See more »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The U.S. Coast Guard patrol boat CG-83452 Harry passes by on the way out of the harbor was one of 230 83-foot patrol craft built by Wheeler Shipbuilding in Brooklyn, New York for use in WWII. This boat was delivered in June 1943 at of cost of $125,000 ($1.8M in 2017) fully outfitted. It was sold at auction in 1964 and converted into the yacht named "Fiesta". It was scrapped in 2004. See more »

Goofs

When Harry goes to look at the plaques and pictures on the wall, the positions of some change between the longer shot and the close-up where he straightens the picture of the PT boat - most noticeably the plaque with his medal ribbons. See more »

Quotes

Leona Charles: Everyone's got moles.
See more »

Connections

Version of Wetbacks (1956) See more »

Soundtracks

Please Don't Talk About Me When I'm Gone
(uncredited)
Music by Sam H. Stept
Lyrics by Sidney Clare
Sung by Patricia Neal in the bar
See more »

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User Reviews

 
Superior film
10 March 2012 | by jjnxn-1See all my reviews

Exceptional version of Hemingway's To Have and Have Not is far superior to the Bogart/Bacall film. While the Bogie film was a good picture awash in style and the chemistry of the two leads this is far more realistic without the atmosphere perhaps but loaded with pleasures nonetheless.

For starters this contains one of John Garfield's best performances. Always a fine actor he gets under the skin of his character and makes you understand his desperation and moral conflict, he's riveting every second he is on screen. This was one of his last films before his tragically early death, a sad loss of a great talent who isn't as well remembered as he should be today.

Patricia Neal also scored strongly in this the best of her early roles. She is tough and world weary but also kind and sexy with her whiskey voice and blonde hair. Although it's never stated specifically it's very clear that her character is a prostitute, for the time period a bold point. She and Garfield work very well together and it's a pity his death prevented them from being paired again.

The two other main actors, Phyllis Thaxter and Juano Hernandez, contribute exemplary work as well providing terrific support. Phyllis and Particia Neal are interesting contrasts and their scene together is a study in underplaying. Her scenes with Garfield are also very good, without being explicit they make it clear theirs is a full and happy marriage in all regards with the normal strains and joys.

All this fine work would be for naught if not supported by an excellent screenplay and tight direction from the versatile Curtiz, a man who could direct any genre without problems.

Less romantic in tone but a gripping drama that has been unfortunately obscured by the fame of the other version this is well worth seeking out.


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