A trapper and his two partners work as scouts for a remote army fort where they witness an incompetent colonel's decision to throw his small unprepared garrison against Red Cloud's sizable Sioux force.
On Chicago's South Side reporter Ed Adams finds the body of a dead girl. Her address book leads to a host of names of men frightened by her death but claiming never to have known her. Adams comes to know quite a lot, dangerously so.
When ex-cop Steve Rollins is released from San Quentin after five years, his only thoughts are of revenge on the men who framed him for manslaughter. Back in San Francisco, his quest for the truth brings him up against ruthless waterfront gang boss Victor Amato.Written by
Ian Harries <firstname.lastname@example.org>
Robinson outshines a wooden Ladd and the wide open spaces.
Edward G Robinson dismissed this one with a passing comment in his autobiography and it's not hard to see why. He exudes menace in the classic 'Little Caesar' manner and his interplay with the underrated Paul Stewart does have a touch of real quality. However, Cinemascope is not a process designed for urban thrillers and the wide open spaces rob the film of any sense of tension or claustrophobia. The greatest weakness, however, lies in Ladd's robotic performance. His boredom is evident throughout and the lacklustre supporting cast do little to help. In the end Robinson is left out on his own, gat in hand, the true professional giving it all he's got.
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