ÉVALUATION IMDb
6,6/10
1,9 k
MA NOTE
Dan Duryea et ses copains volent un faux spiritualiste et l'emmènent ensuite à Atlantic City.Dan Duryea et ses copains volent un faux spiritualiste et l'emmènent ensuite à Atlantic City.Dan Duryea et ses copains volent un faux spiritualiste et l'emmènent ensuite à Atlantic City.
Wendell K. Phillips
- Police Captain
- (as Wendell Phillips)
Histoire
Le saviez-vous
- AnecdotesFilmed in the summer of 1955 but not released until 1957, in order to cash in on the sudden fame of Jayne Mansfield.
- GaffesThe 1951 Chevy driven by Nat Harbin is described as "light gray" over the police radio and in the teletype voice-over, yet the description on the teletype reads that the car is "green."
- Citations
Della: What's your name?
Nat Harbin: Nathaniel... Say, what is this? What do you want?
Della: Basically - basically, I'm out to find myself a man. Wait for me outside.
Nat Harbin: Are you kidding?
Della: No. No, Nathaniel, I'm not kidding.
Nat Harbin: Well, that's tough on you. Sorry, no sale.
Della: [slaps Nat] Just to let you know, I'm - not selling anything.
- Générique farfeluAll credits are in lower case, including title card, cast list, crew names and occupations, and "the end".
- ConnexionsFeatured in Jayne Mansfield: La tragédie d'une blonde (2013)
- Bandes originalesYou Are Mine
Vocal by Vince Carson
Music and Lyrics by Bob Marcucchi and Pete DeAngelo
[Gladden and Charlie dance to the song at the club in Atlantic City]
Commentaire en vedette
Decent Effort, but Spotty Results
Three burglars steal a valuable necklace before encountering the proverbial web of deceit.
The movie's a highly uneven work, reminding me as much of Kubrick's The Killing (1956) as the arty flashes of Welles and others. Clearly director Wendkos is reaching for an artistic style, but unlike Kubrick, Wendkos imitates more than he originates. Plus he's working with a ham-handed screenplay that lacks the clarity and flow of Kubrick's classic racetrack caper. Unfortunately, the narrative here tends to stumble along rather than evolve. For example, note the holes in just how the crooked cop puts his operation together, and how he knows as much as he knows. Nonetheless, the opening ten minutes covering the jewel theft is very effective, showing real promise. But the fluidity soon lapses.
On a lighter note, I can't help but notice (like another reviewer) Mansfield's unusually bushy eyebrows that undercut her good looks. I'm wondering if they were natural and later pared back by a studio make-over or whether they resulted here from a myopic make-up man. In fact, without all the studio glamorizing of later years, I hardly recognized her.
Anyway, for all its shortcomings, the movie remains a generally interesting curiosity that also affirms an unusual moral. Namely, that there can be more honor among thieves than among cops. Something Kubrick also knew.
The movie's a highly uneven work, reminding me as much of Kubrick's The Killing (1956) as the arty flashes of Welles and others. Clearly director Wendkos is reaching for an artistic style, but unlike Kubrick, Wendkos imitates more than he originates. Plus he's working with a ham-handed screenplay that lacks the clarity and flow of Kubrick's classic racetrack caper. Unfortunately, the narrative here tends to stumble along rather than evolve. For example, note the holes in just how the crooked cop puts his operation together, and how he knows as much as he knows. Nonetheless, the opening ten minutes covering the jewel theft is very effective, showing real promise. But the fluidity soon lapses.
On a lighter note, I can't help but notice (like another reviewer) Mansfield's unusually bushy eyebrows that undercut her good looks. I'm wondering if they were natural and later pared back by a studio make-over or whether they resulted here from a myopic make-up man. In fact, without all the studio glamorizing of later years, I hardly recognized her.
Anyway, for all its shortcomings, the movie remains a generally interesting curiosity that also affirms an unusual moral. Namely, that there can be more honor among thieves than among cops. Something Kubrick also knew.
utile•95
- dougdoepke
- 21 juin 2013
Meilleurs choix
Connectez-vous pour évaluer et surveiller les recommandations personnalisées
- How long is The Burglar?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Provalnik
- Lieux de tournage
- Brigantine, New Jersey, États-Unis(Nat leaves Della in the shack and runs to a phone booth - the town's fake lighthouse is in the background)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 90 000 $ US (estimation)
- Durée1 heure 30 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
- 1.85 : 1
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant
Lacune principale
By what name was The Burglar (1957) officially released in India in English?
Répondre