In Houston, a man working as an oil driller comes up with a scheme for stealing millions of dollars worth of oil from the fields. He insinuates himself with a local mobster in order to get ...
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An insurance lawyer unhappy with his rate of company advancement becomes a middleman in deals to recover stolen property from the Mob, thus earning a nice living. But his actions attract police attention and set him up for a double-cross.
A 12-year-old orphan who has just inherited a fortune is trapped on an island with his uncle, a former British intelligence commander who intends to kill him. A young girl is the boy's only... See full summary »
In Houston, a man working as an oil driller comes up with a scheme for stealing millions of dollars worth of oil from the fields. He insinuates himself with a local mobster in order to get financing for his scheme.Written by
The filmmaker spent an inexplicably and inordinate amount of footage in the terminal of what is now William P. Hobby AIrport, whose name was changed in 1967 to honor a Texas governor. It was then Houston International Airport as of 1954, when the new passenger terminal opened. The art-deco interior may have appeared aesthetically pleasing enough to have factored into the editing. The terminal even had a nursery, something one would be hard pressed to find at many airports these days. See more »
Though he will doubtless be remembered as a master of creepy schlock for the pubescent audience which emerged in the late 1950s and early 1960s, William Castle directed half a dozen noirs. His first, and probably his best, was Betrayed, aka When Strangers Marry, but Johnny Stool Pigeon and Undertow have their admirers, too. His last noir, The Houston Story, doesn't number among his best, but it too has its moments.
Wildcatter Gene Barry has ambitions that go beyond collecting his paycheck for working on the oil rigs. He dreams up a scheme for siphoning off oil from the big pipelines and selling it to fly-by-night distributors or foreign interests. He approaches Edward Arnold, local boss of a sinister "combine" based in St. Louis, who goes for the plan (meanwhile planning to dispose of Barry once the oil and the money start flowing). It turns out Barry is a bit smarter and more ruthless than he seemed; forty years later, he would have been a vice-president (at least) of Enron.
Along with his slithering around to evade the various minions of the complicated syndicate, he finds romantic complications as well. On the right shoulder sits good-gal Jeanne Cooper, waitress in an eatery called The Derrick. But on the left side is Temptation, in the person of Barbara Hale. Identified almost entirely with her television role as Perry Mason's loyal and efficient Girl Friday Della Street, Hale displays an unsuspected side to her talents. Gussied up in strapless gowns and a platinum "Italian" crop, she plays a shantoozie kept by a racketeer. Of course, she falls for Barry (well, sort of) and he for her (again, sort of). She's also the most memorable thing in this watchable but confusing and derivative film.
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