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MA NOTE
Ajouter une intrigue dans votre langueJames Garner put in a winning performance as a similarly unreconstructed capitalist in the grip of merger mania.James Garner put in a winning performance as a similarly unreconstructed capitalist in the grip of merger mania.James Garner put in a winning performance as a similarly unreconstructed capitalist in the grip of merger mania.
Edward Platt
- Harrison Glenn
- (as Edward C. Platt)
Russell Ash
- Middle-Aged Man
- (non crédité)
Nicky Blair
- Pete
- (non crédité)
Harold Bostwick
- Workman
- (non crédité)
Perri Bova
- Girl
- (non crédité)
Robert Clarke
- Reporter
- (non crédité)
Walter Coy
- Reporter
- (non crédité)
Histoire
Le saviez-vous
- AnecdotesJames Garner's last film under his Warner Brothers contract. After a writer's strike halted all Warner Brothers productions, even though Garner had a "play or pay" contract, Warner Brothers refused to pay him. Garner sued the studio for breach of contract and won.
- GaffesThe log that Lory and Cash sit on is elevated from the ground and held in place by a bolt.
- Citations
Winston Conway: I'm not a moralist, I'm a lawyer.
Commentaire à la une
Wheeler-Dealer Instruction Manual that Loses its Nerve
The best part of this Technicolor exercise is the light it shines on high-power business dealings and how these were treated in the Production Code 1950's-- and is worth a quick few words.
In that Cold War decade, Hollywood discovered the drama of corporation boardrooms and big business in such films as the ruthless Patterns (1956), the intrigues of Executive Suite (1954), and the comedic Solid Gold Cadillac (1956). All in all, these movies hold up well despite the passage of years. The trick for films of this type was to be realistic enough with the big money scheming to hold audience interest without at the same time indicting the upper tiers of capitalism. For to do the latter would, among other reasons, serve the interests of the Soviet side of the Cold War then at its peak. As a result, in such movies conscience or a force for good usually prevails at the last minute over ruthless business connivings no matter how unconvincing the abrupt triumph. And that's very much the case in the otherwise routine Cash McCall.
At first, McCall is characterized as a corporate vulture—a wheeler-dealer who buys up struggling companies, disassembles them for profit, and then walks away from whatever communities he may have destroyed in the process. But, of course, it's hard to make a sympathetic lead out of such a ruthless character, even for such a likable personality as James Garner. So the screenplay begins to fudge. He's next characterized as a dis-assembler whose aim is to build up anew from the pieces, though the human consequences are not made clear. And finally, after a thorough conversion, he becomes a full-fledged business humanitarian putting communities first for reasons that also remain rather unclear, but does, of course, produce a happy ending. Thus, the ends of the Production Code, the Cold War, and audience expectations are duly served.
The movie itself is pretty unmemorable. To me the pairing of the mature Garner and the rather callow Wood seems a brittle one, no matter how much the winsome Wood is glamorized. Then too, Garner suppresses his charming Maverick side in the interests of getting into McCall's character, but in the process gives up his special appeal as an actor. On the other hand, it's a fine array of supporting players, especially Henry Jones whose Bassett- hound face registers an unusual array of subtle emotions. His is a very different appearance for that glamour-obsessed time period. Anyway, the movie's a decent enough entertainment, but outside of its wheeler-dealer instruction manual, remains pretty forgettable.
In that Cold War decade, Hollywood discovered the drama of corporation boardrooms and big business in such films as the ruthless Patterns (1956), the intrigues of Executive Suite (1954), and the comedic Solid Gold Cadillac (1956). All in all, these movies hold up well despite the passage of years. The trick for films of this type was to be realistic enough with the big money scheming to hold audience interest without at the same time indicting the upper tiers of capitalism. For to do the latter would, among other reasons, serve the interests of the Soviet side of the Cold War then at its peak. As a result, in such movies conscience or a force for good usually prevails at the last minute over ruthless business connivings no matter how unconvincing the abrupt triumph. And that's very much the case in the otherwise routine Cash McCall.
At first, McCall is characterized as a corporate vulture—a wheeler-dealer who buys up struggling companies, disassembles them for profit, and then walks away from whatever communities he may have destroyed in the process. But, of course, it's hard to make a sympathetic lead out of such a ruthless character, even for such a likable personality as James Garner. So the screenplay begins to fudge. He's next characterized as a dis-assembler whose aim is to build up anew from the pieces, though the human consequences are not made clear. And finally, after a thorough conversion, he becomes a full-fledged business humanitarian putting communities first for reasons that also remain rather unclear, but does, of course, produce a happy ending. Thus, the ends of the Production Code, the Cold War, and audience expectations are duly served.
The movie itself is pretty unmemorable. To me the pairing of the mature Garner and the rather callow Wood seems a brittle one, no matter how much the winsome Wood is glamorized. Then too, Garner suppresses his charming Maverick side in the interests of getting into McCall's character, but in the process gives up his special appeal as an actor. On the other hand, it's a fine array of supporting players, especially Henry Jones whose Bassett- hound face registers an unusual array of subtle emotions. His is a very different appearance for that glamour-obsessed time period. Anyway, the movie's a decent enough entertainment, but outside of its wheeler-dealer instruction manual, remains pretty forgettable.
utile•226
- dougdoepke
- 6 juil. 2010
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- How long is Cash McCall?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Cash McCall
- Lieux de tournage
- Société de production
- Voir plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 42 minutes
- Rapport de forme
- 1.85 : 1
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What is the Spanish language plot outline for Cet homme est un requin (1960)?
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