Complete credited cast: | |||
Glenn Ford | ... | Joe Baron | |
Elke Sommer | ... | Lisa Baron | |
Rita Hayworth | ... | Rosalie Kenny | |
Joseph Cotten | ... | Dr. Horace Van Tilden | |
Ricardo Montalban | ... | Pete Delanos | |
Tom Reese | ... | Matthews | |
James Mitchum | ... | Detective Wolski | |
Argentina Brunetti | ... | Aunt | |
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Fred Essler | ... | Mr. Klein |
Eugene Iglesias | ... | Father | |
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Teri Lynn Sandoval | ... | Amaya - Mexican Daughter |
Rest of cast listed alphabetically: | |||
Parley Baer | ... | Banker (scenes deleted) | |
Stacy Harris | ... | Drunken Man (scenes deleted) | |
Bill McLean | ... | Delivery Man (scenes deleted) |
Joe Baron is a cop with money problems that seem solved when Joe is assigned to a burglary case involving half a million dollars stolen from a doctor office's safe.The very rich doctor Dr. Horace Van Tilden managed to shoot the intruder during the burglary but the thief is still breathing when the two cops arrive on the scene.On the way to the hospital the burglar reveals to Joe Baron that his target indeed was the half million dollars in the doctor's safe and the combination to the safe.Joe and his partner, Pete Delanos, decide to get to the cash and keep it for themselves. Written by nufs68
The cast and quality black-and-white camera work would seem to destine this film for something great but we don't get there. The problem seems to be the storyline/script which is just too familiar and predictable. Glen Ford plays a fairly well-to-do cop who feels pressured by his barbie doll young wife, Elke Sommer, to deliver even more affluence. His partner, Montalban, is more directly avaricious. Cotten is a corrupt doctor and a very used looking Rita Hayworth is Ford's ex-girlfriend from years ago.
Ford as usual, underplays but nevertheless makes you feel the cold emptiness and disillusionment of the character. Everyone else delivers well but I think we have all seen these characters, motivations and situations a hundred times before and the script does not give any room for interesting angles or surprises. We get a very dark (literally and figuratively) and gritty film but not something that is likely to grow on you. If this had been made in 1932, it would have been a far more significant film. By the mid 60s, it was tired formula.