VALUTAZIONE IMDb
7,1/10
4032
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaA sniper kills young brunettes as the police attempt to grapple with the psychology of the unknown assailant.A sniper kills young brunettes as the police attempt to grapple with the psychology of the unknown assailant.A sniper kills young brunettes as the police attempt to grapple with the psychology of the unknown assailant.
- Candidato a 1 Oscar
- 2 candidature totali
Fred Aldrich
- Man at Line-Up
- (non citato nei titoli originali)
John H. Algate
- Man
- (non citato nei titoli originali)
Jessie Arnold
- Woman
- (non citato nei titoli originali)
Walter Bacon
- Passerby On Sidewalk
- (non citato nei titoli originali)
Alice Bartlett
- Woman
- (non citato nei titoli originali)
Harry Bechtel
- Man
- (non citato nei titoli originali)
Lilian Bond
- Mrs. Fitzpatrick
- (non citato nei titoli originali)
Gail Bonney
- Woman at Darr Murder Scene
- (non citato nei titoli originali)
John Bradley
- Rookie Cop
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizAfter making this film, Adolphe Menjou, a very vocal anti-communist, was asked why he agreed to work with director Edward Dmytryk, who had been blacklisted for his communist sympathies. Menjou replied, "Because I'm a whore".
- BlooperLate in the film, Eddie is seen crouched and aiming for a kill shot on a smokestack painter. The painter throws his pail of white paint onto the street below to get the attention of the people below who could not hear him and the pail and its contents splatter on the ground. After Eddie shoots the man and the camera returns to the street, the pavement is unmarked.
- Citazioni
E.R. doctor: [talking to the duty nurse] You know how much coffee I've had today? 17 cups. The Brazilians ought to give me a medal.
- Curiosità sui creditiA word about the picture which follows: High among police problems is that of the sex criminal, responsible last year alone for offenses which victimized 31,175 women. Adequate and understanding laws do not exist. Law enforcement is helpless. Here, in terms of one case, is the story of a man whose enemy was womankind.
- ConnessioniEdited into The Green Fog (2017)
- Colonne sonorePennies from Heaven
(uncredited)
Music by Arthur Johnston
Words by Johnny Burke (1936)
Played by Marie Windsor in piano bar
Recensione in evidenza
The trouble is Eddie Miller (Arthur Franz) just can't keep himself from shooting women. Plus, he does it from a distance with a sniper's rifle which makes him doubly hard to catch. Today, the sex angle would likely be played up, turning him into a serial rapist. Here, however, his sick motivation looks more like pure rage than sexual desire. Everywhere he goes, he's either humiliated or rejected by women. He's attractive enough (probably too much so to be credible), but he has a personality problem. In short, Eddie simply can't accept himself as a deliveryman; instead, he builds himself up with obvious exaggerations to impress strangers, such that when pretty barfly May Nelson approaches, he ends up offending her with wild stories. Like Psycho's Norman Bates, the problem probably goes all the way back to Mom.
It's certainly a very watchable movie. The San Francisco locations are used to great effect-- the cops surveilling downtown rooftops from on high sets up a marvelous panoramic look at the city. Then too, the smokestack scene with its human fly amounts to pure cinematic magic. A problem in the film lies with too much obviousness where a lighter hand is needed. Thus, when Eddie goes on a little downtown stroll, he doesn't encounter just one woman-caused frustration, but a whole heavy-handed series of them. Too bad, because we get the idea early on that petty annoyances involving women amount to major injuries in Eddie's twisted world. Then there's the let's- hit-you-over-the-head-in-case-you-don't-get-it last scene; it's about as necessary as strip-poker at a nudist colony. Still and all, the movie's heart is in the right place, even if it appears made at times for the slow-witted.
One big benefit for 50's-era fans is cult favorite Marie Windsor in a low-cut evening gown, purring her seductive lines to Eddie even as she exploits him to the hilt. What a great cameo from a really unusual actress.Too bad their scene together comes so early because it's a pip and a movie high point. Speaking of film eras, compare the themes and locations of this movie (1951) with the cinematically similar, Vietnam-era Dirty Harry (1971). Tellingly, the hopeful reformism that Kramer&Co. plead for in Sniper has been replaced by a kind of hopeless vigilantism where Harry (Clint Eastwood) ends up rejecting city hall, killing the sniper, and throwing away his policeman's badge. Mark it down to what you will, but the change-over is pretty stark and startling. Anyway, this little B-film created quite a stir at the time and remains an interesting piece of movie history, well worth thinking about
It's certainly a very watchable movie. The San Francisco locations are used to great effect-- the cops surveilling downtown rooftops from on high sets up a marvelous panoramic look at the city. Then too, the smokestack scene with its human fly amounts to pure cinematic magic. A problem in the film lies with too much obviousness where a lighter hand is needed. Thus, when Eddie goes on a little downtown stroll, he doesn't encounter just one woman-caused frustration, but a whole heavy-handed series of them. Too bad, because we get the idea early on that petty annoyances involving women amount to major injuries in Eddie's twisted world. Then there's the let's- hit-you-over-the-head-in-case-you-don't-get-it last scene; it's about as necessary as strip-poker at a nudist colony. Still and all, the movie's heart is in the right place, even if it appears made at times for the slow-witted.
One big benefit for 50's-era fans is cult favorite Marie Windsor in a low-cut evening gown, purring her seductive lines to Eddie even as she exploits him to the hilt. What a great cameo from a really unusual actress.Too bad their scene together comes so early because it's a pip and a movie high point. Speaking of film eras, compare the themes and locations of this movie (1951) with the cinematically similar, Vietnam-era Dirty Harry (1971). Tellingly, the hopeful reformism that Kramer&Co. plead for in Sniper has been replaced by a kind of hopeless vigilantism where Harry (Clint Eastwood) ends up rejecting city hall, killing the sniper, and throwing away his policeman's badge. Mark it down to what you will, but the change-over is pretty stark and startling. Anyway, this little B-film created quite a stir at the time and remains an interesting piece of movie history, well worth thinking about
- dougdoepke
- 24 gen 2008
- Permalink
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- How long is The Sniper?Powered by Alexa
Dettagli
- Tempo di esecuzione1 ora 28 minuti
- Colore
- Proporzioni
- 1.37 : 1
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By what name was Nessuno mi salverà (1952) officially released in India in English?
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