IMDb RATING
7.3/10
2.8K
YOUR RATING
Ex-con Rocky Mulloy seeks the real culprit in the crime for which he was framed in a night world of deceptive dames and double crosses.Ex-con Rocky Mulloy seeks the real culprit in the crime for which he was framed in a night world of deceptive dames and double crosses.Ex-con Rocky Mulloy seeks the real culprit in the crime for which he was framed in a night world of deceptive dames and double crosses.
Hy Averback
- Bookie
- (as Hy Averbach)
Leon Alton
- Bartender
- (uncredited)
Robert Bice
- Castro's Gunman
- (uncredited)
Ralph Brooks
- Nightclub Patron
- (uncredited)
Paul Cristo
- Waiter
- (uncredited)
Sayre Dearing
- Cop
- (uncredited)
- Directors
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaIn an interview with Tom Weaver, Jean Porter said the film was "directed by Dick Powell, and he wasn't given director credit. Dick gave Robert Parrish the director's credit, but Dick did all the directing."
- GoofsAs Rocky drives away after dropping Nancy off at work, the cameraman and camera are reflected in the car's rear window glass.
- Quotes
Darlene LaVonne: You drinkin' that stuff so early?
Delong: Listen, doll girl, when you drink as much as I do, you gotta start early.
- ConnectionsEdited from Crack-Up (1946)
Featured review
Somehow, I missed this little gem over the years.
Excellent location filming, combined with a compelling script and great acting - a definite must-see for "film noir" fans. My only complaint is the somewhat stale performance by Rhonda Fleming - I think they needed somebody a bit more "earthy" for the part. Richard Erdman and Jean Porter are excellent in their supporting roles.
It was rare in 1951, to see so many actual locations in a film, but this is obviously a low-budget enterprise. Plus, the nature of "noir" is almost always to utilize reality, as opposed to artifice. I did notice some sloppiness with the usage of studio sets; the interiors of the trailers were, of course, sets, and many times when characters exit, the blank studio wall is clearly visible.
One goof occurs when Powell's character drops off Fleming at her office. As the car drives away, the cameraman is clearly visible in the window's reflection. Of course, who knew then that a viewer would eventually be able to freeze-frame a shot?
Great film.....highly recommended.
Excellent location filming, combined with a compelling script and great acting - a definite must-see for "film noir" fans. My only complaint is the somewhat stale performance by Rhonda Fleming - I think they needed somebody a bit more "earthy" for the part. Richard Erdman and Jean Porter are excellent in their supporting roles.
It was rare in 1951, to see so many actual locations in a film, but this is obviously a low-budget enterprise. Plus, the nature of "noir" is almost always to utilize reality, as opposed to artifice. I did notice some sloppiness with the usage of studio sets; the interiors of the trailers were, of course, sets, and many times when characters exit, the blank studio wall is clearly visible.
One goof occurs when Powell's character drops off Fleming at her office. As the car drives away, the cameraman is clearly visible in the window's reflection. Of course, who knew then that a viewer would eventually be able to freeze-frame a shot?
Great film.....highly recommended.
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Details
- Release date
- Country of origin
- Language
- Also known as
- Hämnaren slår till
- Filming locations
- New Grand Hotel - 257 Grand Avenue, Bunker Hill, Downtown, Los Angeles, California, USA(Crosley Hotel - exteriors and interors)
- Production companies
- See more company credits at IMDbPro
- Runtime1 hour 19 minutes
- Color
- Aspect ratio
- 1.33 : 1
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