VALUTAZIONE IMDb
7,0/10
3323
LA TUA VALUTAZIONE
Una rapina ben pianificata va storta, con il duro poliziotto Cordell all'inseguimento.Una rapina ben pianificata va storta, con il duro poliziotto Cordell all'inseguimento.Una rapina ben pianificata va storta, con il duro poliziotto Cordell all'inseguimento.
- Premi
- 1 candidatura in totale
Eddie Borden
- Theatrical Agent
- (non citato nei titoli originali)
Chet Brandenburg
- Cop at Roadblock
- (non citato nei titoli originali)
Barry Brooks
- Witmer - Armored Car Driver
- (non citato nei titoli originali)
Morgan Brown
- Burlesque Theatre Patron
- (non citato nei titoli originali)
Paul Bryar
- Car 6 Patrolman at Pier 5
- (non citato nei titoli originali)
Paul E. Burns
- Mr. Kelly - Valley Auto Court Manager
- (non citato nei titoli originali)
James Bush
- Control Tower Operator
- (non citato nei titoli originali)
Roger Creed
- Police Radio Operator
- (non citato nei titoli originali)
Dick Dickinson
- Newsboy
- (non citato nei titoli originali)
Art Dupuis
- Stadium Cashier
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizThere was a Wrigley Field in Los Angeles. It opened 1925 and mostly used by the Pacific Coast Minor league team the Los Angeles Angels. In 1961 the Los Angeles Angels played their first major league season there. It was demolished in 1969.
- BlooperAfter he is shot, Ryan gives his location over the bugged car microphone, but the gunshot was apparently not heard. Further information: Ryan is shot outside the car while attempting to escape and later crawls back to the car and climbs partially inside and reaches for the key in the ignition under the microphone to give his location. It appears the microphone only works when the car is running or the ignition is on as the following police car loses communications when the suspect cars pulls into a lumberyard and the car's ignition is turned off.
- Citazioni
Ryan: [On the phone] We hit pay dirt. The gal in question is Yvonne LeDoux, a bur-le-q queen workin' out of the Bijou Theater, but that's not all. She's also the widow of the late Benny McBride.
Lt. Jim Cordell: Benny's wife, huh?
Ryan: You should see her workin' clothes. Imagine a dish like this married to a mug like Benny McBride... the naked and the dead.
Lt. Jim Cordell: Very funny.
- Curiosità sui creditiIn the film's opening credits, the title is surrounded by quotation marks.
- ConnessioniFeatured in Palookaville (1995)
Recensione in evidenza
Great B-movie cast with many nice touches. Everybody's favorite 50's psycho William Talman heads the heist gang, looking almost suave and sleek at times. He even gets to kiss the girl, probably the only time in his career. Too bad he turned legit on the old Perry Mason show. That fine utility actor Steve Brodie has some good moments too, along with a sneering Douglas Fowley and a blue-collar Gene Evans. And, oh yes, mustn't forget the great cheap blonde of the era, Adele Jergens, all decked out in her best Victoria's Secret finery. Her strip show may be on the tame side, but we get the idea. And in dogged police pursuit, the ever-forceful Charles McGraw who could play either side of the legal fence with jut-jawed persuasion. There's a thousand slices of A-grade thick ear wrapped up in this hard-boiled assembly.
Then too, director Fleischer makes all the deft moves-- the balky car, the gruesome corpse. Maybe somebody forgot the utility bill, but there's a real change of mood half-way through, when the screen shifts from high-key daylight to low-key noir as the shadows and bodies pile up. Yeah, you've probably seen it all before, but rarely done this well and with an Oscar night of B-movie all-stars. Too bad, Stanley Kubrick didn't acknowledge this modest programmer when he lifted the caper film to artistic heights in The Killing (1956). As he learned, prop washes make a superb visual blender for loose dollar bills, along with a lasting note of dramatic irony. Acknowledged or not, this little potboiler has all the earmarks of RKO's golden age of take-no-prisoners noir.
Then too, director Fleischer makes all the deft moves-- the balky car, the gruesome corpse. Maybe somebody forgot the utility bill, but there's a real change of mood half-way through, when the screen shifts from high-key daylight to low-key noir as the shadows and bodies pile up. Yeah, you've probably seen it all before, but rarely done this well and with an Oscar night of B-movie all-stars. Too bad, Stanley Kubrick didn't acknowledge this modest programmer when he lifted the caper film to artistic heights in The Killing (1956). As he learned, prop washes make a superb visual blender for loose dollar bills, along with a lasting note of dramatic irony. Acknowledged or not, this little potboiler has all the earmarks of RKO's golden age of take-no-prisoners noir.
- dougdoepke
- 10 set 2007
- Permalink
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Dettagli
- Tempo di esecuzione1 ora 7 minuti
- Colore
- Proporzioni
- 1.37 : 1
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