IMDb RATING
7.9/10
100K
YOUR RATING
Crook Johnny Clay assembles a five-man team to plan and execute a daring racetrack robbery.Crook Johnny Clay assembles a five-man team to plan and execute a daring racetrack robbery.Crook Johnny Clay assembles a five-man team to plan and execute a daring racetrack robbery.
- Nominated for 1 BAFTA Award
- 1 nomination total
Ted de Corsia
- Patrolman Randy Kennan
- (as Ted DeCorsia)
Elisha Cook Jr.
- George Peatty
- (as Elisha Cook)
Joe Turkel
- Tiny
- (as Joseph Turkel)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaInitial test screenings were poor, citing the non-linear structure as the main problem. Stanley Kubrick was forced to go back and edit the film in a linear fashion, making the film even more confusing. In the end, it was released in its original form, and is often cited as being a huge influence on other non-linear films like Reservoir Dogs (1992) and Pulp Fiction (1994).
- GoofsDuring the robbery, it's clear that a significant amount of the money is in neatly banded bundles of crisp brand-new bills, yet when it's transferred from the duffel bag to the suitcase, all the bills are loose, unstacked, and appear well-used.
- Quotes
Johnny Clay: You'd be killing a horse - that's not first degree murder, in fact it's not murder at all, in fact I don't know what it is.
- ConnectionsEdited into Hai-Kubrick (1999)
Featured review
The story of a meticulously-planned race track hold-up is a stunner in every minute you watch it, and the film's progressive use of a partly documentary style has often been acclaimed as uniquely supporting the dramatic goings-on. It definitely put a modern touch to the somewhat out-of-fashion film noir in 1956, but still greatly relied on its basic rules.
A fine new note was the neat distinction between the gang's members' motives, ranging from repaying underworld debts (De Corsia) and hope of offering a better life for his ill wife (Sawyer) to the vain ambition of pleasing his vamp wife by doing something special (Cook).
Despite the film's qualities, Kubrick's treatment of the women's rôles seems more than old-fashioned today. Women here are either the homely and sweet type (Coleen Gray) or the Bette-Davis-eyed and cherchez-la-femme type (Marie Windsor). Both are accordingly taller or smaller than their respective partners by a head.
I should like to mention one of my favourite pans: that's when the bald philosopher-catcher walks up to Joe Sawyer's bar. Lucien Ballard's camera follows him all across the crowded tote hall, a take which must have been very difficult to organize and shoot. Later, the scene is repeated with Sterling Hayden.
This motion picture is also a monument for the great histrionic art of Elisha Cook, Jr., in a stand-out performance as the born loser. (German dubbing gives him the apt voice of Stan Laurel's speaker Walter Bluhm.) This little man never just did his job in unnumerable supporting rôles but has rendered effective homage to the tragic figure on the silver screen more than any other (non-comical) character actor I can think of. Regardless of his versatility in lots of different films, his impersonations of a likeable man who is doomed to fail make him unforgettable: take his lethal parts in "Phantom Lady" (1944), "Shane" (1953) or the likes, the audience's sympathy was always with this fine actor.
A fine new note was the neat distinction between the gang's members' motives, ranging from repaying underworld debts (De Corsia) and hope of offering a better life for his ill wife (Sawyer) to the vain ambition of pleasing his vamp wife by doing something special (Cook).
Despite the film's qualities, Kubrick's treatment of the women's rôles seems more than old-fashioned today. Women here are either the homely and sweet type (Coleen Gray) or the Bette-Davis-eyed and cherchez-la-femme type (Marie Windsor). Both are accordingly taller or smaller than their respective partners by a head.
I should like to mention one of my favourite pans: that's when the bald philosopher-catcher walks up to Joe Sawyer's bar. Lucien Ballard's camera follows him all across the crowded tote hall, a take which must have been very difficult to organize and shoot. Later, the scene is repeated with Sterling Hayden.
This motion picture is also a monument for the great histrionic art of Elisha Cook, Jr., in a stand-out performance as the born loser. (German dubbing gives him the apt voice of Stan Laurel's speaker Walter Bluhm.) This little man never just did his job in unnumerable supporting rôles but has rendered effective homage to the tragic figure on the silver screen more than any other (non-comical) character actor I can think of. Regardless of his versatility in lots of different films, his impersonations of a likeable man who is doomed to fail make him unforgettable: take his lethal parts in "Phantom Lady" (1944), "Shane" (1953) or the likes, the audience's sympathy was always with this fine actor.
- frank_olthoff
- Jul 8, 2001
- Permalink
Details
Box office
- Budget
- $320,000 (estimated)
- Gross worldwide
- $380
- Runtime1 hour 24 minutes
- Color
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