That, and other cheerful little catch phrases spoken as gangster slang in this gangster melodrama (British-style), are spoken by a cast of British actors given some hilarious tough guy talk.
In this terse screenplay they need little prodding to slug someone with a fist or a gun while the plan is to kidnap and rob a wealthy socialite who turns out to have a yen for the lead criminal (AL LA RUE). He has a role crying out for an American actor like Bogart or Garfield if this were a Warner melodrama. La Rue does alright but he's about as wooden as George Raft when it comes to delivering key lines with any enthusiasm.
LINDEN TRAVERS is the pretty socialite captured by a bunch of thugs and falling quickly into the Patty Hearst syndrome when she becomes a willing victim willing to escape the sheer boredom of her life as a pampered daughter of a wealthy aristocrat.
HUGH McDERMOTT is the detective set on her trail by her father who only wants to free her from captivity. It all feels like a Mickey Spillane thriller with little sympathy for any of the victims who get shot for the slightest infringement at a moment's notice.
The nightclub scenes seem to have been inspired by GILDA ('46), with a songstress rendering a non-too-subtle rendition of a torch song in a flimsy peekaboo dress while around her all sorts of plotting and planning is going on somewhere in the dark.
Not bad, but don't expect the dialog to have the sharp touch intended. "Drop your anchor in that chair," is about the best you can expect between all the slapping and punching and gunshots that abound in every other scene. The gangster slang gets a workout and some of the jargon is downright hilarious.
In this terse screenplay they need little prodding to slug someone with a fist or a gun while the plan is to kidnap and rob a wealthy socialite who turns out to have a yen for the lead criminal (AL LA RUE). He has a role crying out for an American actor like Bogart or Garfield if this were a Warner melodrama. La Rue does alright but he's about as wooden as George Raft when it comes to delivering key lines with any enthusiasm.
LINDEN TRAVERS is the pretty socialite captured by a bunch of thugs and falling quickly into the Patty Hearst syndrome when she becomes a willing victim willing to escape the sheer boredom of her life as a pampered daughter of a wealthy aristocrat.
HUGH McDERMOTT is the detective set on her trail by her father who only wants to free her from captivity. It all feels like a Mickey Spillane thriller with little sympathy for any of the victims who get shot for the slightest infringement at a moment's notice.
The nightclub scenes seem to have been inspired by GILDA ('46), with a songstress rendering a non-too-subtle rendition of a torch song in a flimsy peekaboo dress while around her all sorts of plotting and planning is going on somewhere in the dark.
Not bad, but don't expect the dialog to have the sharp touch intended. "Drop your anchor in that chair," is about the best you can expect between all the slapping and punching and gunshots that abound in every other scene. The gangster slang gets a workout and some of the jargon is downright hilarious.