IMDb RATING
7.0/10
3.5K
YOUR RATING
Frankie Madison leaves prison expecting a share from his ex-partner. But Prohibition bootlegging didn't prepare Frankie for Big Business.Frankie Madison leaves prison expecting a share from his ex-partner. But Prohibition bootlegging didn't prepare Frankie for Big Business.Frankie Madison leaves prison expecting a share from his ex-partner. But Prohibition bootlegging didn't prepare Frankie for Big Business.
Jorge Rigaud
- Maurice
- (as George Rigaud)
Bobby Barber
- Newsboy
- (uncredited)
Brooks Benedict
- Nightclub Patron
- (uncredited)
John Bishop
- Ben
- (uncredited)
Charles D. Brown
- Police Lt. Hollaran
- (uncredited)
Gino Corrado
- George
- (uncredited)
James Davies
- Masseur
- (uncredited)
Jean Del Val
- Henri--Chef
- (uncredited)
Jimmie Dundee
- Hijack Driver
- (uncredited)
Storyline
Did you know
- TriviaI Walk Alone (1947) was the first film in which actors Kirk Douglas and Burt Lancaster were teamed. In total, they made seven films together.
- GoofsAt around ten minutes from end of the film, the main characters are travelling back to the city. After they pay the toll-booth attendant to cross a bridge, the car they are travelling in is seen speeding along beneath some elevated railway tracks. However, it is seen driving on the left side of the road, rather than the right side, for the USA. Some signage in the background is also reversed. An editing error (ie. footage got spliced in upside down) or it was deliberately put in this way to give the viewer the impression the car was travelling west to east.
- Quotes
Nick Palestro: For a buck, you'd double-cross your own mother.
Skinner: Why not? She'd do the same to me.
- ConnectionsEdited into Dead Men Don't Wear Plaid (1982)
- SoundtracksDon't Call It Love
Lyrics by Ned Washington
Music by Allie Wrubel
Performed by Trudy Stevens (uncredited)
[Kay (Lizabeth Scott) sings the song at the club]
Featured review
No need to recap the plot. There's one key scene unlike anything in the rest of 40's noir. Frankie (Lancaster) invades Dink's (Douglas) office to muscle in on what he's owed of Dink's big operation. But Frankie's a gangster of the uncomplicated 1930's, while Dink's a white-collar criminal of the coming 1950's. So. By the time Dink's accountant Dave (Corey) is through answering each of Frankie's threats with another layer of corporate ownership that can't possibly be divided, Frankie's reduced to a bundle of quivering frustration. In short, Dave has beaten all Frankie's assembled thugs with what amounts to a maze of legalese. As a result, piles of paper prove ultimately more powerful than gangs of gunmen in what amounts to a great unexpected scene.
All in all. The movie's decent 40's noir, long on atmosphere but too long on talk, at least to my liking. I suspect the screenplay was tailored to showcase producer Wallis's top 3 new stars, especially Scott who gets a lot of romantic dialog along with sultry screen time. The overall result is a movie composed of too many under-blended showcase scenes- - some quite good-- that nevertheless don't really gel into a compelling whole. It's the kind of movie where the stars are more memorable than the story.
Scott and Douglas, for example, really shine. Scott does some of the best acting of her career as the conflicted glamour girl. But I especially like Douglas's slimy version of a smooth-talking mastermind who's so self-assured, you can't wait to see him get what he's got coming. Douglas's early career specialized in such compromised types, a revelation to those only familiar with his later, more heroic, career. For his part, Lancaster does well enough with his distinctive looks, but Frankie is a less showy role than the other two.
Anyway, one thing for sure—producer Wallis certainly had an eagle eye for new talent, as this movie more than demonstrates.
All in all. The movie's decent 40's noir, long on atmosphere but too long on talk, at least to my liking. I suspect the screenplay was tailored to showcase producer Wallis's top 3 new stars, especially Scott who gets a lot of romantic dialog along with sultry screen time. The overall result is a movie composed of too many under-blended showcase scenes- - some quite good-- that nevertheless don't really gel into a compelling whole. It's the kind of movie where the stars are more memorable than the story.
Scott and Douglas, for example, really shine. Scott does some of the best acting of her career as the conflicted glamour girl. But I especially like Douglas's slimy version of a smooth-talking mastermind who's so self-assured, you can't wait to see him get what he's got coming. Douglas's early career specialized in such compromised types, a revelation to those only familiar with his later, more heroic, career. For his part, Lancaster does well enough with his distinctive looks, but Frankie is a less showy role than the other two.
Anyway, one thing for sure—producer Wallis certainly had an eagle eye for new talent, as this movie more than demonstrates.
- dougdoepke
- Sep 16, 2011
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Details
- Release date
- Country of origin
- Languages
- Also known as
- 14 Jahre Sing-Sing
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 37 minutes
- Color
- Aspect ratio
- 1.37 : 1
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