IMDb RATING
7.0/10
3.3K
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 the Chef
- (uncredited)
Jimmie Dundee
- Hijack Driver
- (uncredited)
Storyline
Did you know
- TriviaFirst of seven films that Kirk Douglas and Burt Lancaster made together.
- Goofs(at around 57 min) Dave has explained how the club is organized financially. Frankie turns, walks away in confusion, then turns back to Dave facing downstage right. Then there is a jump cut and Frankie is suddenly turned 90 degrees facing downstage left.
- 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
Celebrity Noir
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.
helpful•251
- dougdoepke
- Sep 17, 2011
- How long is I Walk Alone?Powered by Alexa
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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