![]() ![]() But that’s nothing to the beating he inflicts on Kristine when, pride injured that he is not the breadwinner, he discovers the skimpy costume she wears for her job.Īdding to the unusual mix are Vido and Walter, the former’s brooding presence somewhat undercut by the fact that in middle age he still lives with his mother, the latter while a big-time gangster letting nothing get in the way of strong fraternal feeling for Eddie. In a brilliant Catch-22 situation he gets violent when an employment benefits clerk refuses to accept that Eddie was fired from his job, instead believing his employer’s claim that he resigned – the former triggering relief payment, the latter zilch. His tough streak has not been smothered by the good life. Kristine just wants a normal home life, desiring domesticity above all else, but swallowing her pride when she needs to go out to work in a night club to make ends meet, for a time rendering the unemployed Eddie a house husband.īut Eddie is not all he initially seems. And he’s stylish, too, wearing an iconic sheepskin jacket and driving a snazzy 1931 Ford Model A roadster. ![]() A loving father, he accepts without rancor when his daughter interrupts a night-time lovemaking session. Instead of Eddie being the usual down-on-his-luck ex-con, he has clearly turned his life around, so much so he can afford a $500 down payment on a small boat. Instead, it is the Eddie-Kristine relationship. While the robbery naturally takes center stage, that’s not actually the dramatic highlight. Eddie manages for a time to resist the overtures of brother Walter (Jack Palance) to participate in a million-dollar diamond. But tough cop Mike Vido (Van Heflin), with a reputation for brutality, is determined to pin a murder on him in revenge for purportedly being shot by him early in Eddie’s previous career. Had she continued in this vein, her career would certainly have taken a different turn.Įddie Pedak (Alain Delon), former minor hood turned San Francisco truck driver, is happily married to Kristine (Ann-Margret) with a young daughter they both adore. MGM was gambling on Frenchman Alain Delon ( The Leopard, 1963) to alter industry perceptions at the same time as pushing new contract star Ann-Margret ( The Pleasure Seekers, 1964) along more dramatic lines away from the glossy puffery that had made her name and which relied more upon her physical assets than acting potential. While Hollywood at this point had imported platoons of foreign beauties in the Sophia Loren-Elke Sommer vein, there had been less interest in the male of the species with the exception of a small British contingent and possibly Omar Sharif, on whom the jury was still out. In addition to this, there are some shots filmed at London Marylebone station and another of the old taxi rank adjacent to London Paddington.Latter-day film noir gem with terrific cast filmed in black-and-white and often at night that crams into a taut storyline different slants of the themes of the con-going-straight, the vendetta and the double-cross. Added to this footage are a number of stock shots that include an LMS 4-6-0 on an express, a GWR ‘Castle’ Class 4-6-0 passing through a halt, and an ‘over-the-camera’ shot of an LNER A1/A2 Class 4-6-2 at the very end, a shot which had originally appeared in the 1958 musical Six-Five Special. ![]() The main motive power that featured was WD ‘Austerity’ 2-10-0 No.601 Kitchener, seen a number of times in the film, though the other of Longmoor’s 2-10-0s No.600 Gordon is likely to have been used, and one of their Hunslet 0-6-0STs is also seen. This was filmed on the ever faithful Longmoor Military Railway in one of its first major roles, with Longmoor Downs station masquerading as ‘Fourways’. The climax sees a race against time to prevent the boy getting killed by playing chicken on a railway under duress from the gang of villains. This crime film has a railway sequence central to the latter half of the story. ![]() Starring: Jayne Mansfield and Anthony QuayleĪ lady mobster kidnaps the son of an ex-convict to get at stolen loot ![]()
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