Professional burglar Nat Harbin and his two associates, Baylock and Dohmer, set their sights on wealthy spiritualist Sister Sarah, who has inherited a fortune — including a renowned emerald necklace — from a Philadelphia financier.
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A very good late noir with all the tropes covered. It gets the most out of it's low budget with wonderful location shooting and night photography when film stocks weren't very fast and this production had a minimum of lights at its disposal--certainly compared to now. Dan Duryea is always a great crook, and young Jane Mansfield is a surprise. A must for noir buffs by a good director, at least here--Angel Baby too.
Gritty noir with occassional hokey performances; still great to watch. Jewels, dirty copper, femme fatale, lots of shadows. I was five when they shot this in my home town. Enjoyed seeing Atlantic City the way it was before the 'greed machines' took over.
To me this is one of the first student noirs. It wasn't made by intuition, but by careful study and imitation of other filmmakers (definitely Welles and Hitchcock). Later directors (like Altman and Polanski) would do this better, but sometimes I love watching a young filmmaker work through his influences and try to come out the other side. This director mostly succeeds.
A gem from the late film noir era. Some say Paul Wendkos owes a lot to Orson Welles whom he admired, it's nevertheless visually stunning, if sometime a little too mannered. Performances are great: Dan Duryea perfect in this unusually gentler role, Martha Vickers is fine as the embittered femme fatale, and Jayne Mansfield sensitive and moving as Gladden, far from the dumb blonde type she was to play later.