Drifting floozy Billie Nash gets a bar job where she seduces the owner's husband by convincing him to defraud his drunkard wife in order to elope together to Mexico but a sleazy neighbor with designs on Billie jeopardizes her plans.
Low-budget, tabloid-lurid story with high camp value of older man falling for much younger beauty who's busy figuring out how she can kill him now that they're married. Nasty verbal ... See full summary »
Johnny Damico botches a murder case and is suspended from the force. In reality, he is put undercover to identify the mysterious boss of the NY waterfront who has murdered everyone in his way. Will Johnny be next in line?
A blonde floozy drifts into town and gets a job as a waitress at a local bar. She sets her sights on the bar's handsome owner, who is married to an alcoholic. Her plans are for the two of them to take the bar's money and skip to Mexico - but a boarder at the rooming house where she is staying discovers her plans, and comes up with a plan of his own.Written by
Rejected by the British Board of Film Censors on 11 November 1953, the film waited some 18 months for a London press showing. It was finally screened (whilst still uncertified) at United Artists' Own Theatre in Wardour Street on 13 May 1955. Press reaction was unusually hostile, with Kinematograph Weekly commenting: "Having turned it down, the censor should have sent it to a desert island." And the Monthly Film Bulletin only reviewed it in July 1955 because "it has been shown in some districts by permission of the local authorities." After five years the distribution passed to New Realm Entertainments who re-submitted it to the BBFC on 30 May 1960 where it passed with an "X" certificate, after cuts. Unfortunately, it tended to be shown at struggling independents such as Derby's soon-to-be-demolished Coliseum in January 1961. See more »
As Matt Bannister steps into Bille's room to assault her, you can see the bald head of someone pass out of the doorway, presumably Charlie Borg. But when the camera pans left, Borg is still standing on the far side of the bed. See more »
Beverly Michaels comes off like Gloria Grahame with a splash of Ann Savage's character in Detour. She exudes an airy, blue-collar charm that can quickly foment into a feisty, white-trashy pugnaciousness if provoked. As The Wicked Woman, she's a wonder to watch as she glides slinkily along the street, her long, lean, busty body sheathed in stark white. As she breezes off the bus and over to a low-rent rooming house, the viewer is wont to wonder just what swept such a stunner to these whereabouts. As the storyline unfolds at a slow, steadily deliberate pace, the audience observes her sleek-handed, worldly-wise reactions and can swiftly surmise a probable long-term pattern. She easily wins over many in her sway, like the lascivious gnome next door, the boozing boss and her handsome bartender husband, the habitual barflies. Those with whom she clashes, such as her fishwifey landlady and fault-finding fellow roomers, discover an opponent worth her salt. The plot is low-key and credible, and old hands like the irreplaceable Percy Helton make it reminiscent of fifties television anthologies. The film succeeds in what it was intended to be: a low-budget but well directed and acted character study of a beautiful, manipulative woman.
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