"You know that guy would make a wonderful stranger. I don't know why you put up with him." — "Because he's my buddy, that's why." For this film that's a sample of scintillating dialogue. This movie was obviously shot on the cheap in a converted telephone booth. Newsreel footage is employed with a liberal hand by director/editor Kenneth G. Crane. Yes, it's a real cheapo, meanwhile-in-the-stock-footage effort with a few plyboard sets, a Mickey Mouse music score, a lot of dialogue and no action except a mild shoot-out at the climax.
Bronson is not well served by the budget and this film would be a good example of how much the success of his films owe to their high- budget mounting. Without that back-up, he is a distinctly less attractive proposition. The support cast, the dull, wordy script, the routine direction and camera-work are not much help and though Bronson does his best he just cannot overcome these limitations. In fact, this film is worth seeing solely for the opportunity of viewing Misses Carlyle and Wakefield.
Yes, Bronson is athletic. In one scene he jumps from a roof ledge to the street below. But otherwise he benefits little from Crane's relentlessly TV-close-ups style of unimaginative direction. Of course you can save a lot of money by making a movie this way — and saving money seems to be this picture's principal aim. Not only are the dialogue scenes in closet sets tediously dull, but the similarly economy-minded action spots are directed with an eye to the incorporation of as much stock footage as possible. Even the most undiscriminating action fans will find this one distinctly mediocre at best. When hell broke loose... Well, when did it?
Bronson is not well served by the budget and this film would be a good example of how much the success of his films owe to their high- budget mounting. Without that back-up, he is a distinctly less attractive proposition. The support cast, the dull, wordy script, the routine direction and camera-work are not much help and though Bronson does his best he just cannot overcome these limitations. In fact, this film is worth seeing solely for the opportunity of viewing Misses Carlyle and Wakefield.
Yes, Bronson is athletic. In one scene he jumps from a roof ledge to the street below. But otherwise he benefits little from Crane's relentlessly TV-close-ups style of unimaginative direction. Of course you can save a lot of money by making a movie this way — and saving money seems to be this picture's principal aim. Not only are the dialogue scenes in closet sets tediously dull, but the similarly economy-minded action spots are directed with an eye to the incorporation of as much stock footage as possible. Even the most undiscriminating action fans will find this one distinctly mediocre at best. When hell broke loose... Well, when did it?