Look too for Jack Klugman (Frankie) in one of his earliest film roles. His humorless, Bassett hound face is perfect for the dogged investigator who knows the importance of visualizing and goes where the evidence takes him, regardless. In addition to Stewart's fine performance is King Calder's (Armstong). In my book, it's a sensitive dimension that helps lift this 80- minutes beyond the simply well-crafted. Instead they play up her heartbreak as this drably devoted wife watches the collapse of everything she holds dear. It would have been so easy to shove this plain-faced woman aside as Stevens cavorts with the lovely Linda (Farr). But what I especially like is his and Stevens' attention to jilted wife Ruth (Stewart). Aben Kandel's script is carefully plotted, dribbling out pieces of information that keep us glued to developments- plus that great opening hook with its careful staging. For example, there're the surly baggage handler and the brusque airplane mechanic, both colorful bits that could have easily remained routine. Unlike Kubrick's classic, this caper film doesn't rise to semi-artistic heights, but it is tight, tough, and well-acted, with some nice touches. At about the time Kubrick was making a reputation with his heist film The Killing (1956), Mark Stevens put together this little gem. Gang executes intricate train robbery, putting two insurance investigators on their trail, with a major twist.
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