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Pitfall

  • 1948
  • Approved
  • 1 Std. 26 Min.
IMDb-BEWERTUNG
7,1/10
4987
IHRE BEWERTUNG
Raymond Burr, Dick Powell, and Lizabeth Scott in Pitfall (1948)
Married insurance adjuster John Forbes falls for femme fatale Mona Stevens while her boyfriend is in jail and all suffer serious consequences as a result.
trailer wiedergeben1:47
1 Video
38 Fotos
Film NoirDramaKriminalitätThriller

Der verheiratete Versicherungssachverständige John Forbes verliebt sich in die Femme fatale Mona Stevens, während ihr Freund im Gefängnis sitzt, was schwerwiegende Folgen für alle Beteiligte... Alles lesenDer verheiratete Versicherungssachverständige John Forbes verliebt sich in die Femme fatale Mona Stevens, während ihr Freund im Gefängnis sitzt, was schwerwiegende Folgen für alle Beteiligten hat.Der verheiratete Versicherungssachverständige John Forbes verliebt sich in die Femme fatale Mona Stevens, während ihr Freund im Gefängnis sitzt, was schwerwiegende Folgen für alle Beteiligten hat.

  • Regie
    • André De Toth
  • Drehbuch
    • Jay Dratler
    • Karl Kamb
    • William Bowers
  • Hauptbesetzung
    • Dick Powell
    • Lizabeth Scott
    • Jane Wyatt
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,1/10
    4987
    IHRE BEWERTUNG
    • Regie
      • André De Toth
    • Drehbuch
      • Jay Dratler
      • Karl Kamb
      • William Bowers
    • Hauptbesetzung
      • Dick Powell
      • Lizabeth Scott
      • Jane Wyatt
    • 86Benutzerrezensionen
    • 45Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 wins total

    Videos1

    Trailer
    Trailer 1:47
    Trailer

    Fotos38

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    Topbesetzung20

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    Dick Powell
    Dick Powell
    • John Forbes
    Lizabeth Scott
    Lizabeth Scott
    • Mona Stevens
    Jane Wyatt
    Jane Wyatt
    • Sue Forbes
    Raymond Burr
    Raymond Burr
    • MacDonald
    John Litel
    John Litel
    • District Attorney
    Byron Barr
    Byron Barr
    • Bill Smiley
    Jimmy Hunt
    Jimmy Hunt
    • Tommy Forbes
    Ann Doran
    Ann Doran
    • Maggie
    Selmer Jackson
    Selmer Jackson
    • Ed Brawley
    Margaret Wells
    • Terry
    Dick Wessel
    Dick Wessel
    • Desk Sergeant
    • (as Dick Wassel)
    Eddie Borden
    Eddie Borden
    • Prison Visitor
    • (Nicht genannt)
    Helen Dickson
    Helen Dickson
    • Fashion Show Attendee
    • (Nicht genannt)
    Ben Erway
    Ben Erway
    • Doctor
    • (Nicht genannt)
    Don Haggerty
    Don Haggerty
    • District Attorney's Man
    • (Nicht genannt)
    Sam Harris
    Sam Harris
    • Man in Diner
    • (Nicht genannt)
    Thomas Martin
    • Bartender
    • (Nicht genannt)
    David McMahon
    David McMahon
    • Police Lieutenant
    • (Nicht genannt)
    • Regie
      • André De Toth
    • Drehbuch
      • Jay Dratler
      • Karl Kamb
      • William Bowers
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen86

    7,14.9K
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    Empfohlene Bewertungen

    8shotinthetabloid

    chilling anticipation of the coming 50's

    This is an all-around great noir film, as well as a very chilling anticipation of the sterlingness of the coming 50's ethos of home and fidelity at any price. Dick Powell gives a great performance as a man so tired of life and full of malaise that he can hardly stumble through his days as an insurance adjuster and "loving" father . Raymond Burr is the antithesis of his later Perry Mason (or the good-hearted Paul Drake) as a creepy detective stalking the low-rent Lizabeth Scott. And Jane Wyatt is (unintentionally?) the scariest of them all as Powells' homemaking wife. (After her son has a nightmare, she blames his comic books - and takes them away to be burned!) Pitfall is a fine example of the type of noir film that explores not the criminal underworld but the hidden pain and loneliness of the "everyman".
    9bmacv

    De Toth's subversive look at the organization man gone astray

    Andre De Toth's Pitfall opens in the shaky sanctuary of post-war domestic bliss. Jane Wyatt cracks eggs into a cast-iron skillet, to be served to her insurance-claims adjuster husband Dick Powell and their tousle-haired young son; the cozy breakfast nook where they exchange morning what-if banter looks out upon a vista of the New California of subdivisions and revolving credit and sunny possibilities yet to be realized. But, as Wyatt drives Powell into downtown Los Angeles (two-car families still being around the corner), he grouses absently about his routine job and clockwork schedule before giving her a perfunctory peck on the cheek. The canker has invaded the rose. As he later confesses, he feels he's in a rut `six feet deep,' and yearns for freedom – adventure. He gets more than he bargained for.

    Waiting for him in his office is `Gruesome,' private investigator Raymond Burr, who's done some legwork concerning a convicted felon who has defrauded the company. The felon (Byron Barr) squandered most of his ill-gained money showering his girlfriend (Lizabeth Scott) with furs, an engagement ring and even a little speedboat. Burr, in the course of his sleazy sleuthing, has taken quite an obsessive fancy to her, but Powell warns him off, saying he'll wrap the case up himself.

    At first Scott dismisses Powell as just `a little man with a briefcase,' an assessment that tallies too well with his own worst self-image. But to no one's surprise, in this climate of Pacific air and marital dissatisfaction, he ends up taking his own fancy to her, one that turns out to be mutual. They tear around the harbor in her boat, then fritter away the rest of the afternoon in a dim cocktail lounge. He doesn't get back to hearth and home ‘till the wee small hours.

    One night when his son is awakened by nightmares, Powell lectures him: `Take only good pictures and have only good dreams.' It's a case of do what I say, not what I do. By veering off from the straight and narrow, Powell has set into motion a chain of baleful events. The vindictive Burr assaults him outside his garage. Scott discovers that Powell's been hiding his life as a married father. Ex-cop Burr starts visiting Barr in stir, sowing seeds of jealousy and plans for revenge. Events converge one dreadful night with an unplanned pair of killings that leave the quick, arguably, worse off than the dead....

    Jay Dratler's script (from his own novel) shows a progressive streak in dealing with the short and unpredictable fuses of controlling, potentially violent males – stalkers. The script also serves the assembled cast well. True, there's not much to be done with Wyatt, with her cap-sleeved house-dresses and finishing-school elocution, but she's more plausible than she would be two years later as a highly unlikely femme fatale in The Man Who Cheated Himself. Here, she's the distaff side of those male dictators, a wife whose ideals of suburban decorum are chiseled into cold marble (she's a faint forerunner of Joan Crawford's Harriet Craig).

    But Powell gets to tap deeply into his key emotion, snappish discontent, and lets it deepen into something close to small-time tragedy. Scott, always an iconic presence but an actress with limits, finds a comfortable part as a bewildered and vulnerable victim of the men who come into her life, bidden and unbidden. Burr, billed fourth (after Wyatt!), possibly fares best. Much in demand in the late ‘40s as one of the creepiest heavies, he earned that demand by providing extra (and maybe unasked-for) dimensions to the thugs he played. Like the giant Fafner in Das Rheingold, he lets a bit of yearning, of desperation, show under all his intimidating bulk (and in sheer avoirdupois, it's one of his biggest roles).

    De Toth, better remembered for his westerns and 3-D horror pix like House of Wax, made, in Pitfall, one of the more distinctive titles of the noir cycle. Not often mentioned in top-ten lists, even those of black-and-white crime films of the post-war era, it has the effrontery to situate deceit and duplicity and betrayal where it surely ought not to belong – not in road houses or tenement flats but right at the heart of a storybook American family (it's one of the more subversive films of the era).. Yes, there are lapses, chief among which is a score that keeps trying to crack corny little jokes. But in the denouement – far from unleashing a hideous storm of terror, De Toth opts for cold detachment – he casts a chill that lingers still.
    8claudio_carvalho

    Magnificent Film-Noir

    In Los Angeles, the insurance executive John Forbes (Dick Powell) is a family man bored with his routine suburban life with his wife Sue (Jane Wyatt) and their son Tommy (Jimmy Hunt). When a man called Bill Smiley (Byron Barr) is arrested for embezzlement, Forbes hires the private investigator J.B. MacDonald (Raymond Burr) to find where the money is. MacDonald discovers that Smiley spent part of the money giving gifts to his girlfriend Mona Stevens (Lizabeth Scott) and becomes obsessed with her. Forbes goes to Mona's apartment to collect the gifts and he does not tell that he is married. Soon they have a brief love affair until Mona learns that his married with child. Meanwhile MacDonald unsuccessfully tries to seduce Mona that becomes friend of Forbes. When Smiley is near to be released, MacDonald poisons him against Forbes and on the day that Smiley is discharge, he gives a gun to him. What will happen to Forbes and Smiley?

    "Pitfall" is a magnificent film-noir with a realistic story and well- developed characters. The direction and performances are top-notch and the cast gives credibility to the plot with excellent lines. Dick Powell and Jane Wyatt perform a mature couple that expects to supersede their problem. The gorgeous and sexy Lizabeth Scott is perfect in the role of a seductive femme-fatale. But Raymond Burr steals the show in the role of a despicable and Machiavellian villain. The open end is another plus in this great film. My vote is eight.

    Title (Brazil): "Caminho da Tentação" ("Way to Temptation")
    7ArtVandelayImporterExporter

    Lizabeth Scott steals the film

    Dick Powell is the insurance investigator. Raymond Burr is the private eye who does contract work for the insurance company. Lizabeth Scott is the girlfriend of the guy who stole a bunch of loot.

    Naturally, every guy falls in love with Scott. Director Andre De Toth draws out a believably warm, human quality in her performance. Powell's character is so bored stiff at home with super-sweet wife Jane Wyatt that he chases the first dame who bats an eyelash at him. His wry delivery of some very clever lines seems fresh to this day. Burr's character is a nasty creep who probably murders h00kers in his spare time so his stalking Scott is completely believable. Once they mix in the old boyfriend, who gets sprung from jail in time for the Third Act, things get murder-y.

    To be honest, I expected a different character to die. Or at least get arrested. In any event, the wrong character got the comeuppance. It may have had something to do with the Hayes Office. Would be fun to see a remake.
    7cherold

    Decent little noir about bad men and unfortunate women

    There are a number of ways you can look at this movie, but for me it's a film about a nice girl who can't catch a break with guys. The underrated Lizabeth Scott is effective as a nice girl who's too sexy for her own good; she made me think of the famous Jessica Rabbit line, "I'm not bad, I'm just drawn that way."

    Unfortunately, the men in Lizabeth's life are a psycho stalker, beautifully played with understated menace by Raymond Burr, a cheater having a mid-life crisis, and a jailbird. And my impression is every one of them would blame Lizabeth for their own failings.

    Taken with the film's other major female character, who has man problems of her own, this movie thinks little of men (unless they are very young or very old), and pretty highly of women.

    For me the standout performances were Burr and Scott, but the funny thing about this movie is that, outside of Burr, no one here at IMDb seems to agree much about who's good and who isn't.

    While noir films are associated with the detective genre, what makes something noir is its exploration of the darkness within its characters souls and the awful things people are capable of, and this movie takes that on very effectively. It's not a great movie, but it keeps you interested.

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    Handlung

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    • Wissenswertes
      This was independently produced by Regal Films and released through United Artists. For decades, the film was rarely seen. It can be seen today through the preservation efforts of the UCLA Film and Television Archives.
    • Patzer
      The public elevator indicator in the Los Angeles Hall of Justice building shows floors 1 to 19. However, in reality, the building is only 14 stories tall.
    • Zitate

      Tommy Forbes: Dad was a boxer in college!

      Doctor: I think he was wise to go into insurance.

      Doctor: [handing a prescription to Sue Forbes] Take this up to the drug store.

      Sue Forbes: What is it?

      Doctor: A course in boxing.

    • Verbindungen
      Featured in Noir Alley: Pitfall (2018)
    • Soundtracks
      We Could Make Such Beautiful Music Together
      (uncredited)

      Music by Henry Manners

      Lyrics by Robert Sour

    Top-Auswahl

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    Details

    Ändern
    • Erscheinungsdatum
      • 24. August 1948 (Vereinigte Staaten)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprachen
      • Englisch
      • Französisch
    • Auch bekannt als
      • Die Falle - Pitfall
    • Drehorte
      • 5424 Bradna Drive, Los Angeles, Kalifornien, USA(Forbes Family Home)
    • Produktionsfirma
      • Regal Films
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    Box Office

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    • Budget
      • 1.000.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 26 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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