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Alles auf eine Karte

Originaltitel: Underworld U.S.A.
  • 1961
  • 18
  • 1 Std. 39 Min.
IMDb-BEWERTUNG
7,3/10
4224
IHRE BEWERTUNG
Dolores Dorn in Alles auf eine Karte (1961)
Official Trailer
trailer wiedergeben2:27
1 Video
44 Fotos
DramaKriminalitätThriller

Füge eine Handlung in deiner Sprache hinzuA teenager who witnesses the murder of his father vows to exact revenge on the four mobsters involved in the killing.A teenager who witnesses the murder of his father vows to exact revenge on the four mobsters involved in the killing.A teenager who witnesses the murder of his father vows to exact revenge on the four mobsters involved in the killing.

  • Regie
    • Samuel Fuller
  • Drehbuch
    • Samuel Fuller
    • Joseph Dineen
  • Hauptbesetzung
    • Cliff Robertson
    • Dolores Dorn
    • Beatrice Kay
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,3/10
    4224
    IHRE BEWERTUNG
    • Regie
      • Samuel Fuller
    • Drehbuch
      • Samuel Fuller
      • Joseph Dineen
    • Hauptbesetzung
      • Cliff Robertson
      • Dolores Dorn
      • Beatrice Kay
    • 42Benutzerrezensionen
    • 39Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Videos1

    Underworld U.S.A.
    Trailer 2:27
    Underworld U.S.A.

    Fotos44

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    Topbesetzung31

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    Cliff Robertson
    Cliff Robertson
    • Tolly Devlin
    Dolores Dorn
    Dolores Dorn
    • Cuddles
    Beatrice Kay
    Beatrice Kay
    • Sandy
    Paul Dubov
    Paul Dubov
    • Gela
    Robert Emhardt
    Robert Emhardt
    • Earl Connors
    Larry Gates
    Larry Gates
    • John Driscoll
    Richard Rust
    Richard Rust
    • Gus Cottahee
    Gerald Milton
    Gerald Milton
    • Gunther
    Allan Gruener
    • Smith
    David Kent
    David Kent
    • Tolly Devlin - Aged 14
    Tina Pine
    • Woman
    • (as Tina Rome)
    Sally Mills
    Sally Mills
    • Connie Fowler
    Robert P. Lieb
    • Police Chief William Fowler
    Neyle Morrow
    Neyle Morrow
    • Barney
    Henry Norell
    • Dr. Meredith
    Alan Aaronson
    • Boy
    • (Nicht genannt)
    James Bacon
    James Bacon
    • Newspaperman
    • (Nicht genannt)
    Peter Brocco
    Peter Brocco
    • Vic Farrar
    • (Nicht genannt)
    • Regie
      • Samuel Fuller
    • Drehbuch
      • Samuel Fuller
      • Joseph Dineen
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen42

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    7ccthemovieman-1

    In A Word: Tough

    Written, directed and produced by Sam Fuller, this is a tough, straight-talking, no nonsense film noir. This is like a 1940s noir but it's 1961 instead. So, instead of the boxy cars, of the Forties you have long- finned late 1950s automobiles. Otherwise, it''s the same genre.

    You get the same film noir photography: black-and-white with lots of nighttime shots and a lot of tough characters. I just wish they had at least really likable person to root for, but I didn't find any. The "hero," played well by Cliff Robertson, is a tough, revenge-obsessed guy and that's basically the storyline as he tracks down the hoods who beat up and killed his father.

    Even though the rest of the cast doesn't have big names, many of the faces are familiar and all are good actors. This is an earlier "Point Blank" film seven years before that came out - same kind of story.

    Of the women in here, I found Dolores Dorn the most interesting.
    7kenjha

    Brutal Crime Drama

    A juvenile delinquent witnesses the murder of his father by mobsters and seeks revenge as an adult. This is a brutal crime drama, with lively direction by Fuller, although he goes a bit overboard with shadows, closeups, and zooms. Robertson is not bad, but seems miscast as the tough guy who, driven by vengeance, singlehandedly takes on the syndicate. The best performances are turned in by the two leading actresses: Dorn (recalling Stella Stevens) as a gangster's moll and Kay (recalling Thelma Ritter) as a mother-figure for Robertson. Also notable are Rust as a ruthless mob henchman and Gates as a federal prosecutor.
    7secondtake

    Action and intensity make up for some second rate aspects...

    Underworld U.S.A. (1961)

    Sam Fuller's movies have an edgy, reckless quality to them, as if lacking propriety. Which is good. What Underworld U.S.A. lacks in subtlety it makes up for in surprise and a kind of sultry sizzle, something very different than more usual "romance" that other crime and noir movies have. There is some second rate acting throughout, but if you accept some of this as "style" and go with the flow, it's click along nicely. In fact, the lack of star power makes the film a hair more everyday, and therefor a hair more realistic in a good way. And the lead male going solo through much of it is first rate, Cliff Robertson.

    Not that this is actually believable--it feels contrived all the way--but it has a modern interpersonal selfishness and sometimes cruelty that is fun to watch. The plot? Great enough. But the searing looks, the slaps, the brooding closeups. This is movie-making! Certainly an influence on Tarantino.

    As a black and white crime film with a slightly low budget feel, this naturally comes labelled as a film noir. And there are some similarities. But it's also a crime drama, more directly, and it explores (and exploits) the violence of cops and robbers circa 1960. There a lot of unsavory types involved, and some crisp filming. If you like other Sam Fuller films, you'll like this one.
    dougdoepke

    Spotty but Compelling

    Who else but the creative Fuller would follow a little girl's murder with two grisly skinned turkeys for cooking. What a striking way to symbolize the horror of the murder. As expected, the movie's visuals, especially close-ups, keep eyes riveted. The story's about revenge as Tolly (Robertson) schemes his way into the criminal combine that murdered his father. The script underlines how the combine's criminal claws reach into most every aspect of government. Once inside he plays a double game with lawman Driscoll (Gates) that he uses to exact revenge on his four targets. Meanwhile he discovers that ex-hooker Cuddles (Dorn) is more than a sexy distraction.

    The first part amounts to a textbook of noir. Filming seldom leaves the dirtiest alleys of Columbia's shadowy backlot. After that, drama switches to more conventional lighting and sets, as the threads of Tolly's revenge spread. It's a great supporting cast from fatso Emhardt to tough gal Kay, to handsome, gimlet-eyed Richard Rust as a cold-blooded killer. If Rust had a psycho giggle, he'd be up there with Richard Widmark in Kiss of Death {1947}. To me, however, Robertson underplays to a fault. I never get the occasional sizzle that should intensify a revenge narrative. Over-playing is the usual pitfall for a movie like this, but here the outcome is the unfortunate opposite. Also, the screenplay, though boldly conceived, scatters during the last part, making developmental threads hard to follow. A tighter focus would help.

    Nonetheless, there's plenty of compensation thanks mainly to Fuller's camera, plus touches like Tolly's permanent facial scar, symbolic of his wounded psyche. There's also that unexpected ending with its poetically apt trash can. Anyway, the flick may not be top-flight, but good or not so good, it's clearly the work of a movie auteur.
    9Quinoa1984

    one of those finite definitions of a gritty B-noir, done just right

    Writer/director Samuel Fuller is not personally attached to the material he presents in Underworld USA in the sense of it being autobiographical. But it is pretty likely, from listening to interviews with him and just from seeing his other work in the noir-esquire realm of motion pictures, that he knew at least the world these characters are in. Or at least he knows what kinds of emotions and what lies underneath certain aspects of lesser pulp fiction- and has a kind of journalistic sensibility that is all his own, telling it like it is from the mean streets of who-knows. It's got an assured eye working the gears, and it by-passes some usual clichés to get at some more interesting bits within some of the conventions. This is in the bones just a tale of revenge, but Fuller wants the little things and moments that make up such a tale, and how the characters can be more realized than might usually be. I liked, for example, early on when Tolly Devlin is 14 and makes a comment to his mother about something in the middle of their conversation- the mother doesn't say anything, but there's a quick, tight close-up of her face to catch the moment. It actually stuck with me longer than I expected, even as the main parts of the scene went along.

    Another part that really, really impressed me was when Devlin (Cliff Robertson, not bad at all in a part that gets to stretch his skills somewhat), nearing the end of his prison term, and finally finds one of the men who beat his father to death when he saw when he was 14. The scene is very tense, but somehow very human too, as Tolly has to contend with a dying man that he has to kill with his own hands. Soon, Fuller gets the gears of the story going further, as he vows revenge against the others who committed the crime, making him pull an undercover act to infiltrate the mob to get close to them, particularly Earl Conners (Rober Emhardt, a plum role for him considering all of his TV parts). But he also falls for a woman, Cuddles, played by Dolores Day, and like Fuller's Crimson Kimono, the weight of the main thrust of what Tolly needs is balanced against what he could also have with his possible romantic interest, caught up in the emotional bog he's in.

    I liked a lot how Robertson tapped well enough into the character to make him plausible, even sympathetic. He understands what Fuller is going for, a slightly more realistic- or more powerful kind of representation in the midst of the hard-boiled dialog and more complicated scenes- as he's playing a character who actually has a past, a childhood shown as shattered and made as the complete context that he has to contend with as an adult, despite women around him telling him otherwise. I still remember plenty of shots in the film too (not the gun-shots, the camera-work I mean), and this is after having seen the film months ago, and the driving musical score from Harry Sukman (a solid Fuller collaborator). That Fuller extracts a good deal of compelling entertainment out of a premise that seems pretty standard and even slight is remarkable, and ranks among the other fine superlative B-movies he was doing at the time.

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    • Wissenswertes
      Hanging on the wall in Driscoll's office is a certificate bearing the symbol of the U.S. Army's First Infantry Division - the unit that Samuel Fuller served in during World War II and depicted in The Big Red One (1980). The same type style for the infantry's numeral "1" is also featured in a reading campaign poster in front of National Accounts, the gangster headquarters building. The certificate is for the 16th Infantry Regiment in which Fuller was a corporal.
    • Patzer
      The opening sequence takes place in December 1939, and Tolly is 14 years old. The bulk of the story begins in June 1960 and takes place immediately thereafter. Sandy comments to Tolly that he's 32 years old now.
    • Zitate

      Sandy: Why don't you take a good look at yourself. What do you see? A doctor? A scientist? A businessman? You see a scar-faced ex-con. A two-bit safecracker. A petty thief who don't know when he really made the big time. Where do you come off to blast her? No matter what she's been, what she's done. She's a giant! And you wanna know why? Well, I'll tell ya. Because she sees something in you worth saving. If only one tenth of one percent of all the good in her could rub off on you, you'd be a giant, too. But you're a midget! In your head, in your heart, in your whole makeup. You're a midget!

    • Verbindungen
      Edited into Gli ultimi giorni dell'umanità (2022)
    • Soundtracks
      The Anniversary Waltz
      (uncredited)

      Written by Dave Franklin and Al Dubin

      Hummed by Mrs Farrar when Tolly visits her

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    FAQ

    • How long is Underworld U.S.A.?
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    • Gun Used by Robertson---Did Cagney & Bogart Use the Same Gun?

    Details

    Ändern
    • Erscheinungsdatum
      • 23. Juni 1961 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Underworld U.S.A.
    • Drehorte
      • Columbia/Sunset Gower Studios - 1438 N. Gower Street, Hollywood, Los Angeles, Kalifornien, USA(Soundstage interiors)
    • Produktionsfirmen
      • Columbia Pictures
      • Globe Enterprises
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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

    Technische Daten

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    • Laufzeit
      1 Stunde 39 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.85 : 1

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