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IMDbPro

Le quatrième homme

Titre original : Kansas City Confidential
  • 1952
  • Approved
  • 1h 39min
NOTE IMDb
7,3/10
8,7 k
MA NOTE
John Payne in Le quatrième homme (1952)
Conspiracy ThrillerFilm NoirHeistCrimeDramaThriller

Un ancien détenu qui essaie de rester sur le droit chemin est accusé d'un vol de voiture blindée d'un million de dollars et doit se rendre au Mexique afin de démasquer les véritables coupabl... Tout lireUn ancien détenu qui essaie de rester sur le droit chemin est accusé d'un vol de voiture blindée d'un million de dollars et doit se rendre au Mexique afin de démasquer les véritables coupables.Un ancien détenu qui essaie de rester sur le droit chemin est accusé d'un vol de voiture blindée d'un million de dollars et doit se rendre au Mexique afin de démasquer les véritables coupables.

  • Réalisation
    • Phil Karlson
  • Scénario
    • George Bruce
    • Harry Essex
    • Harold Greene
  • Casting principal
    • John Payne
    • Coleen Gray
    • Preston Foster
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,3/10
    8,7 k
    MA NOTE
    • Réalisation
      • Phil Karlson
    • Scénario
      • George Bruce
      • Harry Essex
      • Harold Greene
    • Casting principal
      • John Payne
      • Coleen Gray
      • Preston Foster
    • 123avis d'utilisateurs
    • 67avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
  • Photos121

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    + 113
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    Rôles principaux54

    Modifier
    John Payne
    John Payne
    • Joe Rolfe
    Coleen Gray
    Coleen Gray
    • Helen Foster
    Preston Foster
    Preston Foster
    • Tim Foster
    Neville Brand
    Neville Brand
    • Boyd Kane
    Lee Van Cleef
    Lee Van Cleef
    • Tony Romano
    Jack Elam
    Jack Elam
    • Pete Harris
    Dona Drake
    Dona Drake
    • Teresa
    Mario Siletti
    Mario Siletti
    • Tomaso
    Howard Negley
    Howard Negley
    • Andrews
    Carleton Young
    Carleton Young
    • Martin
    Don Orlando
    • Diaz
    Ted Ryan
    • Morelli
    Orlando Beltran
    • Porter
    • (non crédité)
    Ray Bennett
    Ray Bennett
    • Prisoner
    • (non crédité)
    Chet Brandenburg
    Chet Brandenburg
    • Robbery Spectator
    • (non crédité)
    Barry Brooks
    • Player
    • (non crédité)
    Charles Cane
    Charles Cane
    • Detective Barney
    • (non crédité)
    Edward Coch
    • Airline Clerk
    • (non crédité)
    • Réalisation
      • Phil Karlson
    • Scénario
      • George Bruce
      • Harry Essex
      • Harold Greene
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs123

    7,38.7K
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    Avis à la une

    8annabates

    great noir visuals

    Film noir at its best. All of the positive comments by other reviewers are accurate regarding the acting, directing and appropriately flawed "noir tale" script. John Payne is a textbook noir guy -- just out of prison, tormented, misunderstood and kicked around by the cops (who do not come out smelling good in this story) and a terrible trio of criminals. Add to that extraordinary film noir visual effects. This is exemplary film noir. The framed-in, claustrophobic scenes actually made me short of breath. The scene on the boat at the end is classic, and probably the prototype for subsequent scenes in other movies and TV shows. It reminded me of the Sopranos episode where Tony & Co. killed Big Pussy. The robbers in their creepy masks were so interesting to study that I watched that part several times. It reminded me of Kabuki theater. A real box of candy for noir connoisseurs. I recommend it highly.
    8bmacv

    The first Payne/Karlson collaboration: Everyman thrown to the wolves

    Driving a truckful of posies for a florist seems about as safe an occupation an ex-con could hope for. But for John Payne in Phil Karlson's Kansas City Confidential, it gets him framed for a million-two robbery. His trouble is that you can set a clock by his punctual rounds, and that one of his deliveries coincides with the arrival of the armored car at the bank next door. His comings and goings have been meticulously stop-watched by the mastermind of the heist (Preston Foster), a disgruntled policeman forced into retirement who seeks his weird sort of revenge.

    Foster's plan assembles a gang who wear masks during the plotting so they can't recognize one another, or him. Payne's just the innocent fall guy who's thrown to the cops. Those cops try to beat a confession out of him, but it won't stick. He nonetheless loses his job and ends up on the front pages as the prime suspect. So he goes on the earie and follows the robbers (Jack Elam, Lee Van Cleef and Neville Brand) down to Mexico, where they're to meet with `Mr. Big' again and divvy up the take.

    The spanner in the works proves to be Foster's daughter (Coleen Gray), striking sparks with Payne as he poses as one of the conspirators killed in Tijuana en route to the rendezvous. Gray's an aspiring lawyer in ignorance of daddy's scheme – which is to turn over the robbers, thus rehabilitating himself with the force, and to collect the insurers' reward of $300-large.

    Those south-of-the-border resort bungalows, during the noir cycle at any rate, were hotbeds of passion and gunplay. Karlson gives us a little of the former (not his long suit) but plenty of the latter. Over cardgames in the lobby and chance meetings amid the subtropical foliage at night, the unknown players try to sniff one another out and gain whatever edge they can. Their final gathering, aboard a boat called the Manana, shakes out as a crashing intersection of cross-purposes.

    Like Dick Powell, Payne started off as a crooner and hoofer, a light leading man (his best remembered role is as Maureen O'Hara's fiancé in Miracle on 34th Street). But in three films under Phil Karlson's direction (plus Robert Florey's in The Crooked Way and Allan Dwan's in Slightly Scarlet), he ended up one of the most convincing ordinary-guy protagonists in the noir cycle. He's tough, all right, but still shows the flop-sweat of fear; and he's smart, too, but because he's forced to be – what he's trying to hang onto is all he's got.

    Off-screen, he was even smarter, seeing the potential revenue in color films (like Hell's Island and Slightly Scarlet) when selling to television was at most a pipe dream. But as an actor in the ambiguous world of film noir, he's seldom given the credit he deserves. He's every bit as good as Powell or Glenn Ford, if not quite so emblematic as Humphrey Bogart or Robert Mitchum or Burt Lancaster. Karlson's brutal, accomplished works late in the noir cycle gave Payne his place in the dark sun.
    8planktonrules

    Exceptional Noir--a must-see for fans of the genre

    This is an exceptional Film Noir movie that almost merits a score of 9--it's THAT good. Like good Noir, it features some of the ugliest and scariest actors and I applaud the producers for finding such a motley group! Jack Elam, Lee Van Cleef and Neville Brand are definitely the ugliest and toughest looking heavies of the age and here they all work together on a heist. The movie also stars John Payne and Preston Foster. While these two guys weren't as hideous as the other three, they were both well past their handsome prime--hence they were great Noir characters! In addition, the film is bloody and violent--definite pluses for Noir. While this may sound like Noir films are super-violent, they were compared to the average picture of the day but pale in comparison to more recent films. I like them because they are so gritty and realistic in their blunt portrayal of crime. In this case, watching John Payne slap the snot out of Van Cleef is an amazing scene. As for the plot, it's amazingly complex and interesting. So good, in fact, that I don't want to talk about the heist--lest if ruin the suspense. Suffice to say, it's well worth seeing with great writing, acting and all the elements you are looking for in Noir. A must-see for lovers of the genre.
    dougdoepke

    Nicotine Meets Noir

    What a burst of casting inspiration-- three premier baddies, Elam, Brand, and Van Cleef all together in the same film, menacing the heck out of a vengeful John Payne. Elam should have gotten extra pay since everybody and his brother knocks the skinny wild-eyed guy around. Actually, for awhile I thought the movie was one long cigarette commercial or at least a chain-smokers' revival meeting. Speaking of casting, Preston Foster really delivers in a sly role that runs the gamut from tough-talking mastermind to nice-guy fisherman, all in convincing fashion.

    "Kansas City" is, I believe, the first and clearly the best of a number of "Confidential" films made during the mid-fifties. For example, note the unusually brutal cop interrogation of fall-guy Payne. Keep in mind, this was during a Cold War time when the TV mega-hit "Dragnet" was professionalizing law enforcement's image nation-wide. Here, however, we get quite a different picture that certainly goes beyond the norm of the day. In fact, director Karlson, like noir filmmaker Anthony Mann, built a reputation for emphasizing the raw nature of thuggish violence, at least as much as the censors would allow. And this is certainly one of the more graphically brutal films of the era.

    All in all, it's a fine imaginative script, with a number of unconventional surprises. The robbery is cleverly plotted along with the get-away. I like the way the screenplay parcels out needed information instead of laying it all out at the beginning. That way, viewer interest is kept up since a new wrinkle might pop up at any moment. Even pretty girl Colleen Gray's part is nicely woven in at the end, after I thought she was just a romantic interest. I guess Dona Drake's role was a touch of local color or a favor to somebody since she adds nothing to the plot, but apparently her Mexican girl does sell more than just souvenirs.

    There are echoes from this movie in such later caper films as The Killing, Plunder Road, and Mark Steven's underrated Timetable. Some might consider this a noir film since Payne is trapped by unseen forces through no fault of his own. Nonetheless, other traditional noir elements are noticeably absent, such as the angular shadows of expressionist lighting and the lack of a customary spider woman. But it doesn't really matter how the movie's categorized because it remains something of a sleeper with a number of genuine surprises.
    9jesse.cohen

    A terrific vintage film noir

    This is a suspenseful, atmospheric film noir that is well worth checking out. I'd only seen Payne in musicals, but here he has a real understated intensity as a World War II vet out to clear his name. (In looks and affect he bears a resemblance to Kevin Spacey.) Preston Foster and a young Lee Van Cleef fill out the nest-of-vipers cast nicely. The wordless opening sequence is especially well done.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      John Payne broke some of Jack Elam's ribs in a fight scene.
    • Gaffes
      When approaching the bank for the heist, a mountain is clearly seen in the background. Kansas City is in the plains and has no mountains.
    • Citations

      Scott Andrews: [Speaking about Rolfe] ... left school to enlist with the engineers. Pretty good soldier too! Bronze Star, Purple Heart!

      Joe Rolfe: Try and buy a cup of coffee with them!

    • Crédits fous
      Opening credits prologue: "In the police annals of Kansas City are written lurid chapters concerning the exploits of criminals apprehended and brought to punishment."

      "But it is the purpose of this picture to expose the amazing operations of a man who conceived and executed a 'perfect crime,' the true solution of which is NOT entered in ANY case history, and could well be entitled 'Kansas City Confidential.'"
    • Connexions
      Edited into Tep No & KT Tunstall: Heartbeat Bangs (2021)
    • Bandes originales
      La Cucaracha
      (uncredited)

      Spanish Traditional

      Sung by Tomaso as he delivers the mail

    Meilleurs choix

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    FAQ14

    • How long is Kansas City Confidential?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 22 avril 1953 (France)
    • Pays d’origine
      • États-Unis
    • Langues
      • Anglais
      • Espagnol
    • Aussi connu sous le nom de
      • Kansas City Confidential
    • Lieux de tournage
      • Two Harbors, Santa Catalina Island, Channel Islands, Californie, États-Unis(scenes in "Borados")
    • Sociétés de production
      • Associated Players & Producers
      • Edward Small Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 39 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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