Traficantes da Morte

A narcotics agent helped by an ex-con and a blonde floozie goes undercover to nab a criminal gang.

The routine story is boosted by a good cast and some nice production touches. That opening shootout grabs us right away, along with the moody location shots of San Francisco, and later, in and around Tucson. The film was made at a time when movies were hitting the streets instead of the sound stages, so it's a good chance to catch styles and relics, circa 1949.

Surprise, surprise, veteran bad guy Duryea actually gets a semi-sympathetic role and only has to snarl once. And catch the unforgettable Shelley Winters, just starting her whiny isn't-she- cheap act. Between them, they lend real color to the production, along with a sneakily jovial John McIntire as the dude ranch host.

Some film buffs may not be aware of director William Castle's career before becoming a notorious schlockmeister with gimmicky teenage films like 13 Ghosts (1960) or The Tingler (1960). But he had a very respectable career at RKO with the brilliantly offbeat The Whistler series of the late '40's before coming over to Universal for this crime drama.

There're a number of good touches here. Catch a young Tony Curtis as the mute hit-man, a role made all the more effective by his pretty-boy good looks. Also, what a great way to heighten suspense by handing off that life-or-death message to a possibly non-English speaker, or by filming the climactic scene at an actual border-crossing with its rows of backed-up cars.

No, a programmer like this won't win any awards, but it's another example of how energetic movie-making was during its studio period.

Enjoyable minor film noir with a good cast, tough dialog, and interesting locations. Dan Duryea and Tony Curtis (in a non-speaking role) would appear the same year in CRISS CROSS, while John McEntire and Barry Kelley would be in THE ASPHALT JUNGLE the following year. Also in the cast Shelley Winters and Howard Duff.

This is a frequently used plot of a government agent or policeman secretly infiltrating a criminal organization and it works very well with Duff and especially Duryea, playing the leads. Winters is a sympathetic call-girl and McEntire is great as a duplicitous character. The day-for-night locations in Mexico (or a stand-in for it) are dramatically shot with overhanging clouds and trees that seem to glow in the shadows. William Castle directs and he's at his best. Not a major noir by any means, but a fine film that deserves to be restored.

One of the more underrated actors of his day was Dan Duryea. He never became a household name but the actor had a great knack for playing all sorts of characters...some good, some pure evil and many in between. Here, you get a good chance to see him at his best. Along for the ride is Howard Duff, whose part is strictly by the book and not particularly interesting. Additionally, in one of his first films is Tony Curtis who plays a mute assassin of all things!

There is an international drug ring running from Mexico all the way to Vancouver. The federal authorities have some leads...but not much. So, to help them infiltrate this mob, George (Duff) arranges to have Johnny Evans (Duryea) released early from prison. The problem is George isn't very sure how far he can trust his new partner and they go undercover at a dude ranch outside of Tucsan, Arizona. Things get complicated when Johnny brings along a dame he feels sorry for (Shelley Winters), though having her along might easily jeopardize everything.

The film is mostly unremarkable but enjoyable. However, the movie really had a terrific ending--and this alone help elevate the movie above the ordinary. Well worth seeing.

Treasury agent George Morton (Howard Duff) convinces a prisoner he knew as a kid (Dan Duryea) to help him go undercover in "Johnny Stool Pigeon" from 1949.

Along the way, they meet Shelley Winters, who works in a mob club, and she becomes involved in their scheme. The three of them wind up at a Tucson dude ranch run by John McIntire as they attempt to uncover a heroin smuggling operation going through Nogales.

Duryea and Duff share a mutual dislike. The question is, will Duryea reveal to the mobsters that Duff is a cop? Meanwhile, a mute mob associate (Tony Curtis) recognizes Duff from somewhere, but he doesn't seem to be able to put it together.

Pretty routine story with good acting, directed by William Castle, told in the sem-documentary style that was popular for movies involving the government in the '40s.

The striking thing about this film to me was how incredibly young these actors were! Shelley Winters was slender and pretty, Duff was trim and handsome, and Curtis was positively adorable. This was his third film; he came to the attention of audiences when he danced with Yvonne DeCarlo in Criss Cross. Easy to see why. I'm prejudiced. I used to work for him.

Howard Duff (Morton) goes undercover to bust a drug gang. However, he needs the help of his former friend Dan Duryea (Johnny Evans) who he has condemned to a life in prison. The two men do not get on with each other. Duryea helps Morton get a new identity and they then have to work as a team to infiltrate a powerful gang of heroin dealers. They make the necessary contacts but they are treated with suspicion, especially by luxury ranch owner John McIntire (Nick Avery). Can they keep their word to each other and stick together?

This is a quick moving film that also stars a young Tony Curtis as a mute bodyguard/hit-man. All the cast do well with Dan Duryea being especially likable as a criminal who doesn't like cops. I have to admire his underhand ways as demonstrated when Duff doesn't allow him to go to the bar to meet Shelley Winters (Terry). Duryea takes advantage of a visit by McIntire to pick up his jacket and let Duff know that he's going to the bar by just walking out of the room leaving Duff powerless to do or say anything infront of a guest. We then see him sitting with Winters and enjoying himself. Good for him – nice move, Duryea! He plays by his own rules and keeps the viewer guessing as to whether or not he is going to betray Duff.

It's filmed on location in San Francisco and Arizona and has an ending that had me cheering!