Crime

Ex-gangster Fernand (Lino Ventura) receives a call from a dying friend, a mob boss nicknamed “The Mexican”. The doomed mobster talks Fernand into taking care of some criminal business and looking after his soon-to-be-married daughter. When a longtime mobster heavy, Volfoni takes exception to Fernand for being an outsider, they come after Fernand who is equal to the task. He defends himself in a series of comical killings from the onslaught of the mob.
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Six months before his retirement from the criminal police, inspector Joss finds his colleague Gouvion dead, in a poorly faked suicide attempt. Joss loses his temper, and investigates on his own, which leads him through the bas-fond of Paris…
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17-year-old Jimmy Walker is brutally beaten by Manny Cole and two of his teen-age punk friends, Joey and Al, because Manny wants to move in on Jimmy’s girl, Carole Fields. Later, Jimmy shows up at the hangout of the teenage crowd to take Carole away, and challenges Manny to a fight. Manny’s two buddies move in with brass knuckles, and one of them pulls a pistol, which falls to the ground in the scuffle. Jimmy picks it up and shoots Manny and Al. A police officer orders Jimmy to surrender, but he panics, thinking he killed the pair, and dives into a small storeroom, and holds Sam and Mrs. Maxton and her small infant baby hostages. Police Lieutenant Porter and others plead with Jimmy to surrender and release the hostages, but the terrified Jimmy threatens Sam and Mrs. Maxton with death if they break out. A large crowd gathers and almost breaks through the police lines to storm the storeroom. Porter decides to use tear gas, with a rescue unit standing by to help Mrs. Maxton and her baby….
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Christopher Lee returns as Sax Rohmer’s insidious Asian villain Fu Manchu for the second of his five vehicles. This time Fu Manchu and his army of henchmen are kidnaping the daughters of prominent scientists and taking them to his remote island headquarters. Instead of asking for ransom, Fu demands that the fathers help him to build a death ray, which he intends to use to take over the world. But Fu’s archenemy, Nayland Smith of Scotland Yard, is determined not to let that happen…
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Years after the assassination of President George W. Bush in Chicago, an investigative documentary examines that as-yet-unsolved crime.
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This George Morris story was based on an article that appeared in “Woman’s Home Companion” and later reprinted in “Reader’s Digest.” Eddie Condon, a two-bit racketeer, teams up with an alcoholic doctor, Judson, to set up a maternity home with free facilities to expectant mothers, with the proviso that the women sign away all rights to their newborns. The babies are then offered for adaptation to couples willing to make a substantial “contribution” to the home. Things go well for this borderline within-the-law business until a baby is still-born. Conden had already sold the baby for $5,000 and has no intention of returning the money, so he substitutes the child of the sister of his wife. There is a slip-up on the filing of the certificates and the District Attorney’s office gets involved.
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A serial-killer is murdering the ladies of a night club. Detective Gray is seeking for the killer but can only find a lot of gangsters. And the killer is about to act again…
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Serpent’s Path and its companion piece Eyes of the Spider (Kumo No Hitomi) both start from the same premise: a man taking revenge for the murder of a child. Kurosawa used this premise as the jumping-off point for the two films rather than their definition, resulting in a pair of works which are not so much occupied with revenge, but with the mental processes of human beings in situations that have placed them outside everyday life.
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This factual biography of gang lord Al Capone follows his rise and fall in Chicago gangdom during the Prohibition era.
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The Big Boss is Jim Maloney (Otto Kruger), who pulls all the political strings in an unnamed major metropolis. Maloney’s chief antagonist is scrupulously honest “reform” governor Bob Dugan (John Litel). The fact that Maloney and Dugan are actually brothers, orphaned in childhood and raised separately, adds both texture and poignancy to their current adversarial relationship. Intending to reveal his fraternal ties to Dugan at a crucial moment in the latter’s anti-corruption campaign, Maloney is ultimately defeated by the forces of Righteousness. Outside of the always dependable Otto Kruger and John Litel, the film’s best performance is delivered by the underrated Gloria Dickson as a fairly realistic newspaperwoman.
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