| Photos (see all 2 | slideshow) |
| Barbara Stanwyck | ... | Helen Stilwin | |
| Barry Sullivan | ... | Doug Stilwin | |
| Ralph Meeker | ... | Lawson, the Fugitive | |
| Lee Aaker | ... | Bobby Stilwin | |
| rest of cast listed alphabetically: | |||
| Rico Alaniz | ... | Officer at 1st Roadblock (uncredited) | |
| Salvador Baguez | ... | Officer at 1st Roadblock (uncredited) | |
| Bob Castro | ... | Police Machine Gunner (uncredited) | |
| Carlos Conde | ... | Tijuana Vendor (uncredited) | |
| George L. Derrick | ... | Gas Station Attendant (uncredited) | |
| Paul Fierro | ... | Mexican Lieutenant (uncredited) | |
| Sol Gorss | ... | Captain's Driver talking to Helen (uncredited) | |
| Margarita Martín | ... | Mexican Mother (uncredited) | |
| Victor Milner | ... | Bit Part (uncredited) | |
| Alex Montoya | ... | Officer with Walkie-Talkie at 2nd Barricade (uncredited) | |
| George Navarro | ... | Tijuana Vendor (uncredited) | |
| Charles Stevens | ... | Mexican Father (uncredited) | |
| Ken Terrell | ... | Officer at 2nd Barricade (uncredited) | |
| Louis Tomei | ... | Officer at 2nd Barricade (uncredited) | |
| Juan Torena | ... | Mexican Police Chief (uncredited) | |
| Felipe Turich | ... | Mexican Border Official (uncredited) | |
| Natividad Vacío | ... | Persistent Tijuana Vendor (uncredited) | |
| Bud Wolfe | ... | Lieutenant's Driver (uncredited) | |
Directed by | |||
| John Sturges | |||
Writing credits(in alphabetical order) | ||
| Mel Dinelli | writer | |
| Maurice Zimm | story | |
Produced by | |||
| Sol Baer Fielding | .... | producer | |
| Charles Schnee | .... | producer (uncredited) | |
Original Music by | |||
| Dimitri Tiomkin | |||
Cinematography by | |||
| Victor Milner | |||
Film Editing by | |||
| Newell P. Kimlin | |||
Art Direction by | |||
| William Ferrari | |||
| Cedric Gibbons | |||
Set Decoration by | |||
| Fred M. MacLean | (as Fred MacLean) | ||
| Edwin B. Willis | |||
Costume Design by | |||
| Frank Delmar | (uncredited) | ||
Makeup Department | |||
| William Tuttle | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Joel Freeman | .... | assistant director | |
Sound Department | |||
| Douglas Shearer | .... | recording supervisor | |
Special Effects by | |||
| A. Arnold Gillespie | .... | special effects | |
Costume and Wardrobe Department | |||
| Helen Rose | .... | costumes: Miss Stanwyck | |
Music Department | |||
| Dimitri Tiomkin | .... | conductor | |
| Manuel Emanuel | .... | orchestrator (uncredited) | |
| Paul Marquardt | .... | orchestrator (uncredited) | |
| George Parrish | .... | orchestrator (uncredited) | |
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| Radar Patrol vs. Spy King | On Her Majesty's Secret Service | Poseidon | Trade | Jesse James Rides Again |
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| Full cast and crew | Company credits | External reviews |
| IMDb Film-Noir section | IMDb USA section | Add this title to MyMovies |
Leonard Maltin must've been watching some other movie. (Though I find his Guide to be quite a valuable resource, please disregard his comments on this one.) He states "starts off well then fizzles" when it's really the reverse - "starts off tepid then catches fire". The plot is about as simple as it gets. Happy Mom, Happy Dad and Happy Son take a vacation at an isolated beach, Dad incapacitated in accident, Mom runs off to get help, meets up with dangerous escaped convict. Mom tries to trick convict into helping while Dad waits and hangs on for dear life.
Good white-knuckler given an electric jolt by Ralph Meeker, appearing suddenly (the director, John Sturges, films it in a clever way that will make you gasp) around halfway through as the cunning, desperate criminal. Meeker is an unusually flippant, reckless actor (at least here and in the classic "Kiss Me Deadly") and he happily snatches the keys to the film's narrative and speeds off with the top down. His character has a habit of grinning childishly and saying "Pretty neat, huh?" when he's especially pleased with his misdeeds. There is a funny break in the action when they get a flat tire and he tersely instructs his hostage, Barbara Stanwyck, "Don't go away". She fires back "Where would I go?" (they're in the middle of nowhere) and he realizes sitcom-ishly "Yeah, that's right". The friction between them is a hoot.
There are flaws, somewhat ridiculous ones. There's one scene where the police, who have been chasing after Meeker for some time, stop Stanwyck's car and to evade detection Meeker rests his head on her shoulder like a loving husband supposedly would, and pretends to be asleep as she's being questioned. A. He looks conspicuously un-masculine in this pose and B. I think it's safe to say that any adult who appears to be asleep during an encounter with law enforcement would certainly arouse suspicion.
Still a sturdy thriller which builds to an exciting and edifying conclusion.