Though it's tempting to regard every black and white crime thriller as noir, there's a danger of reading too much into the merely monotone.
As here. This isn't film noir but film monotone, devoid of the irony, and the anger, of genre classics and instead graced by, and in part compensated with, some often sassy dialog and Cochran's acting.
As a movie, it's a mess: the title relates to a location of stolen money, but the money isn't stolen until well past the half way point in the running time, and so nobody's in hell, public or private, for almost an hour but are instead laboriously working their way to that point in the script when the movie can actually begin.
A curio for Siegel fans, and those with fond memories of Republic, but otherwise more like purgatory than the brand of Hades it purports to chronicle.
As here. This isn't film noir but film monotone, devoid of the irony, and the anger, of genre classics and instead graced by, and in part compensated with, some often sassy dialog and Cochran's acting.
As a movie, it's a mess: the title relates to a location of stolen money, but the money isn't stolen until well past the half way point in the running time, and so nobody's in hell, public or private, for almost an hour but are instead laboriously working their way to that point in the script when the movie can actually begin.
A curio for Siegel fans, and those with fond memories of Republic, but otherwise more like purgatory than the brand of Hades it purports to chronicle.