Director: RALPH HABIB. Screenplay: Marcel Achard. Screenplay contributor: Albert Valentin. Based on the 1940 short story, "Cinderella and the Mob" by William Irish (pseudonym of Cornell Woolrich). Photography: Pierre Petit. Film editor: Raymond Lanin. Music: Michel Elmer. Art director: Georges Wakhévitch. Make-up: Archeliau. Production manager: Fred Surin. Sound recording: Roger Biart. Producer: Christine Gouze-Rénal. Executive producer: Pierre Cabaud.
A Pathé Cinema Production, not copyright 1957 in the U.S.A. Acquired by American-International for American distribution, the movie was not released theatrically but was made available for TV broadcasts. 85 minutes.
SYNOPSIS: Gangsters use teenager Dany Carrel to find out where a man, just released from prison, has stashed the ten million dollars he stole before his arrest.
COMMENT: William Irish devotees may be a bit disappointed, but this elusive romantic thriller is certainly worth tracking down. Superbly photographed and brilliantly set by famed art director Wakhévitch, it features some excellent performances, particularly from Carrel and Louis Jourdan. The story is admittedly slow to get under way, but director Habib makes a grand effort to make up for this shortcoming with lots of style. Oddly, once the main thriller segment is introduced, the direction becomes less showy, but it is never less than engagingly competent.
A Pathé Cinema Production, not copyright 1957 in the U.S.A. Acquired by American-International for American distribution, the movie was not released theatrically but was made available for TV broadcasts. 85 minutes.
SYNOPSIS: Gangsters use teenager Dany Carrel to find out where a man, just released from prison, has stashed the ten million dollars he stole before his arrest.
COMMENT: William Irish devotees may be a bit disappointed, but this elusive romantic thriller is certainly worth tracking down. Superbly photographed and brilliantly set by famed art director Wakhévitch, it features some excellent performances, particularly from Carrel and Louis Jourdan. The story is admittedly slow to get under way, but director Habib makes a grand effort to make up for this shortcoming with lots of style. Oddly, once the main thriller segment is introduced, the direction becomes less showy, but it is never less than engagingly competent.
