Crafty small-time con man Arch Hammer (a nicely shifty portrayal by Harry Townes) has the ability to change his face and assume the personalities of other people. Hammer takes on the identity of recently deceased jazz trumpeter Johnny Foster (well played by Ross Martin) so he can seduce Foster's lounge singer lover Maggie (an excellent and affecting performance by Beverly Garland). But things don't go as smoothly as planned.
Director John Brahm keeps the enjoyable story moving along at a snappy pace, makes nifty use of subtle slight of hand visual effects, and ably crafts a snazzy noir atmosphere. Rod Serling's clever script has a ball with the shape shifter premise and culminates in a satisfying harsh comeuppance for Hammer at the end. Moreover, there are sturdy acting contributions from Phillip Pine as fearsome mobster Virge Sterig, Don Gordon as disgraced boxer Andy Marshak, Peter Brocco as Marshak's bitter father, and Bernard Fein as wormy hoodlum Penell. The sharp black and white cinematography George T. Clemens boasts lots of lively camera-work complete with inspired askew angles. Jerry Goldsmith's groovy jazz score further enhances the fun pulpy mood. An on the money show.
Director John Brahm keeps the enjoyable story moving along at a snappy pace, makes nifty use of subtle slight of hand visual effects, and ably crafts a snazzy noir atmosphere. Rod Serling's clever script has a ball with the shape shifter premise and culminates in a satisfying harsh comeuppance for Hammer at the end. Moreover, there are sturdy acting contributions from Phillip Pine as fearsome mobster Virge Sterig, Don Gordon as disgraced boxer Andy Marshak, Peter Brocco as Marshak's bitter father, and Bernard Fein as wormy hoodlum Penell. The sharp black and white cinematography George T. Clemens boasts lots of lively camera-work complete with inspired askew angles. Jerry Goldsmith's groovy jazz score further enhances the fun pulpy mood. An on the money show.