6.6/10
253
7 user 3 critic

Black Tuesday (1954)

Approved | | Crime, Drama, Film-Noir | 6 May 1955 (France)
Gangster Vincent Canelli and bank robber Peter Manning escape from Death Row minutes before their execution by electric chair.

Director:

Hugo Fregonese

Writers:

Sydney Boehm (screenplay), Sydney Boehm (story)
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Cast

Cast overview:
Edward G. Robinson ... Vincent Canelli
Jean Parker ... Hatti Combest
Peter Graves ... Peter Manning
Milburn Stone ... Father Slocum
Warren Stevens ... Joey Stewart
Sylvia Findley Sylvia Findley ... Ellen Norris
Jack Kelly ... Frank Carson
Hal Baylor ... Lou Mehrtens
James Bell ... John Norris
Vic Perrin Vic Perrin ... Dr. Hart
Russell Johnson ... Howard Sloane
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Storyline

Vicious gangster Vincent Canelli pulls off a daring prison escape just moments before going to the electric chair, taking with him Peter Manning - a bank robber and cop killer who was to die right after him. Taking several hostages along, they try to get their hands on the loot from Manning's robbery to finance their escape from the country. Written by scgary66

Plot Summary | Add Synopsis

Taglines:

The most ruthless Robinson of all time! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

6 May 1955 (France) See more »

Also Known As:

Martes tragico See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White (Eastman Tri-X)| Black and White

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Film was banned by the Memphis Censor Board due to the film's grimness and brutality. See more »

Goofs

A priest administers the last rites to a person who is already dead. See more »

Quotes

Father Slocum: Listen to me, Vincent... you can't keep on killing and killing.
Vincent Canelli: No? Just watch me.
See more »

Connections

Referenced in Il Bidone (1955) See more »

Soundtracks

Black Tuesday Blues
by Bob Parrish
See more »

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User Reviews

 
Ideal Late Night Noir
30 April 2003 | by secragtSee all my reviews

An interesting and surprisingly obscure prisoner-on-the-run crime drama, BLACK TUESDAY is perfectly suited for Late, Late Show viewing in the wee small hours of the morning, when much of the action takes place. Like KEY LARGO (also featuring Edward G. Robinson), THE DESPERATE HOURS and the PETRIFIED FOREST, the second half turns into a confined space stageplay. The large cast holed up in the even larger safehouse is game, however, and despite a few unintentionally funny and seemingly out of place romantic interludes, things otherwise generally remain taut. It's like old TV home week as no less than three players from the Desilu stage (Vic Perrin and William Schallert from Star Trek guest appearances, Peter Graves from Mission: Impossible right next door on the lot) get significant screen time. Also look for Russell (The Professor) Johnson in a minor part. Graves in particular has a much more emotive adult part than he customarily got (other than Stalag 17) and he goes for it with gusto, if not much panache. Still, Robinson is at his melodramatic "Where's your messiah now?" best here, blithely slapping broads, torturing gunshot victims and going out in a Little Caeseresque hail of bullets / blaze of glory.

Seasoned noir veteran Sydney (SIX BRIDGES TO CROSS, ROGUE COP, UNION STATION, THE HIGH WALL and most notably, THE BIG HEAT) Boehm's script is not brain surgery (the prison breakout is dazzlingly improbable) and is frankly a bit derivative of movies like Cagney's KISS TOMORROW GOODBYE and Bogey's HIGH SIERRA. Also, they obviously didn't spend much on production values. Still, there is no one more iconic in this kind of capo titti capi role than Edward G. Robinson and given the lack of exposure this movie has had in the last 40 years, seeing Robinson's performance is akin to unearthing buried noir treasure. Any fan of Edward G. should immediately seek out this elusive screener because his vicious performance is nothing short of breathtaking, and trumps any of the limitations of this movie.


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