A murderous thief on the run with stolen loot forces a poor rancher to guide him across the desert into Mexico. Accompanying them is the rancher's wife, who happens to be the killer's former girlfriend.
(1961) Debra Paget, Daniella Rocca, Antonio Cifariello, Folco Lulli. The leader of a gang of Spanish mercenaries falls for a beautiful princess. Thing get dicey, however, when an imprisoned... See full summary »
A German architect runs away with the maharajah of Eschnapur's fiancee but is caught and thrown in the dungeon, while his relatives arrive from Europe looking for him and the maharajah's brother is scheming to usurp the throne.
Mobster Ron Candell is set up by his underlings - principally Andy Damon - and is convicted of murder. He escapes but finds himself in a nuclear testing area. He survives the blast but his body begins to undergo change at the cellular level, making him a man of steel. He makes his way back to town seeking revenge on those who testified against him, including his ex-girlfriend Linda Marlow. As he continues to mutate however, he become ever more dangerous. Stopping him however is easier said than done.Written by
According to director Allan Dwan, producer Benedict Bogeaus tricked him, the actors and crew members into working for low pay by claiming the project was actually a two-part pilot for a TV series. Bogeaus was caught by the heads of the Mexican movie unions, who read the script, realized it was for a feature film, and demanded that everyone employed on it be paid the higher feature-film rates. As a result, Dwan had to shoot the film in one week instead of five, and use only already existing sets. See more »
Before the explosion, the character Eddie Candell was wearing a jacket. Immediately after the explosion, he is not wearing a jacket. See more »
Mainly notable as prolific director Dwan's swan-song (and his tenth film for producer Benedict Bogeaus), this also happened to be his sole genre foray. Plot-wise, it recalls the recently-viewed 4D MAN (1959) and, even more so, Edgar G. Ulmer's similarly cheapskate hybrid of noir and sci-fi/horror THE AMAZING TRANSPARENT MAN (1960); interestingly, then, its having a man pursue those who framed him after undergoing an unwitting metamorphosis looks back to THE MONSTER AND THE GIRL (1941; also watched as part of the ongoing Halloween Horror challenge) while the device of an electrical booby-trap was seen too in HOUSE OF MYSTERY (1961; ditto). It is well-served by a good cast: Ron Randell (the cop on the trail of THE SHE-CREATURE ) has the title role; Anthony Caruso (from PHANTOM OF THE RUE MORGUE  – see review above) is his double-crossing nemesis; Morris Ankrum (I just saw him in BEGINNING OF THE END ) is, typically, a figure of authority; and we get two lovely leading ladies in Debra Paget and Elaine Stewart, as femme fatale and good-girl type respectively. The film, of course, tackles the predominant concern of the era – nuclear paranoia – as escaped death-row convict Randell turns up on a test site but miraculously survives a blast, only to have his flesh slowly evolve into a literally steely exterior which then comes in handy on his relentless payback mission, when he proves impervious to most kinds of weapons his enemies (and the pursuing Military and Police) can throw at him! Ultimately, he expires after being torched alive by a couple of flame-throwers: Stewart (who accompanies him most of the way as does a tied-up Paget) has to be forcibly removed from his side; poignantly, just prior to the final onslaught, his body temperature – by this point, icy cold – had begun to decrease (suggesting that, in the clash between human and machine that his shell had become, the former could still have taken the upper hand eventually)! Unfortunately, the ultra low-budget works against the film (in the copy I acquired, the exteriors are way too dark): I do not usually condone remakes (as many here know full well) but, watching this, I could not help feeling how effective the alterations in Randell's body (virtually inexistent here, though we do get to see a couple of mutant animals and plants) would have been depicted were this made 20 years later; ditto, his demise would have turned into something much more elaborate than mere sprayed cinders on a patch of land! Despite some lapses in continuity (when the supposedly police-guarded Stewart is seemingly effortlessly abducted by Caruso and his thugs), I would definitely contend that MOST DANGEROUS MAN ALIVE is still vastly preferable to Shinya Tsukamoto's insufferably grungy TETSUO (1989-92) movies.
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