Although the name of Richard Connell is in the credits, when it finally comes the famous hunt is from expedience rather than for kicks. Trevor Howard, (although he gives himself away by reading Nietzsche in German) resembles Julian Amery rather than a typical Nazi, that role being filled by scowling henchman Peter Van Eyck.
There's an awful lot of talk before we eventually cut to the chase, but when it finally comes - benefit of location photography in Mexico in colour & scope by veteran Joseph La Shelle - it proves worth the wait; while as the heroine Jane Greer finally comes into her own in jeans, blouse and dishevelled hair.
The film's biggest surprise is that it was the work of Roy Boulting (personally asked to take over the direction on the request of Richard Widmark), serving as a reminder that this was the man who gave use the nail-biting 'Seven Days to Noon', which also made an exemplary use of locations.
There's an awful lot of talk before we eventually cut to the chase, but when it finally comes - benefit of location photography in Mexico in colour & scope by veteran Joseph La Shelle - it proves worth the wait; while as the heroine Jane Greer finally comes into her own in jeans, blouse and dishevelled hair.
The film's biggest surprise is that it was the work of Roy Boulting (personally asked to take over the direction on the request of Richard Widmark), serving as a reminder that this was the man who gave use the nail-biting 'Seven Days to Noon', which also made an exemplary use of locations.