“Gold isn’t money — it’s a religion!” REVIEW:A crazed prospector (Hugo Haas) uses his beautiful new wife (Cleo Moore) as “bait” in order to lure his partner (John Agar) into a compromising situation. Czechoslovakian emigre Hugo Haas made a string of low-budget noir-style films in the 1950s, usually telling tales of lust, greed, and romantic entanglements. Although Haas’s films are often cited as simply tawdry melodramas, they’re actually well-crafted, funny, and entertaining . Haas takes a traditional love triangle and turns it inside-out, with the older husband (Haas) of sexy Cleo Moore encouraging his wife to get it on with Agar – who (surprisingly) resists as much as possible. Indeed, although we expect Moore to be a no-good femme fatale, it turns out she’s a “decent” woman simply hoping to do the right thing for herself and her baby. Moore — who starred in no less than seven of Haas’s films in the 1950s — makes it all work. A better actress than the sassy Beverly Michaels (star of Haas’s first American film, PICKUP), she has more spark than a Zippo lighter, and more sizzle than a $2 steak. John Agar is boringly insipid as her would-be lover. Hugo Haas is the most charismatic character, and it’s hard not to root for him despite his devious nature and diabolical plans. A strangely fascinating low-budget tale of greed, lust, and seduction.
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REVIEW:A crazed prospector (Hugo Haas) uses his beautiful new wife (Cleo Moore) as “bait” in order to lure his partner (John Agar) into a compromising situation. Czechoslovakian emigre Hugo Haas made a string of low-budget noir-style films in the 1950s, usually telling tales of lust, greed, and romantic entanglements. Although Haas’s films are often cited as simply tawdry melodramas, they’re actually well-crafted, funny, and entertaining . Haas takes a traditional love triangle and turns it inside-out, with the older husband (Haas) of sexy Cleo Moore encouraging his wife to get it on with Agar – who (surprisingly) resists as much as possible. Indeed, although we expect Moore to be a no-good femme fatale, it turns out she’s a “decent” woman simply hoping to do the right thing for herself and her baby. Moore — who starred in no less than seven of Haas’s films in the 1950s — makes it all work. A better actress than the sassy Beverly Michaels (star of Haas’s first American film, PICKUP), she has more spark than a Zippo lighter, and more sizzle than a $2 steak. John Agar is boringly insipid as her would-be lover. Hugo Haas is the most charismatic character, and it’s hard not to root for him despite his devious nature and diabolical plans. A strangely fascinating low-budget tale of greed, lust, and seduction.
