A doomed female hitchhiker pulls Mike Hammer into a deadly whirlpool of intrigue, revolving around a mysterious "great whatsit".
|拉尔夫·米克 (Ralph Meeker)||饰||Mike Hammer|
|阿尔伯特·德科 (Albert Dekker)||饰||Dr. G.E. Soberin|
|保罗·斯图尔特 (Paul Stewart)||饰||Carl Evello|
|华诺·埃尔南德斯 (Juano Hernandez)||饰||Eddie Yeager|
|韦斯利·阿迪 (Wesley Addy)||饰||Lt. Pat Murphy|
One night while driving down a dark road near Los Angeles, private detective Mike Hammer (Ralph Meeker) nearly runs down a young woman named Christina (Cloris Leachman) standing in the road who begs for a ride. Hammer gives the blonde a ride thinking she may be an escaped lunatic since she is only dressed in a trenchcoat. When they confront a road block, Hammer covers for the young woman after she gives him a story about some mysterious characters who are chasing her. Hammer shrugs it off until a car cuts them off and several shady men grab them, kidnap Christina and run Hammer off a cliff des…
"I don't care what you do to me, Mike - just do it fast!"
Blood red kisses! White hot thrills! Mickey Spillane's latest H-bomb!
- 声音混合： Mono (Glen Glenn Sound)
- 纵横比：1.85 : 1 (intended r
|出品公司||Parklane Pictures Inc.|
|发行公司||AB Globefilm, Stockholm (re-release) (1960) (Theatrical) (Sweden)|
|Urania Film (1988) (Theatrical) (Finland)|
|Les Artistes Associés S.A.B. (1955) (Theatrical) (Belgium)|
|Ciné-Sorbonne (restored version) (re-release) (2016) (Theatrical) (France)|
|Barcino Films (1986) (Theatrical) (Spain)|
|Continental Home Vídeo (2003) (DVD) (Brazil)|
|Park Circus (re-release) (2006) (Theatrical) (United Kingdom)|
- Although 维克多·萨维勒 is credited as Executive Producer and Director 罗伯特·奥尔德里奇 is credited only as Producer, in reality, Aldrich had it written into his contract that he had complete control over the picture, and it would be made the way he wanted it, specifically stipulating that his decisions could not be overruled by any studio representative.
- Filmed in less than three weeks.
- The Kefauver Commission, a federal unit dedicated to investigating corrupting influences in the 1950s, singled this out as 1955's number one menace to American youth. Because of this, 罗伯特·奥尔德里奇 felt compelled to conduct a writing campaign for the free speech rights of independent filmmakers.