Producer: Anthony Muto. Copyright 1958 by 20th Century-Fox Film Corp. New York opening at neighborhood cinemas: 10 December 1958. U.S. release: December 1958. U.K. release: 27 July 1958 (sic). Australian release: 11 September 1958. 7,841 feet. 87 minutes. U.K. release title: HOW TO ROB A BANK.
SYNOPSIS: For five years Max Rutgers has been taking vitamin pills, delaying his marriage to Margie Solitaire, and losing all his money on slow horses. When Margie gives him an ultimatum — marriage or else — Max's free-loading pal, Gus, comes up with an idea: rob a bank! With incredible ease the two pull off a robbery, take the $30,000 and set themselves up with a racing stable in Saratoga. Reluctantly, they take in their blackmailing bookie friend, Rocky, as a third owner. They bet everything on their horse, Tattooed Man, who wins the race but is disqualified on a foul. Broke again, the boys pull another robbery, but this time with something less than their earlier success.
NOTES: Tom Ewell's Fox career took off with a bang when he starred opposite Marilyn Monroe in "The Seven Year Itch". He was then top- billed over Monroe challengers Sheree North in "The Lieutenant Wore Skirts" and Jayne Mansfield in "The Girl Can't Help It". On loan-out to M-G-M, he headlined "The Great American Pastime" which failed to secure a New York showcase. Although he received lead billing in "A Nice Little Bank", at this stage his career was in decline.
COMMENT: I remember this one received unanimously enthusiastic reviews from the New York critics. It is indeed a diverting little comedy. And it's cleverly scripted by long-time gangster-movie specialist, Sydney Boehm (based on an article by Evan Wylie).
I particularly like the brilliant send-up of the obligatory police raid at the climax, masterfully directed by Henry Levin. Acting is very entertaining, with Rooney ranting and raving delightfully and Mickey Shaughnessy giving solid support. Tom Ewell tends to overdo the mugging, but he has some good moments, particularly when he is alone in the bank with old-time silent star Madge Kennedy and Richard Deacon doing his manager bit.
Production credits are good, especially the black-and-white CinemaScope photography by Leo Tover.
SYNOPSIS: For five years Max Rutgers has been taking vitamin pills, delaying his marriage to Margie Solitaire, and losing all his money on slow horses. When Margie gives him an ultimatum — marriage or else — Max's free-loading pal, Gus, comes up with an idea: rob a bank! With incredible ease the two pull off a robbery, take the $30,000 and set themselves up with a racing stable in Saratoga. Reluctantly, they take in their blackmailing bookie friend, Rocky, as a third owner. They bet everything on their horse, Tattooed Man, who wins the race but is disqualified on a foul. Broke again, the boys pull another robbery, but this time with something less than their earlier success.
NOTES: Tom Ewell's Fox career took off with a bang when he starred opposite Marilyn Monroe in "The Seven Year Itch". He was then top- billed over Monroe challengers Sheree North in "The Lieutenant Wore Skirts" and Jayne Mansfield in "The Girl Can't Help It". On loan-out to M-G-M, he headlined "The Great American Pastime" which failed to secure a New York showcase. Although he received lead billing in "A Nice Little Bank", at this stage his career was in decline.
COMMENT: I remember this one received unanimously enthusiastic reviews from the New York critics. It is indeed a diverting little comedy. And it's cleverly scripted by long-time gangster-movie specialist, Sydney Boehm (based on an article by Evan Wylie).
I particularly like the brilliant send-up of the obligatory police raid at the climax, masterfully directed by Henry Levin. Acting is very entertaining, with Rooney ranting and raving delightfully and Mickey Shaughnessy giving solid support. Tom Ewell tends to overdo the mugging, but he has some good moments, particularly when he is alone in the bank with old-time silent star Madge Kennedy and Richard Deacon doing his manager bit.
Production credits are good, especially the black-and-white CinemaScope photography by Leo Tover.