Pretty good little programmer. Actor Hogan's sneak thief Jack Coley is no typical hero of the time— he steals, lies, and gets beaten up. But he is patriotic. Seems he steals from an unwitting courier (Kenney) hand-drawn diagrams for some important Soviet plans. Trouble is he doesn't know the significance of the notebook he steals, which came in a briefcase with his real target, a pile of jewels. So the diagrams end up lining a cat box! This sets off a chain reaction among the many players that goes from slum-dwellers in rags to guys in spiffy suits. The ending is shrewdly ambiguous given what's gone before.
I love the sleaze-ball parts, especially Ms Pray-tell, who's a landlady from heck. And that's along with Muskie (VeSota) looking like a toad that swallowed a beach-ball. Then there's the rat-trap rooms where Jimmy Hoffa may still be hiding. All totaled, these sets may have cost a buck-eighty. Anyway, Nan's (Kenney) a fetching innocent among the low-lifes, while Hogan at times resembles a darker Steve McQueen.
All in all, the 60-minutes manages some interesting touches, mainly from the pen of premier bad guy Leo Gordon working here as screenwriter. In some ways, not all (lighting), there's an over-leap here of 40's noir beyond the air- brushed 1950's to the '60's. Anyway, my advice is not to struggle with the many plot convolutions, but glam onto the characters, settings, and jazz score. The sum total may not be memorable, but it is worth it.
I love the sleaze-ball parts, especially Ms Pray-tell, who's a landlady from heck. And that's along with Muskie (VeSota) looking like a toad that swallowed a beach-ball. Then there's the rat-trap rooms where Jimmy Hoffa may still be hiding. All totaled, these sets may have cost a buck-eighty. Anyway, Nan's (Kenney) a fetching innocent among the low-lifes, while Hogan at times resembles a darker Steve McQueen.
All in all, the 60-minutes manages some interesting touches, mainly from the pen of premier bad guy Leo Gordon working here as screenwriter. In some ways, not all (lighting), there's an over-leap here of 40's noir beyond the air- brushed 1950's to the '60's. Anyway, my advice is not to struggle with the many plot convolutions, but glam onto the characters, settings, and jazz score. The sum total may not be memorable, but it is worth it.