Marksman Barton Tare (John Dall) and sharpshooter Peggy Cummins (Annie Laurie Star) set out on a passionate crime-wave, destined to end in tragedy.
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When millions upon millions are on the line, everyone tends to play it safe. This is why most films through the 1960s were shot entirely on sound-stages. Hitchcock famously shot only the wide-shots on location and then retreated to a studio for the close-ups. God forbid reality enter the frame in any way. Absolutely nothing was left to chance. Director Joseph H. Lewis on the other hand, had a slightly different philosophy...
According to Lewis, Billy Wilder once called him begging to know how that shot had been pulled off. Billy's theory was that they had used at least three to four background-projection machines. When Lewis finally broke the news that they had just simply done it for real, Wilder's mind was blown.
The long shot is amazing as well as those shots from back seat.
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