The Rise and Fall of Legs Diamond
| The Rise and Fall of Legs Diamond | |
|---|---|
| Directed by | Budd Boetticher |
| Written by | Joseph Landon |
| Produced by | Leon Chooluck Milton Sperling |
| Starring | Ray Danton Karen Steele<bre>Elaine Stewart |
| Cinematography | Lucien Ballard |
| Edited by | Folmar Blangsted |
| Music by | Leonard Rosenman |
Production company | |
| Distributed by | Warner Brothers |
Release date | 3 February 1960 |
Running time | 101 minutes |
| Country |  United States |
| Languages | English French Italian German |
The Rise and Fall of Legs Diamond is a 1960 film directed by Budd Boetticher. The film was remade as musical entitled Legs Diamond on Broadway at the Mark Hellinger Theatre on December 26, 1988 and closed on February 19, 1989 after 64 performances and 72 previews.[1] It marked the film debut of Dyan Cannon.
Plot
![[icon]](/enwiki/wiki/File:Wiki_letter_w_cropped.svg){kind=small} | This section needs expansion. You can help by adding to it. (February 2010) |
Cast
| Actor | Role |
|---|---|
| Ray Danton | Jack 'Legs' Diamond |
| Karen Steele | Alice Scott |
| Elaine Stewart | Monica Drake |
| Jesse White | Leo 'Butcher' Bremer |
| Warren Oates | Eddie Diamond |
| Dyan Cannon | Dixie (as Diane Cannon) |
| Robert Lowery | Arnold Rothstein |
Critical reception
From Howard Thompson of The New York Times:
The unhealthy keynote of Warners' flashy screen portrait of the notorious Jack Diamond is that his "rise" is quite entertaining to watch... However, there is nothing loose about the writing. Nor the crispness of Budd Boetticher's direction. Nor the course of the hero's career, as he rises from a smalltime thief to be the personal bodyguard of Arnold Rothstein... Although Diamond is frankly labeled an ice-cold opportunist, both Mr. Danton and the picture also project him as a natty, glittering personality, bland, limber and not without humor. Mr. Danton smiles engagingly, even as he mows 'em down. In supporting roles, Karen Steele, Elaine Stewart, Robert Lowery, Jesse White and some of the others make telling contributions to this shrewdly mounted portrait of a man who certainly made his mark—in crime.[2]