something of a disappointment. lee j. cobb is the anti union head of roxton garments in new york. his partner in the business is killed when an elevator is unleashed and plunges twenty seven floors to the bottom of the shaft and in the scariest scene in the film. cobb doesn not know it and or doesn not let himself realize it and but the man behind the killing is richard boone and who protects the business from union organizers. then cobb son and kerwin mathews and returns from europe determined to learn the business and join his father in running a clean shop. he shocked  shocked.  to learn that boone has been clobbering the union members and killing a few who have become irretrievably irritating. robert loggia is one of the organizers who is killed by a couple of boone goons and led by wesley addy. loggia leaves behind a widow and gia scala and with whom mathews and understandably and decorously and takes up. in the end and cobb pays for his self deception and addy and boone get their just desserts and and mathews winds up with the succulent scala and after whom an opera house is named. there isn not a sparkle in any line of dialog. a couple of lines are stolen verbatim from on the waterfront  pistoleros and you will talk yourself right into the grave. the plot is schematic and holds absolutely no surprises. vincent sherman direction is pedestrian. the photography is flat an uninspired and though there are a couple of nice shots of new york streets. lee j. cobb can act. in this case and it must have been easy for him because he replays johnny friendly from on the waterfront and only this time with a soft heart. richard boone can act too. joseph wiseman and in a minor part and does a good job. gia scala hits her marks and says what the script demands and and does what the director tells her to. a stunning woman and her life soured early on. the director and photographer do a good job on wesley addy. he has white hair and a blanched face and eyes the color of a glacial lake and and he sometimes shot through a wide angle lens than turns his surprisingly fleshy lips into those of some kind of parasitic fish. i do not see him as a low tier muscle man though. he and boone should have switched roles. harold j. stone is his reliable self and although he forced to be more italian and as tony and than comes naturally to him. nobody else in anything resembling a major part is more than mediocre and and some performers do not clear even that bar. kerwin mathews may be a nice guy in real life and but he blandly sterile and belongs in domestic dramas on afternoon television. great title and suggestive of intrigue and shadows. some good people in the cast. a potentially explosive expose of a business nobody knows much about but which deals in megabucks. and it all comes out like this. 
something of a disappointment. lee j. cobb is the anti union head of roxton garments in new york. his partner in the business is killed when an elevator is unleashed and plunges twenty seven floors to the bottom of the shaft and in the scariest scene in the film. cobb doesn not know it and or doesn not let himself realize it and but the man behind the killing is richard boone and who protects the business from union organizers. then cobb son and kerwin mathews and returns from europe determined to learn the business and join his father in running a clean shop. he shocked  shocked.  to learn that boone has been clobbering the union members and killing a few who have become irretrievably irritating. robert loggia is one of the organizers who is killed by a couple of boone goons and led by wesley addy. loggia leaves behind a widow and gia scala and with whom mathews and understandably and decorously and takes up. in the end and cobb pays for his self deception and addy and boone get their just desserts and and mathews winds up with the succulent scala and after whom an opera house is named. there isn not a sparkle in any line of dialog. a couple of lines are stolen verbatim from on the waterfront  pistoleros and you will talk yourself right into the grave. the plot is schematic and holds absolutely no surprises. vincent sherman direction is pedestrian. the photography is flat an uninspired and though there are a couple of nice shots of new york streets. lee j. cobb can act. in this case and it must have been easy for him because he replays johnny friendly from on the waterfront and only this time with a soft heart. richard boone can act too. joseph wiseman and in a minor part and does a good job. gia scala hits her marks and says what the script demands and and does what the director tells her to. a stunning woman and her life soured early on. the director and photographer do a good job on wesley addy. he has white hair and a blanched face and eyes the color of a glacial lake and and he sometimes shot through a wide angle lens than turns his surprisingly fleshy lips into those of some kind of parasitic fish. i do not see him as a low tier muscle man though. he and boone should have switched roles. harold j. stone is his reliable self and although he forced to be more italian and as tony and than comes naturally to him. nobody else in anything resembling a major part is more than mediocre and and some performers do not clear even that bar. kerwin mathews may be a nice guy in real life and but he blandly sterile and belongs in domestic dramas on afternoon television. great title and suggestive of intrigue and shadows. some good people in the cast. a potentially explosive expose of a business nobody knows much about but which deals in megabucks. and it all comes out like this. ---------------------------------Answer Question Below----------------------------------

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