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Quicksand is a 1950 American film noir that stars Mickey Rooney and Peter Lorre and portrays a garage mechanic's descent into crime. It was directed by Irving Pichel shortly before he was included in the Hollywood blacklist (which was instituted by the House Un-American Activities Committee to block screenwriters with suspected Communist affiliation from obtaining employment).
Mickey Rooney (1920–2014) was an American actor of stage, film, television, Broadway, radio, and vaudeville. Beginning as a child actor, his career extended over 88 years, making him one of the most enduring performers in show business history.
Mickey Rooney was born Ninnian Joseph Yule, Jr., [7] in Brooklyn, New York on September 23, 1920, the only child of Nellie W. Carter and Joe Yule. [8] His mother was an American former chorus girl and burlesque performer from Kansas City, Missouri, while his father was a Scottish-born vaudevillian, who had emigrated to New York from Glasgow with his family at the age of three months. [4]
Sin's Pay Day is a 1932 American pre-Code crime film directed by George B. Seitz and starring Lloyd Whitlock, Dorothy Revier and Mickey Rooney. [1] It was produced on Poverty Row as a second feature. [2]
Baby Face Nelson is a 1957 American film noir crime film based on the real-life 1930s gangster, directed by Don Siegel, co-written by Daniel Mainwaring—who also wrote the screenplay for Siegel's 1956 sci-fi thriller Invasion of the Body Snatchers—and starring Mickey Rooney, Carolyn Jones, Cedric Hardwicke, Leo Gordon as Dillinger, Anthony Caruso, Jack Elam, John Hoyt and Elisha Cook Jr.
It turns out that quicksand, known as supersaturated sand, is a real thing around the world, even in Maine, far from the jungle locations where Hollywood has used it to add drama by ensnaring actors.
The agreement between Rooney and Stiefel ended before Rooney had made a film due to a financial disagreement. Rooney agreed to make three films for Stiefel as a salaried employee. The producer said Rooney owed him $180,000 and he was paying Rooney $100,000 a film; he was to pay it off at $60,000 a film, and thus would only get $40,000 cash.
James Powers' review in The Hollywood Reporter stated, "Mickey Rooney gives his customary all to the part of a Japanese photographer, but the role is a caricature and will be offensive to many." [ 4 ] In Variety , Larry Tubelle wrote simply, "Mickey Rooney's participation as a much-harassed upstairs Japanese photographer adds an unnecessarily ...