timscanit-792-49398 They were looking pretty tired in this. It was the characters they played but they didn't have to stretch much for the part. I see why my wife has a poor opinion of Ford. I always liked him but I had never seen this movie before. I want to know more about the house that Ford and Elke lived in. The design of the pool was very unique. Did anyone notice when Ford was riding in the ambulance (a Buick conversion) talking to the dying burglary suspect, that the car next to them was pacing and passing a code 3 ambulance with its siren on? The camera was set up to shoot the scene but there was normal traffic flowing next to it, so when Ford signals to the driver that the suspect is dead and he can slow down, nothing changed in the street scene outside the window. Loved the white 1964 Plymouth Sport Fury convertible that Ford drove. That model has a value these days of $15K to $20K.

bkoganbing The Money Trap for me has the distinction of being one of the last B features I ever saw on the big screen as part of a double bill. It is a film way past its prime as a noir picture.Noir as a genre essentially died little by little as more televisions were in American homes. The kind of stories that noir does best were now being shown on television every night. Movies were getting bigger and splashier to compete with TV and films like the Money Trap were just not being made for theaters any more. Watching it yesterday on TCM, I was struck by the ludicrousness of a letter box version for a black and white noir. By the way, in 1965 television was about to go full color and black and white feature films were getting rarer each year.But even as a noir film, The Money Trap has no people you really care about. Glenn Ford is married to a wealthy woman and lives in a lifestyle beyond his cop's salary. But then wife Elke Sommer gets a letter saying her late Daddy's stock won't be paying any dividends. Well golly gee, we should all have such problems. It never occurs to Glenn Ford to tell Elke to tone down her extravagant ways, maybe even move out of that luxurious home they have to something more modest. Ford's kind of into the good life also.During a homicide investigation involving a wealthy doctor played by Joseph Cotten who allegedly surprised a burglar in his home, Ford and partner Ricardo Montalban suspect something dicey. Before expiring in the ambulance, the burglar gives Ford the safe combination.Now knowing something is amiss here. Ford and Montalban decide on a robbery. Of course the doctor is smarter than the both of them put together. The whole thing ends in one bloody mess and the viewer doesn't really care.A few years later The Money Trap would have been strictly a made for TV feature if it got made at all. Probably MGM was busy trying to get rid of long time contractual obligations to Ford and Montalban. Both of them have sure done better work.But the saddest thing of all is that this is the last feature film partnership of Glenn Ford and Rita Hayworth. Rita's the best thing in this film, playing a very worn out forty something ex-girlfriend of Ford's and widow of the burglar Cotten shot. A great acting job and not anything a former reigning sex goddess ever did before.But it ain't enough to save The Money Trap.

Bob-45 Except for the music, THE MONEY TRAP is strictly by the numbers. Third billed Rita Hayworth has maybe five minutes screen time. No matter, she bring what little class this movie has to the screen. My big question is, what is such a terrific cast DOING in this insipid junk? Drawing a paycheck, I guess. Certainly, Glenn Ford, Ricardo Montalban and Joseph Cotton (all then under contract to MGM) were strictly drawing paychecks. This movie SHOULD be seen a reminder of sexual attitudes to which we should NEVER return. That is, whatever males do is OK, but woe be on to a female whom "transgresses," PARTICULARLY if she enjoys it! Otherwise, don't waste your time.

max86 Was the world ever really like this?Pure 1965 black and white, this time machine of a crime drama takes you back to when Elkie Sommer was young, and Joseph Cotten was'nt dead. No profanity, blood or sex on the screen, but everywhere in the painlessly stereotypical screenplay. Predictable to a fault, you seem not to care it's all one big cleche. The jazzy, pre-groovy background music, a totally orignal score by Hal Schaffer, makes this crime-like thing a nostalgic romp of flat-foot flick.