Plot
Set in Puerto Rico, where Charles "Chick" Graham (played by Nelson) settled down after the war to run a small business with his old Army buddy, now his brother-in-law, Buster Cox (played by Harvey), Graham comes home one evening to find his wife, Cora (played by Ainley), acting as if he is an insane stranger.
He finds that a double has taken his place. There is a man who looks exactly like him, Albert "Bert" Rand (also played by Nelson), playing cards and drinking in his living room. Cora and Buster, and even Graham's dog, do not recognize him and think the double is him.
Meanwhile, Graham's face has shown up on the front page of newspapers as a bank robber in Miami who made away with half a million dollars. As he runs from the police, he attempts to solve the mystery with the help of an old girlfriend, Mary Davis (played by Mathews), whom he jilted to marry Cora. Mary's protective brother, Walt Davis (played by Warden), is wary, but soon joins in trying to figure out the puzzle.
Graham's criminal double attempts to have him killed by hiring an attack dog specialist to have a Doberman go after him. The evil double has been in on this sinister plan with Cora and her brother, Buster, since before Graham married her. Intriguingly, Barry Nelson was the first actor to portray James Bond, starring in a 1954 television version of Casino Royale opposite Peter Lorre.
Read more about this topic: The Man With My Face (film)
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)