Very very predictable, including the post credit scene !!!

Such a frustrating disappointment

Pretty good movie overall. First half was nothing special but it got better as it went along.

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Drugs, Anita Eckberg and Victor Mature. and, at the first sigh, nothing more. because something missing to transform the film in more than ordinary crime. sure, few scenes are more than interesting. few performances are real inspired. but all seems be too well known. the girl, the bad guy, the detective. Victor Mature seems prisoner of a sort of sketch of his roles. Trevor Howard is the basic pillar of the film but in few scenes he is uninspired used. the film is out of emotion or real interest. nothing bad. if you ignore its potential.

In the 1950s, American actors were in demand in European films. It seems that it was far cheaper to make movies there and by bringing in one or two big-name or semi-big name American actors the movie would have greater international appeal. So the likes of Richard Basehart, Anthony Quinn and many other mostly B-list actors made there way to Europe, though a few, such as Alan Ladd, were big name stars. Almost as big as Ladd at that time was Victor Mature and here he stars as, what else, an American in Europe!The film finds American Cop, Charles Sturgis (Mature) in Europe to try to break up an international drug smuggling outfit. His part in the film was at best mildly interesting...as mostly he played the stereotypical angry, blustering American. What WAS interesting was the leader of the baddies. While you don't think of Trevor Howard in such a role, he was vicious and very exciting to watch...and sadly he was barely in the film! As a result of this and a mediocre script, the film has 'time-passer' written all over it and nothing more.

This is quite an entertaining & energetic crime movie, which rattles along at a fairly brisk pace, but suffers somewhat from lack of character depth, and interaction between the characters. The leads all play their respective roles professionally and with a degree of panache, with the oily and sinister Trevor Howard particularly effective. Bonar Colleano also contributes a likable cameo as a fast-talking, quick-witted exiled American. In the central role, Victor Mature is dour and doesn't really get the opportunity to express more of his character's dual purpose of personal revenge and bringing an arch criminal to justice. Although there are many similar type films to this, I feel that it stands worthy comparison to many of them and is certainly deserving of release on DVD.

A past-his-prime Victor Mature stars in this rarely seen thriller from director John Gilling. Originally released as Interpol in its native UK, the film was retitled for US consumers, who perhaps thought Interpol was a brand of toothpaste. "Get that great Interpol smile!" - I'm just guessing, but it sounds reasonable, right? Mature plays Charles Sturgis, a super secret agent out to break up the narcotics ring of evil dealer Frank McNally (Trevor Howard), who's placed a monkey on the back of Sturgis' sister and then strangled her. Our hero latches on to McNally's moll (Anita Ekberg), and he's soon hot on the villain's trail through the back alleys of Lisbon and Rome. An early effort from James Bond producer Cubby Broccoli, Pickup Alley travels from New York to Europe and back again, and features outstanding cinematography by Ted Moore, who would go on to shoot Dr. No, From Russia With Love, Goldfinger, and Thunderball. A superb supporting cast, including Sid James, Eric Pohlmann, Andre Morell, Bonar Colleano, and Marne Maitland make this essential viewing for British cinema enthusiasts.