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: Cry Of The City (1948)  ( 1225 )
cigar joe
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« : December 25, 2011, 08:51:08 PM »

Cry Of The City (1948)  dir by Robert Siodmak, with Victor Mature as Lt. Candella,  Richard Conte as Martin Rome,  Fred Clark as Lt Collins, Shelley Winters as Brenda Martingale Berry Kroeger as lawyer W.A. Niles, Hope Emerson, and Debora Paget as Tina Riconti.

Petty crook and cop-killer Martin Rome (Conte), in bad shape from wounds in the hospital prison ward, still refuses to help slimy lawyer Niles clear his client by confessing to another crime. Police Lt. Candella (Mature) must check Niles' allegation; a friend of the Rome family, he walks a tightrope between sentiment and cynicism. When Martin fears Candella will implicate his girlfriend Tina (Paget), he'll do anything to protect her. How many others will he drag down to disaster with him? (Written by Rod Crawford from IMDb)

More of a Crime film than an out & out Noir, it lacks the classic alienated or obsessed main character and besides the usual dark underworld they usually negotiate it also includes the Italian family of Rome and the effects of his life of crime on them It does possess the Noir style lighting and the entire film is seemingly taking place in eternal night.

Right from the get go it grabs you with the image of Conte at death's door shot full of holes in a hospital ward after a gun battle with the cops. Guarding him are Lt. Candella and his partner Lt. Collins (who does show some obsession with getting Rome). Crooked attorney W.A. Niles attempts to get a deathbed confession out of Rome for a jewelry heist murder to exonerate his own client reasoning that since Rome is going to the chair anyway he might as well derail the wheels of justice.

Despite the efforts of Candella and Collins Tina is able to sneak in and remind Rome of a reason to live, her kiss gives him strength, and Niles' shenanigans gives him an idea for a score.

Lt. Collins and Rome in the hospital ward.

an example of Siodmak's noir style composition.

Conte sets up Hope Emerson in a NYC Independent division line subway station

Its a great film with some memorable sequences Conte and Mature are outstanding and all the supporting players breath life into their characters. Catch it if you can on FMC or try and find a copy. Watched it again last night as an antidote to all the Christmas fare 8.5- 9/10

Continued reviews here:

« : December 26, 2011, 03:48:41 AM cigar joe »

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
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« #1 : July 07, 2018, 09:56:29 AM »

I can't find a copy of this on Youtube or Amazon Prime so that I can prescreen it.  I might have to purchase it based on the reviews above.  Would it be a waste?  I love Robert Siodmark so thats a major plus for taking a chance on it...

dave jenkins
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« #2 : July 07, 2018, 01:01:10 PM »

I just re-watched this the other day and it impressed me quite a bit. One thing is the interesting location work: yeah, the kind of Manhattan street scenes you'd expect, but the sequence where Conte breaks out of the prison hospital uses a very nice combination of sets and unusual locations. But another strength of this film are the one-off characters who show up for a scene and are never heard from again: the dim turnkey at the aforementioned prison hospital, the receptionist at the crooked lawyer's office (introduced just long enough to take a bullet), Shelly Winters (playing--very briefly--an old girlfriend of Conte's), the unlicensed doctor with the sick wife, the drunk Ms. Winters meets in the bar, the final female horror that Conte has to deal with (the way she's introduced, btw, is one of the greatest examples of deep focus in all of motion picture history). All the actors, with a few quick lines, lend a remarkable vividness to each of the characters they portray. This is not your typical noir cheapie, this is an A picture through and through. There's a reason Scorsese singled it out in his Journey Through American Films documentary--it's a great film on every level (well, except for the music).

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