NIGHT AND THE CITY

Richard Widmark

NIGHT AND THE CITY (1950). Director: Jules Dassin.

In London Harry Fabian (Richard Widmark of Don't Bother to Knock) is a hustler for a night club and is always coming up with one get-rich-quick scheme after another. His loving girlfriend, Mary (Gene Tierney), sings at the same club and tries her best to keep Harry's flights of fancy from careening out of control. He meets the son, Nikolas (Ken Richmond), of a famous retired wrestler. Gregorius (Stanislaus Sbyszko), and decides to become the younger man's manager. But this doesn't sit well with Gregorius' other son, Kristo (Herbert Lom), who has the fight racket in London sewn up. Besides, Harry needs money to stage a match, and if he can't get it from the corpulent club owner, Philip Nosseross (Francis L. Sullivan of Hell's Island), he'll get it from the man's wife, Helen (Googie Withers), who has a thing for him. But  Harry may find he's bitten off more than he can chew as he attempts to balance all these factions and emerge a winner ...

Tierney and Widmark

Although he does over-act at times (although this also gives a hint of Harry's essentially neurotic and desperate nature), Widmark gives an excellent performance in this, and he's able to make the man sympathetic, despite his flaws, as well. Gene Tierny has such a small role, and is off-screen for so much time, that you wonder why she even bothered to take the part, but she is nevertheless effective. Sbyszko and Richmond were professional wrestlers in real life and are pretty good, especially the former, considering they weren't really actors. Herbert Lom gives another sharp and dynamic performance as Kristo. Sullivan, who had a lengthy career, adds some nuances to his portrayal of Philip, and Googie Withers, who also had a long career, is quite effective as his unhappy wife, Helen. Mike Mazurki scores as the wrestler known as "The Strangler" and Hugh Marlowe, although his acting is solid, is kind of lost in this crowd as an upstairs neighbor who is carrying a torch for Mary. One must also note the contributions of cinematographer Max Greene, and composer Benjamin Frankel.

The Connecticut-born Jules Dassin also directed Rififi. Night and the City was remade in 1992 with Robert De Niro in the Harry Fabian role but the film was not well-received.

Verdict: Unusual drama with a rich and interesting cast. ***. 

RIFIFI

Jean Servais, Robert Manuel, Carl Mohner 

RIFIFI (aka Du Rififi chez les hommes/1955). Director: Jules Dassin.

Three Parisians -- Tony (Jean Servias), Jo (Carl Mohner) and Mario (Robert Manuel) -- all of whom have been in prison, decide to knock off a jewelry store. They bring in a fourth player, a "macaroni," (an Italian) named Cesar (Jules Dassin), who is a noted safe cracker. Tony lost his girlfriend, Mado (Marie Sabouret), to a crooked club owner named Pierre (Marcel Lupovici) and now wants her back, but Pierre will deal with Tony in his own fashion. Jo has a wife, Louise (Janine Darcey), and little boy, Tonio (Dominique Maurin), a connection which Pierre will take cruel advantage of. Rafifi is well-known as one of the more notable "caper" films. although there's probably more suspense in a scary, climactic car ride involving the little boy than there is in the robbery itself. The picture's greatest strength is the acting by the entire cast, including director Dassin; Robert Hossein as Pierre's drug-addicted brother, Remi; and Claude Sylvain as Ida, who sings the "Rififfi" tune in Pierre's nightclub. I might argue that Rififi is not quite a  masterpiece, but it is a good and absorbing picture with some interesting developments. Dassin also directed The Affairs of Martha and another famous caper film, Topkapi. Dassin was born in Connecticut; after being blacklisted in Hollywood, he went to France to find work. Carl Mohner was an Austrian actor.

Verdict: French burglars on the loose! ***. 

THE AFFAIRS OF MARTHA

Marsha Hunt and Richard Carlson

THE AFFAIRS OF MARTHA (1942). Director: Jules Dassin.

The town of Rock Bay, Long Island is in an uproar when a columnist publishes an item about how one of the maids is going to publish a memoir about the family she works for. The ladies of the town hold one meeting, while all of the maids hold another. Meanwhile Martha (Marsha Hunt), who works for the Sommerfields and is secretly married to son Jeff (Richard Carlson), has to deal with romantic overtures from her publisher, Joel (Allyn Joslyn), as well as a young lad named Danny (Barry Nelson), when she then discovers that Jeff has come home with a fiancee (Frances Drake). While Martha has some similarities to the earlier Theodora Goes Wild, it has much less on its mind, although a spirited cast makes certain that the picture is generally fun. In addition to the already named there are good performances from Marjorie Main [The Law and the Lady] as the Sommerfield cook, Spring Byington as Mrs. Sommerfield, and Virginia Weilder as her precocious daughter, Miranda. Sara Haden, Margaret Hamilton and Grady Sutton all have smaller roles. Jules Dassin also directed Thieves' Highway.

Verdict: Cute if minor comedy. **1/2.

THIEVES' HIGHWAY

THIEVES' HIGHWAY (1949). Director: Jules Dassin.

Nick Garcos (Richard Conte) comes home from the war and discovers that his father, a trucker, was crippled in a horrible accident caused by a corrupt man named Figlia (Lee J. Cobb). Nick enters the trucking business himself by hauling apples with a partner named Ed (Millard Mitchell) and gets involved with two women, a "good" girl named Polly (Barbara Lawrence), and a hooker named Rica (Valentina Cortese). Conte gives a terrific lead performance but the drama is kind of weak; relationships are not well-delineated. It's no surprise that the most memorable scenes have to do with action: the suspenseful business when Nick is nearly crushed under his truck when he tries to change a blown out tire; and the harrowing moments with Ed's runaway truck when his brakes fail. There's way too much talk about apples early in the picture. Cobb is as good as ever in a typical role for him, but Millard Mitchell nearly walks off with the movie as Ed. The two ladies would have made more of an impression had their roles not been so under-written. Jack Oakie, of all people, makes a strong impression in a serious role as a trucker named "Slob."

Verdict: On the Waterfront it ain't. **.