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. ***. 

TIGHTROPE

Mike Connors

TIGHTROPE (1959). Half-hour television crime drama. One season. 37 episodes.

In this taut and memorable crime series, Mike Connors [Day the World Ended] stars as a man known only as Nick, an undercover police officer who can have few friends and only furtive romances as he goes from city to city establishing phony identities so he can infiltrate the mob in one dangerous assignment after another. As part of his cover, Nick often has to treat innocent people pretty badly, but I imagine he figures the ends justify the means. These episodes were very tightly-plotted and fast-paced and always put Nick into intriguing and suspenseful situations.

Gangsters Daughter with Leslie Parrish

Among the more memorable episodes: "Cracking Point" features Richard Jaeckel [The Dark] as a man blackmailed into robbing a bank, with Simon Oakland as guest-star; "Two Private Eyes" features two sleazy gumshoes who get the business when they look for a missing wife; "Cold Ice" is a mini-suspense masterpiece about the cutting of a perfect stolen diamond; "The Model and the Mobster" has Nick taking on a monstrous hoodlum very well-played by Bruce Gordon; Mike Mazurki scores in " "Long Odds," wherein Nick tries to find out which mob boss ordered a hit on a cop; Margaret Field and Jimmy Lydon guest-star in "Brave Pigeon," in which a hit is put on an innocent man who is able to identify a certain criminal; "The Gangster's Daughter" presents the cultured daughter (Leslie Parrish of The Money Jungle) of a wealthy mobster (Barton MacLane) with an overly ambitious nephew; "Bullets and Ballet" has Nick investigating why a top hood has come to town, with the excellent Doris Singleton (Carolyn Appleby on I Love Lucy) as a guest-star. Arguably the best episode of the series is "Man in the Middle" with Nick coming between a newly-released mob boss (Marc Lawrence) who's in deadly conflict with a younger rival (Gerald Mohr). Mike Connors went on to greater success with his hit P.I. show Mannix, which lasted several seasons.

Verdict: This show rarely dips below a "B+" level in quality and there are a lot of "A" episodes as well. ***. 

DR. RENAULT'S SECRET

J. Carrol Naish (center) and cast 

DR. RENAULT'S SECRET (1942). Director: Harry Lachman.

Dr. Larry Forbes (John Shepperd aka Shepperd Strudwick of All the King's Men) has come to a small European village to meet up with his fiancee, Madelon (Lynne Roberts) and her Uncle Robert (George Zucco), who is also a scientist. Others on Robert's large estate include the strange Noel (J. Carrol Naish of The Kissing Bandit), who is a manservant; the butler Henri (Jean Del Val); and the gardener, Rogell (Mike Mazurki). These last two have criminal pasts, but neither of them is as weird as Noel, who is hiding a dreadful secret along with the doctor. Then the brutal strangulation murders begin ... Dr. Renault's Secret was clearly inspired in part by H. G. Wells' "The Island of Dr. Moreau" (itself filmed as Island of Lost Souls) just as both properties inspired Captive Wild Woman and its sequels. While Renault hardly gets points for originality, it is distinguished by brisk and adroit direction, a good score (Emil Newman and David Raksin), excellent cinematography (Virgil Miller), and a terrific lead performance by Naish, who is both pitiable and menacing. The other cast members are all more than adequate, and Zucco is, as usual, perfect. Arthur Shields [South Sea Woman] plays a police inspector and Ray Corrigan is seen in flashbacks as a gorilla. 20th Century-Fox gave the pic a handsome production, and despite its inadequacies and unacknowledged debt to Wells, it is an entertaining horror flick. Harry Lachman also directed the Laurel and Hardy masterpiece Our Relations.

Verdict: One more ape-man never hurts. ***.

THE SHANGHAI GESTURE

Ona Munson and Gene Tierney

THE SHANGHAI GESTURE (1941). Director: Josef von Sternberg.

In this very odd movie, a young lady looking for thrills in Shanghai, who calls herself Poppy (Gene Tierney), enters the establishment of one "Mother Gin Sling" (Ona Munson), becomes smitten with the shady character, Omar (Victor Mature), and develops too much of a taste for gambling. Mother invites several people to celebrate Chinese New Year's with her, including Sir Guy Charteris (Walter Huston), whom she knew years ago under another name and wishes vengeance upon; she is unaware of any connection Poppy may have to Charteris. There's the basis of a good story in Shanghai Gesture, but the movie isn't well written or well put together, with most of the imagination going into some elaborate settings. The performances are good for the most part, although Ona Munson lacks the vigor and fire that an actress like, say, Barbara Stanwyck or Anna May Wong (who should have been cast) could have brought to the role. Eric Blore, Mike Mazurki (as a rickshaw!), and Maria Ouspenskaya all have supporting parts, although Ouspenskaya has no dialogue. Phyllis Brooks makes an impression as the stranded chorus girl, Dixie, but her part in all this is never clearly defined. The whole production is inherently racist and badly dated. Josef von Sternberg also directed The Devil is a Woman, which is vastly superior to this.

Verdict: Too weird for its own good. **.

THE MISSING JUROR

THE MISSING JUROR (1944). Director: Budd Boetticher. 

"A man named 'Apple?' Funny name, Apple. Bet he's a peach!" 

Reporter Joe Keats (Jim Bannon) gets on the trail of a mad killer when he discovers that several jurors on a notorious murder trial have been killed in mysterious "accidents." Harry Wharton (George Macready) was convicted of murdering a woman he loved, but it was discovered that he'd been framed. Although the truth came out before Wharton could be executed, the experience unhinges him and he commits suicide in a sanitarium. Now someone is executing all the jurors. Keats tries to protect the other jurists, and especially bonds with a pretty gal named Alice (Janis Carter). Jean Stevens is Alice's sexy gal pal, Tex Tuttle; Mike Mazurki is Cullie, the masseur; and Trevor Bardette certainly scores as Pierson, who confesses to the murders at one point. The Missing Juror is a snappy, well-acted, and entertaining programmer, but the main problem is that the solution is apparent almost from the first. Macready gives a terrific performance as the haunted Wharton in flashbacks. Joseph Crehan is Willard Apple, editor of the Record-Herald that Keats works for. Macready had one of the most distinctive voices in Hollywood. Jim Bannon was also in Unknown World. Trevor Bardette appeared in about a thousand movies. 

Verdict: Another reason to get out of jury duty. **1/2.

DICK TRACY (1942)

DICK TRACY (1945). Director: William Berke. 

The first of four Dick Tracy features stars Morgan Conway as a more-than-acceptable Tracy investigating a series of murders committed by "Splitface" (referring to a scar), played by Mike Mazurki. [One of the problems with the film, although it's entertaining, is that the suspense is minimized because we know all along who the killer is, a serious mistake, frankly.] Anne Jeffreys makes a pretty sexy Tess Trueheart. Equally pretty Jane Greer plays the saucy daughter of one of the potential victims; she's always making a jealous Tess nervous. The cadaverous Milton Parsons is well cast (as usual) as the undertaker, Deathridge. Mazurki is fine as the villain of the piece. A fast pace helps smooth over the flaws. Followed by Dick Tracy vs. Cueball. Also known as Dick Tracy, Detective. 

Verdict: You can't keep a good Dick down. **1/2.