Category: Classics

“The Naked City” (1948)

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Jean Dexter, a 26 y.o. pretty/blonde model, is found murdered in her apt. by her maid. Two homicide detectives- a veteran of the force w/ a lilting Irish accent- Dan Muldoon (Barry Fitzgerald)- and young rookie- Jimmy Halloran (Don Taylor)- are sent to investigate. Suspicion falls on various characters who ALL have some connection w/ a string of burglaries in high-end apts. Then, a burglar is found dead who once had a partner named “Willie.” The climax is V fast-paced manhunt.

The film made history for its use of 100+ exterior locations. It was filmed (in a semi-documentary style) almost entirely on the streets of NYC! Most of these scenes were shot w/o the public’s knowledge; photographer William H. Daniels and his (uncredited) assistant, Roy Tripp, filmed using a hidden camera from the back of an old moving van. In some cases, a fake newsstand w/ a hidden camera inside was set up on the sidewalk to film the actors. The director, Jules Dassin, hired a juggler to distract the crowds from filming. In other cases, a man was hired to climb up on a light post and give a patriotic speech (waving the American flag) to get the crowd’s attention. This is one of the 1st films to list technical (non-acting) credits at the end; this has become the norm since the ’80s.

A young Stanley Kubrick was sometimes present on the set taking photos for Look magazine. Miss Dexter’s apt building is shown as “52 West 83rd Street;” the facade is actually the Lathrop, at 46 West 83rd St. (a short walk from Central Park). The police building shown after she is found was the NYPD police headquarters; the building is still there, located at Centre and Grand Streets (now luxury condos). NYPD’s 10th precinct (where the lead detectives are based) is in the same building at 230 W. 20th St, in the Chelsea neighborhood of Manhattan. The two young ladies outside the dress shop talk re: the Waldorf Astoria Hotel w/ Frank singing; this was likely a reference to Frank Sinatra (often seen at that famous hotel). Halloran’s family (doting wife and young son) lives in a rowhouse in Jackson Heights, Queens (where I lived for about 4 yrs).

If you’re a fan of police procedural dramas (such as “Law and Order,” then this film will definitely be of interest to you! Cops (w/ various quirks/accents) make funny quips, then pound the pavement tirelessly looking for clues. They face disappointment at times, then suddenly are faced w/ danger (of course- that’s the nature of the job). NYC is like another character in the story!

[1] The crime itself is not that interesting, but the style used to tell the tale (with a voice-over narration telling us at the conclusion that this is just one story in a city of millions) is what makes it far superior to most detective stories. That and the fact that New York City is given the spotlight for location photography that really hits the mark.

[2] This film is in many ways a good example of Film Noir–since it portrays a murder and its investigation, has a classic Noir-style ending and has some very “dark” story elements. However, unlike traditional Film Noir, the dialog and lighting are much more like a traditional film–less snappy dialog and more of an emphasis on conventional police work.


[3] The performances are adequate. Don Taylor is bland and doesn’t have any accent but he’s easy to identify with, at least for me, because he’s so pleasant and handsome. Barry Fitzgerald… his smile is almost a mile wide, a caricature of itself, a lovable guy.

[4] …the real star of The Naked City is 1948 New York… No accident that The Naked City won Oscars for black and white cinematography and editing.

-Excerpts from IMDB reviews

“Possessed” (1947) starring Joan Crawford, Van Heflin, & Raymond Massey

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A woman wanders the streets of LA in distress. She approaches some men who she calls “David.” Eventually, an ambulance is called and she’s taken to the hospital. She is placed in the psychiatric ward, where she is given some meds to help her remember by Dr. Willard. He is then able to get learn about her life over the next few days. About a year ago, she- Louise Howell (Joan Crawford)- was employed as a nurse by a wealthy businessman, Dean Graham (Raymond Massey). She took care of his (bedridden/sick) wife, Pauline, at their lake house near D.C. Pauline (who MAY be suffering from paranoia) believed that Dean and Louise were having an affair. David Sutton (Van Heflin) is a civil engineer who lives across the lake from the Grahams; he and Louise were involved in a secret affair. The relationship was meant to be casual; David tries to break-up w/ her when Louise grows obsessive in her love. One evening (during Louise’s time off), Pauline ends up dead (drowned in the lake)!

Louise: “I love you” is such an inadequate way of saying I love you. It doesn’t quite describe how much it hurts sometimes.

The screenplay was written by Silvia Richards and Ranald McDougall (who also wrote Mildred Pierce). The director is Curtiz Bernhardt; the cinematographer is Joseph Valentine. The score is by Franz Waxman; he features Schumann’s Carnaval – Opus 9 on the piano (which is played by David). As one astute viewer commented: Crawford does go over the top, but it’s part of the character. Van Heflin (an underrated actor) doesn’t play a villain; David says he is “restless b/c of the war” (so is NOT in the mindset to settle down). I esp. liked the early scene of Louise and David’s relationship; the chemistry and dialogue worked V well. As the story goes on, some scenes go on a BIT too long. There are some things to admire in this film noir, so check it out for yourself!

[1] Possessed is post-war, and after the war, the new rage was psychology. This movie is full of it. […]

This is Joan Crawford’s show and she makes the most of it. The script will keep you interested, and you won’t be able to take your eyes off of Joan descending into madness.

[2] Crawford, fresh from winning an Academy Award for “Mildred Pierce” looked as if she was trying for another one here…

[3] Some of the film does get a little too melodramatic, particularly in the middle where some of the psychology waffles a little too self-indulgently and if Waxman’s score was a little more subtle, at times, that would have helped.

-Excerpts from IMDb reviews

“Young Man with a Horn” (1950) starring Kirk Douglas, Lauren Bacall, & Doris Day

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Put down that horn, jazz man… I’m in the mood for love! -Tagline on the movie poster

A lonely/orphan boy in LA, Rick Martin, learns he has a gift for music and falls in love w/ the trumpet. A talented Black trumpeter, Art Hazzard (Juano Hernandez), takes the boy under his wing and teaches him ALL he knows. The issues of identity and race come up in this story, as it’s focus is on a white man playing (traditionally) Black music; the undercurrent of racism (against the Black artists) is present also. The adult Rick (Kirk Douglas) struggles for a time, as his volatile personality and desire to play jazz (rather than standard dance tunes) land him in trouble. Soon, he becomes a star trumpeter featured in a NYC band and makes good money. Rick meets a young socialite studying to be a psychiatrist, Amy North (Lauren Bacall). In the novel by Dorothy Baker (upon which this film is loosely based) the characters of piano player/Rick’s best pal, Willie “Smoke” Willoughby (Hoagy Carmichael), and the singer, Jo Jordan (Doris Day), were African-American.

Rick: I don’t play for people. I play for myself!

Art: Look, boy, a man’s got a lot of living to do in this world. But, you, you’re kind of locked up inside yourself. You’re like a – like bird trying to fly on one wing. You’ll stay up for awhile. Then you’re going to fall.

Douglas’ trumpet licks were performed by Harry James, who also taught Douglas the correct fingering of the instrument. Carmichael was a friend of the real-life jazz musician, Bix Beiderbecke, and helped Douglas w/ his role. Carmichael received a thank-you letter from the director, Michael Curtiz, for his valuable input in several areas of production. Carmichael co-starred previously in Bacall’s 1st film, To Have and Have Not (1944). This was only the 4th film for Day; Curtiz was impressed enough w/ her work to recommend that Warner Bros. consider casting her in a dramatic role. Day gets to sing 3 popular standards, With A Song In My Heart, The Very Thought of You, and Too Marvelous for Words.

Amy: People try to find security in a lot of strange ways. You seem to have solved your problems – at least while you’re playing that trumpet.

Rick: I don’t understand a word you’re saying, but I love the sound of your voice. It’s got a wonderful rough spot in it.

Douglas and Bacall were close friends; they’d gone to drama school together (and have great onscreen chemistry). Bacall recommended Douglas to director Lewis Milestone; he got his first movie role in the noir classic- The Strange Love of Martha Ivers (1946). One viewer commented that this was the rare movie where Bacall played “a bad girl.” Rick is socially isolated, yet content w/ his life, as long as he has his horn/music. Jo is interested in him, though he is oblivious. Later, Jo introduces Rick to Amy; he doesn’t understand a LOT of what she’s saying, BUT is intrigued. Amy treats Rick V coldly after they’re married. The film contains a reference to homosexuality, although the Hays Code required any mention to be subtle. Amy is a lesbian; she leaves Rick to go to Europe w/ an artist (a woman). Decades later, Bacall told TCM that the reference was so subtle, and being was young/naive, she didn’t understand this until years later! If you like this story, you may want to check out Paris Blues and ‘Mo Better Blues.

[1] The directing from Michael Curtiz is as you would expect very tight to the drama, and the photography from Ted McCord captures the smoke filled nature of jazz clubs perfectly. The acting from the cast principals is never less than above average. […] The music of course is excellent, and as long as one is prepared for the melodramatic turn of events, this is a very rewarding piece.

[2] …the cinematography in this black & white film was amazing–very, very artistic and just beautiful. It reminded me a lot of Film Noir combined with the sensibilities of Ansel Adams.

[3] …film’s outstanding support performance comes from Juano Hernandez who runs the emotional gamut from confidante and advisor to dependent and admirer with his usual dignity and assurance.

-Excerpts from IMDb reviews

“Berlin Express” (1948) starring Merle Oberon, Robert Ryan, Charles Corvin, & Paul Lukas

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Trapped on a Train of Terror! -A tagline (on the movie poster)

In a divided Germany (shortly after WWII), passengers from several nations are on a train heading to an international conference. Lucienne (Merle Oberon) is a French secretary who catches the eye of almost every man on the train. Dr. Bernhardt (Paul Lukas) is Lucienne’s German employer. Robert Lindley (Robert Ryan) is an American working for the Dept. of Agriculture. Perrot (Charles Corvin) is a French businessman. Sterling (Robert Coote) is an Englishman. Lt. Maxim Kirosilov is young Soviet soldier. When one of these passengers (working for peace) is kidnapped in Berlin, the others set aside their differences/work together to find him. Would you risk your life to help a stranger, IF it was for the good of the world?

Narrator: [voiceover] That’s right – the dove of peace was a pigeon. A dead pigeon.

The director, Jacques Tourneur, also directed the film noir classic Out of the Past (1947). The cinematographer, Lucien Ballard, was married to Oberon; he came up w/ a lighting technique which hid the scars on Oberon’s face. Cary Grant and John Garfield were considered for roles in this film. This is the 1st Hollywood production in Germany after WWII. The crew was the 1st to receive permission to film in Berlin’s Soviet zone. At the time of production, Berlin was divided into 4 separate sectors, controlled by the English, French, Soviet (now Russian), and American armed forces. American soldiers stationed at the I. G. Farben munitions building in Salzburg, left untouched during bombing raids (so the U.S. could use it as an occupation HQ), appeared in the film as extras.

Perrot: What chance has a European got with an American around?

Lindley: I’m afraid you overestimate us.

Perrot: Huh, not at all. How can we compete with your American charm, your chocolate…

Sterling: Your soap?

Perrot: Your cigarettes?

Lindley: Well, it’s more blessed to give than to receive.

Berlin Express is categorized as a crime drama, film noir, and thriller. It’s an unusual movie for its time; it has an international cast (before that became common) and was filmed on location (in rare/unexpected places). I rarely guessed what was going to happen next! I esp. liked the friendly banter between the 3 men (Lindley, Perrot, and Sterling) who seek the attention of Lucienne (who is NOT easily impressed). Each man has a different personality; it’s refreshing that they behave like gentlemen (instead of pushy jerks). Ryan is looking youngish/handsome and gets to show his charm/confidence in a (rare) good guy role. I’m NOT going to say much more; check this movie out! You can rent it on YouTube.

[1] Tourneur did a grand job in making use of the bombed out locations in Frankfurt where most of the story takes place. It certainly gives authenticity to the story.

[2] Filmed in the rubble of German cities in 1946 this film, basically is a very good and constantly weaving espionage drama; and not unlike NORTH BY NORTHWEST in deception, missing persons, terrific set pieces in ruins and epic visuals of genuine locations. Robert Ryan as the US everyman, all casual but tough, Merle Oberon gives ze Fronnch occent a good go, and a solid cast enjoying a provocative script.

[3] Some of the lines seemed stilted and staged, particularly toward the end, but given the time period when the movie was filmed, not at all surprising. There was a good mix of characters, but the real star of the film is the location: there are wonderful shots of Berlin and Frankfurt right after the war, and the devastation around the characters adds a powerful unspoken dimension to the film.

-Excerpts from IMDb reviews

“I Walk Alone” starring Burt Lancaster, Lizabeth Scott, Kirk Douglas, & Wendell Corey

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Two things I can handle baby… guns and dames! -A tagline for the movie

Frankie Madison (Burt Lancaster- one of my faves since I was a kid) returns to NYC after 14 yrs in prison. Noll Turner (Kirk Douglas), Frankie’s former partner in bootlegging, is now a successful nightclub manager/owner. Frankie is expecting him to honor a verbal “50-50” agreement they made before he was caught; Noll luckily got away. The two men’s friend, Dave (Wendell Corey), is the bookkeeper at the club. The club’s singer is Kay Lawrence (Lizabeth Scott); she is also Noll’s L/T gf. Mrs. Alexis Richardson (Kristine Miller) is the society lady w/ her eye on Noll.

Alexis: You know, you’re quite an attractive man.

Frankie: Keep goin’.

Alexis: How far do you want me to go?

Frankie: I’m at the plate. You’re doing the pitching.

This movie has great dialogue; the screenplay was written by Charles Schnee from a play by Theodore Reeves (The Beggars Are Coming to Town). Some viewers have called it a BIT “too wordy.” Schnee also wrote the screenplay for a must-see film noir, The Bad and the Beautiful (1952), which also starred Douglas. The director, Byron Haskin, worked his way up from commercial movie photographer to cameraman, then became an assistant director (AD) at Selznick Pictures. Haskin was a cinematographer in the silent era; he helped develop the tech that brought sound to the film industry. He began directing in the late 1920s at Warner Bros. Haskin made Disney’s 1st live-action film, Treasure Island (1950).

Alexis: [in Noll grabbing her by the arm] You’re hurting me.

Noll: And you love it.

As the hosts on Out of the Podcast commented: “You can tell everyone is young and hungry in this one.” This is Lancaster’s 5th film at age 33; the actor (6’2″ tall/classically handsome) started out as an acrobat, which explains his strong physical presence. He can fight (and make it look believable), as we see in this movie! Douglas (5’9″ w/ a striking face) came from the theater world and studied The Method; this is his 4th film at age 30. It MAY seem strange to some viewers to see Douglas as a villain; this was the case in his early roles. This is the 1st of 7 movies that Lancaster and Douglas made together; they also became close pals.

Noll [to Kay]: Sure, that’s why men take women to dinner – to have someone to talk about themselves to.

The husky-voiced Scott (who is NOT the most confident/versatile actor) raises her game here, perhaps b/c she is cast opposite (future) Hollywood heavyweights. Scott acted w/ Lancaster and Corey in Desert Fury (a weird movie, BUT may interest noir-istas). Frankie and Kay have strong romantic chemistry; Lancaster looks at Scott in a sweet/gentle way. Kay’s songs were NOT sung by Scott; her voice was dubbed. I loved ALL of Kay’s outfits (chosen by Edith Head); they are classy and seductive. Check this movie out!

[1] It’s the kind of movie where the stars are more memorable than the story.

Scott and Douglas, for example, really shine. Scott does some of the best acting of her career as the conflicted glamour girl. But I especially like Douglas’s slimy version of a smooth-talking mastermind who’s so self-assured, you can’t wait to see him get what he’s got coming.

[2] There’s a lot to like in the film- particularly the acting. In addition, the camera-work is great, as is the beating scene… The street scenes late in the film had a great use of shadows- a film noir trademark.

-Excerpts from IMDb reviews