Tag: Police Drama

“The Narrow Margin” (1952) starring Charles McGraw, Marie Windsor, & Jacqueline Wright

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Once in a while a low-budgeted film from Hollywood gives off an unmistakable aura of big-time talent. The screenplay is taut, direction swift and performances crisp and clever. Continuity is paceful and tense, with a touch of glib humor… –The New York Post

…pungent performances and inventive direction… the cramped train settings are put to striking dramatic effect through expert camera work and cutting. Refreshingly, there are convincing sound effects and no hammering musical score… – The New York Journal-American

...Charles McGraw never relaxes his grim tension in a highly effective performance as a vigilant cop…Marie Windsor, a sultry beauty seething with vicious evil…The other girl is Jacqueline Wright, who cannot be described further without spoiling one of the surprises in the story… –The New York Times

This is a B movie (check it out on YouTube for $3.99) shot in just 13 days w/ a mere budget of $230K in 1950, but released by RKO Pictures in 1952. Director Richard Fleischer decided to use a handheld camera; this was one of the first films to do that. To save money, the train sets were fixed to the floor and the camera was moved to simulate the train rocking. When a mobster’s widow decides to testify in front of a grand jury and provide names in a racketeering case, she is forced undercover. Two cops reach Chicago to escort her to LA; the mob are on their trail almost from the start. Several shady/gun-toting men are on the train attempting to make sure the widow never reaches her destination.

Brown: Well, what kind of a dame would marry a hood?

Forbes: All kinds.

Howard Hughes screened it in his private projection room; the film stayed in that room for more than a year b/c he forgot about it! Hughes loved the film, but thought he could improve it by removing the scenes w/ Det. Sgt. Brown (Charles McGraw) and Mrs. Neall (Marie Windsor) and reshooting them w/ Robert Mitchum and Jane Russell. However, Hughes sold his interest in RKO before he could carry out this plan. This was Windsor’s breakout part; most casting agents said she was “too tall, too voluptuous, and just too sexy” for any role besides “the other woman”. She was a former beauty queen from Utah who eventually became known as “the queen of the Bs” (as she could very convincingly be the femme fatale). Fans (incl. TCM host Eddie Muller) love the hard-boiled dialogue between McGraw and Windsor (considered some of the best in noir).

“Cry of the City” (1948) starring Victor Mature & Richard Conte

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In NYC, thief turned cop killer- Martin Rome (Richard Conte)- arrives in the hospital badly wounded. A slimy lawyer, W.A. Niles (Berry Kroeger), tries to convince him to confess to another crime- a jewelry heist and killing the shop owner. Marty’s young girlfriend, Teena Riconti (Debra Paget), secretly visits him while he’s asleep. Later, Niles threatens Marty by saying he’ll find Teena and force her to confess in aiding w/ the robbery (as its known a woman was involved). When Marty is moved from the hospital to the jail, he escapes. Lt. Candella (Victor Mature) and Lt. Collins (Fred Clark) are on his trail. This case is personal for Candella (who is also Italian-American), knows the Rome family, and grew up in the same poor/immigrant neighborhood as Marty.

I had enough of that when I’m a kid. Crummy tenements, no food, no clothes. -Marty explains why he chose a life of crime

Oh, save it for the jury, Marty. Who do you think you’re kidding? l was brought up in the district too. I’ve heard that dialogue from you poolroom hotshots ever since l was ten years old. Get hip… only suckers work… don’t be a square… stay with the smart money. Let the old man get the calluses digging the ditches. No food… no clothes… crummy tenements. You’re breaking my heart, Marty. -Lt. Candella replies

You shouldn’t miss this gem of a film noir from director Robert Siodmak! I had tears in my eyes at the end; it’s captivating from its start to the (powerful) finish. Not only is it very well-made, it has a moral message (which is not dealt w/ in a pedantic manner). The characters (many of whom are European immigrants and first generation Americans) are fleshed out nicely, even the minor players. Veteran film noir-writer Ben Hecht worked on the script, though he is uncredited; this is a common practice in Hollywood even today. Quentin Tarantino is known for punching-up dialogue on several movies from different genres.

Victor Mature is surprisingly competent in the lead in what must be surely one of his best roles. Richard Conte is simply superb in a complex and tricky role. His method is one of economy and subtlety and a lesson to screen actors.

-Excerpt from IMDB review

I’ve haven’t seen Mature before; he’s 6′ 2″ and muscular w/ a striking profile, dark hair, and thick eyebrows. To modern audiences, he resembles Law and Order and SATC actor Chris Noth. Candella is usually on the move; he is a man who commands attention w/ his body and voice. In contrast, Conte (star of the lesser-known noir Thieves’ Highway) is much shorter w/ a slighter build. He is also handsome and has a strong screen presence. Marty is often confined, wounded by cops’ bullets, though his mind and eyes are always moving. There are many fine supporting characters (few who also speak in Italian), adding to the strength of the film. Classic film fans will notice a young Shelly Winters, one of the many ladies Marty has charmed.

Siodmak was a master of noir, as he blended German Expressionism w/ contemporary styles found in American film. He created atmospheric and memorable movies, perhaps most notably The Killers (1946), starring Burt Lancaster and Ava Gardner. Though born in Memphis, Tennessee to Jewish parents who were visiting on business, Siodmak spent his youth in Germany, and even worked in banking (his father’s business) for a time. He also tried his hand at acting, which didn’t work out. When Hitler came to power, he joined his friend- Billy Wilder- in Paris and worked on editing and filming. In 1940, Siodmak was on the last ship leaving France for America on the eve of Germany’s occupation of Paris. His experience in France enabled him to create quality films which looked good on a low budget.

“The Accused” (1949) starring Loretta Young, Robert Cummings, & Wendell Corey

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Wilma Tuttle (Loretta Young) is a 30-something Psychology professor at a small college in California. One night, she agrees to have dinner w/ one of her students, Bill Perry (Douglas Dick), in order to discuss his behavior. Though he is an intelligent young man, he is too forward in his attentions (even in class). After dinner at a drive-in restaurant, Wilma insists on going home, but Bill drives up to a cliff high above the ocean in Malibu, making Wilma nervous. He quickly changes into his swimming trunks, saying they should go down to the beach. Wilma grows more scared, but she is strong enough to she act in self-defense (when Bill attempts to rape her). This results in his death, which Wilma covers up. Soon, she finds her conscience bothering her, which could jeopardize her mental health and promising career. Bill’s guardian/lawyer- Warren Ford (Robert Cummings)- arrives from San Francisco. He takes a liking to Wilma, as does his old friend- Lt. Ted Dorgan (Wendell Corey). The policeman (who has some of the best lines) wants to investigate further into Bill’s death, though an inquest ruled it an accident.

At the time, this must have seemed daringly modern and contemporary. Now it just seems quaint, a waystation in the breakdown of small-town American values…

Wendell Corey is his inscrutably poker-faced self, as always, hinting between the lines…

Each of the main characters is an interesting study, with ambivalent emotions that alternately spark and grate against those of the others.

-Excerpts from IMDB reviews

The Accused has noir-like psychological elements, though isn’t typical of the film noir genre. Wilma’s behavior is understandable to viewers, so she has our sympathy. The directing will hold the viewer’s attention to many scenes, though there is not much suspense. These scenes were esp. handled well: the opening sequence of Wilma trying to get home, a boxing match where she suffers a flashback, and the reconstruction of the killing.

Going w/ conventions of the time, a woman can’t have a career and a romantic life at the same time. As she gets closer to Warren, Wilma transforms into a glamorous woman from the prim stereotypical schoolteacher (w/ hair in bun, high collars, and long skirts). I thought the most interesting character was Lt. Dorgan (who wondered if he might have a chance), and felt bad about investigating Wilma. Though he admires her beauty, brains, and charming manners, he is compelled to get to the truth!

Pushover (1954) starring Fred MacMurray, Kim Novak, Philip Carey, & E.G. Marshall

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This film noir is considered a kind of sequel- in spirit- to Double Indemnity. Both movies feature blonde femme fatales, temptation, and (of course) the lure of easy money. It opens w/ a bank heist where over $200,000 is stolen by a pair of armed men in plain clothes. After a late movie, Lona McLane (Kim Novak- just 20 y.o. in her first role), can’t start her car. She gets help from Paul Sheridan (Fred MacMurray), who was also alone at the movies. After her car is taken to a local garage, Lona decides to go home w/ Paul, and have an affair. A few days later, Paul reports to his boss’ office- we learn that he’s an undercover police detective! In order to catch the man who planned the robbery, Paul has been keeping track of his girlfriend- Lona.

The boss, Lt. Eckstrom, is played by E.G. Marshall- a face recognizable to movie fans of several generations. He had a long/successful career as a character actor, incl. as a juror in 12 Angry Men (w/ Henry Fonda) and the billionaire philanthropist in Absolute Power (w/ Clint Eastwood). Paul’s younger partner in the stakeout is Rick McAllister, played by a tall/deep-voiced actor named Philip Carey. He later became known as Asa Buchanan- patriarch of one of the families on the soap opera One Life to Live. Wow, I never knew he was so handsome as a young man! After a few moments, I recognized his name and that voice.

Rick (re: Lona): New car, mink coat, no clocks in the joint… probably the story of her life.

Paul: You just don’t like women, Rick.

Rick: What keeps you single?

Paul: Maybe I like ’em too much.

Rick: I’ve seen all kinds since we joined the force… B-girls, hustlers, blackmailers, shoplifters, drunks. You know, I think I’d still be married if I could find a half-honest woman. Must be a few of ’em around.

Paul: Watch yourself! Those few might just be smarter!

It doesn’t take Lona too long to discover that Paul is a cop; she’s mad and says they are through. Paul, Rick, and another cop stakeout Lona’s apt, waiting for her man to call or (maybe) visit. During the lull times, Rick watches Lona’s neighbor through his binoculars. This is Ann Stewart (Dorothy Malone), a nurse who is always busy and in a cheerful mood.

MacMurray does a fine job as a good, but weary, middle-aged guy who is emotionally vulnerable once he meets Novak. The femme fatale is not a master manipulator; she resents being the trophy of a criminal. Is their hope to their relationship? Rick and Ann seem to almost live in a separate world; their relationship starts off shady, but grows hopeful once you see their chemistry. The atmosphere created in this movie also keeps you interested. The filmmakers are good at setting the mood; we see L.A. mostly at night when there are shadows, streets lit by large lamps, and a few rooftop scenes. This isn’t any fresh territory for Hollywood, but I stayed interested, wondering how far Paul would go.

New Series Trailers: Turn Up Charlie, Delhi Crime, & Ramy

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Turn Up Charlie (Netflix) – This show is now streaming!

This show stars British actor Idris Elba; he worked as a DJ in London & NYC for years in his 20s & 30s.

Delhi Crime (Netflix): March 22nd

NYC-based writer/media critic Aseem Chhabra (who I’ve been following since 2005) posted re: this show on IG. He “loved the first two episodes,” which were directed by his Canadian friend (Richie Mehta). The cast includes Rasika Dugal (Bombay Talkies) and Shefali Shah (who some of you will recognize from her memorable co-starring role in Monsoon Wedding). The show focuses on the Nirbhaya rape case of Jyoti Singh. I’m guessing that most of the actors in this show are theater veterans.

Ramy (Hulu): April 19th

You may have seen Ramy Youssef’s stand-up before. In his 1st series, he plays a young man (NOT unlike himself) who is a first generation Egyptian-American exploring the challenges of being a Muslim in today’s world. His mother is played by internationally-acclaimed Israeli Arab actress, Hiam Abbass (The Visitor; Blade Runner 2049). Mo Amer (another stand-up comic) who is a Palestinian-American/refugee is part of the cast; he has a Netflix special (The Vagabond) that is funny and educational. Dave Merheje, a Canadian-Lebanese stand-up featured in Comedians of the World (Netflix), also has a role; he just won a Juno award this week. Indian-American actress Poorna Jagannathan (The Night Of; Gypsy) is also listed in IMDB for 3 eps; she is a friend of one of my writer friends (from my NYC days).