A highly respected Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in rewards than in upholding the law. When he shoots a child ...
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Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
A highly respected Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in rewards than in upholding the law. When he shoots a child caught stealing, the others frame him and he is sent to prison where his attitude becomes even worse than before. Written by
Ulf Kjell Gür
This film's initial telecast in Los Angeles took place Sunday 18 August 1957 on KTTV (Channel 11), followed by Philadelphia Saturday 23 November 1957 on WFIL (Channel 6), by New York City 23 July 1959 on WCBS (Channel 2), and by San Francisco 26 September 1959 on KGO (Channel 7). See more »
When Eileen is exiting the doctor's office, studio lights and the boom microphone can be seen in reflection in the door's glass as it closes. See more »
Opening card: There is an unsung hero on our street to whom we owe our lives a hundred times, yet seldom know his name. He is the cop on the beat. This is the story of such a hero.. A policeman who chose between love for his son and devotion to duty. See more »
This is another atypical Sternberg film, his sole official effort at
staid MGM; I TAKE THIS WOMAN (1940; which is to follow) was another
assignment for that studio that would however be completed by other
hands. Still, given the presence of Wallace Beery, I thought this would
be a comedy-drama whereas it turned out to be a thriller with elements
of both the gangster pictures then at their zenith and the soon-to-be
in vogue noirs!
That said, the film starts off in a sentimental vein as Irish copper
with traditional heart-of-gold Beery offers to raise a slew of
orphaned or abandoned babies. The catch is that, when they grow up, the
kids would cause all sorts of trouble for him: two are in love but
another claims the girl (Laraine Day) for himself and, while the latter
(Alan Curtis in the kind of role John Garfield would come to specialize
in) follows in father's footsteps, his impatience for promotion sees
him antagonize a notorious gangster (Marc Lawrence) who had learned to
respect Beery and eventually turn criminal in his own right! The latter
aspect links the film with his earlier (UNDERWORLD , THUNDERBOLT
) and later (MACAO ) phases and, while MGM was best-known
for producing wholesome, entertainment-oriented fare, they did churn
out the occasional hard-hitting picture over the years. Beery, too,
could be serious and schmaltzy and here he mixes the two to reasonable
Though, as I said, Sternberg was unable to invest the proceedings with
his trademark style, the film does incorporate an effective montage
sequence (courtesy of Peter Ballbusch, who had worked for the director
on his masterpiece i.e. THE SCARLET EMPRESS ) depicting Curtis'
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