New York City physician, Dr. Timothy Kane, knows Broadway, the Great White Way and all of its characters thoroughly, as does his receptionist, Connie Madigan. A man Kane had sent to prison ...
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New York City physician, Dr. Timothy Kane, knows Broadway, the Great White Way and all of its characters thoroughly, as does his receptionist, Connie Madigan. A man Kane had sent to prison is now dying, and asks Kane to locate a daughter and give her his fortune. However, others think they have a claim on it, and are out to ensure their claim, usually by foul means. Written by
Les Adams <email@example.com>
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. Its initial television broadcast took place in Chicago Friday 9 January 1959 on WBBM (Channel 2); after nearly a year on the shelf, it was finally taken out of the vaults and started making the rounds; in Pittsburgh it first aired 10 October 1959 on KDKA (Channel 2), in Hartford 29 October 1959 on WTIC (Channel 3), in Omaha 4 November 1959 on KETV (Channel 7), in Milwaukee 4 December 1959 on WITI (Channel 6), in Detroit 28 December 1959 on WJBK (Channel 2), in Philadelphia 9 January 1960 on WCAU (Channel 10), in Des Moines 24 February 1960 on WHO (Channel 13), in Huntington, West Virginia 29 February 1960 on WHTN (Channel 13), and in Asheville, North Carolina 21 March 1960 on WLOS (Channel 13). See more »
When Kane enters the phone booth, the folder is in his right jacket pocket. When he emerges, it's now in his left jacket pocket. See more »
Debuting director Anthony Mann elevates Runyonesque crime programmer
This rapid-fire, Runyonesque crime story marks the auspicious directorial debut of Anthony Mann, later to enter movie history for several noirs (especially those made in collaboration with cinematographer John Alton), some superior westerns, and his uncredited work on Spartacus (where he was replaced, according to many to the movie's detriment, by Stanley Kubrick). Even this early, and working from a light-crime formula, Mann shows his innovative style. He cuts the sentiment and slapstick down to the barest minimum, keeps every scene to a point, and favors ellipsis over literalism (photographed by Theodor Sparkuhl, the movie has a rich look, too).
On the ledge of a hotel overhanging Times Square, a `nut sundae' (Jean Phillips, nearing the end of her brief candle of a career) keeps ranting to the crowds and rescue workers gathered below. When physician to the stars and drifters of the Rialto, Dr. Broadway (Macdonald Carey), saves her, it turns out to be a paid publicity stunt on the part of the starving girl, who ends up being Carey's secretary and gal Friday.
The bad news for Carey is that a mobster (Eduardo Ciannelli) he helped put away (by saving his life then informing the police) is looking for him. And finds him, but instead of exacting the expected revenge, asks him to locate his daughter and give her $100-grand. But when Ciannelli is found murdered in Carey's office, suspicion falls on the Doc. And somebody else is after the money....
Mann casts the movie with a big roster of character actors playing police, gangsters and Carey's mob of `colorful' mugs (particularly memorable are Ciannelli and, as his rival, fronting as an affable men's clothier, J. Carrol Naish). It's been suggested that Dr. Broadway may have been the opening salvo of a series of programmers. Since it didn't take off, it may have been owing to the competent but uncharismatic Carey, or to Phillip's too-close-for-comfort impersonation of Ginger Rogers. At any rate, it's a blessing that Mann didn't get bogged down in a string of programmers that wouldn't have allowed him to take the startling turns his career would later take. But it would have been a fun string of programmers.
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