Barry Sulivan is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner: the police are in his pocket and the local hoods are on his payroll.
During the campaign for reelection, the crooked politician Paul Madvig decides to clean up his past, refusing the support of the gangster Nick Varna and associating to the respectable ... See full summary »
Bangkok in the 1950s. Jod and his friend Daeng are fearless aspiring gangsters. Their ability in street fight have them hired by a local gang and admired by all. But as years go by, this ... See full summary »
Ursula leaves the convent where she was educated, to start living with her uncle, the count Ribera, and her aunt Florentine. When she arrives, she is confronted with a local drama: a ... See full summary »
On the run from the New York police on a murder charge, gangster Broken Nose Dawson undergoes plastic surgery to change his appearance, then goes to Hollywood. Posing as millionaire playboy... See full summary »
Police detective Joe Warner investigates the shooting of womanizing composer Keith Vincent. Evidence points to suicide and that is the official verdict, but Joe doesn't buy it and ... See full summary »
Chubunka is the self-made head of the rackets in the sleazy boardwalk community of Neptune City, a low-rent version of Coney Island. He has become infatuated with a sultry nightclub chanteuse and lavishes her with gifts and attention, spending money on her that might better go to maintaining his hold on his operation. His obsession with her, as well as his pride, clouds his judgment as Cornell, a much more ruthless hoodlum, moves in on Chubunka's territory, bribes and threatens his associates, and compromises his operation. As if in a Greek tragedy, the petty gangster's weaknesses conspire to cause his downfall. Written by
Made by Monogram, the "best" of the Poverty Row studios, this low-budget noir flick made a big profit for them in 1947, and was one of Hollywood's most profitable films of the year. See more »
When Jammy gets the note from Cornell's hood, the rain is pouring all around him, but when the camera cuts into his face holding the umbrella, there are no raindrops hitting the puddles behind him. See more »
[Opening lines of first person narration as the camera dollies back from an ugly expressionistic painting]
That was what I was. I work the rackets... dirty rackets... ugly rackets. I was no hypocrite. I knew everything I did was low and rotten. I knew what people thought of me. What difference did it make? What did I care?
[Lying in bed looking at his face in a mirror]
I got scarred - sure! It can hurt a little when you fight your way out of a gutter.
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Here's a film I wish I could see again, even though it's a little too slow and talky for my tastes. It still was very interesting in spots.
Barry Sullivan and Belita both provide some great film-noir lines and the photography is pure film noir. Henry Morgan has interesting part although his role is minor and Sheldon Leonard (with hair) is notable. The only character who became annoying was Akim Tamiroff, as the scared soda shop owner.
The story, though, centers around Sullivan, who plays a man who doesn't trust anyone but would really like to find a woman he could trust. His outlook on humanity is brutal. It's so bad, it's almost funny. He reminded me of Lawrence Tierney in "Born To Kill."
This movie is an odd combination of film noir, melodrama and character study and is worth checking out, if you can find it.
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