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Call Northside 777 (1948)

Approved | | Drama, Film-Noir | 1 February 1948 (USA)
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1:52 | Trailer

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Chicago reporter P.J. McNeal re-opens a ten year old murder case.

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Writers:

(screen play), (screen play) | 3 more credits »
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1 win & 2 nominations. See more awards »

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Cast

Complete credited cast:
...
...
...
...
Betty Garde ...
Kasia Orzazewski ...
Joanne De Bergh ...
Helen Wiecek (as Joanne de Bergh)
...
Moroni Olsen ...
...
Paul Harvey ...
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Storyline

In 1932, a cop is killed and Frank Wiecek sentenced to life. Eleven years later, a newspaper ad by Frank's mother leads Chicago reporter P.J. McNeal to look into the case. For some time, McNeal continues to believe Frank guilty. But when he starts to change his mind, he meets increased resistance from authorities unwilling to be proved wrong. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Plot Synopsis

Taglines:

Reporter Uncovers New Clues In Wiecek Case See more »

Genres:

Drama | Film-Noir

Certificate:

Approved | See all certifications »

Parents Guide:

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Details

Country:

Language:

|

Release Date:

1 February 1948 (USA)  »

Also Known As:

Calling Northside 777  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

ON SCREEN: "This film was photographed in the State of Illinois using wherever possible, the actual locales associated with the story." Call Northside 777 (1948) was actually the very first Hollywood produced feature film to be shot entirely on location in Chicago. Many famous landmarks, such as the Chicago Merchandise Mart, Holy Trinity Polish Mission, and the Wrigley Building (of chewing gum fame) on North Michigan Avenue, can be seen throughout the film. See more »

Goofs

During the administration of the lie detector test, the window behind the examiner and Frank has an obvious prison yard background. Then, the camera angle shifts to a close-up of Frank and a clock-face within the room. The camera then pans back to the examiner. The scene in the window has changed to an English cottage by the sea with someone working in the fields. See more »

Quotes

Laura McNeal: What's the matter, won't the pieces fit together?
P.J. McNeal: *Some* of them, but they make the wrong picture.
Laura McNeal: Pieces never make the wrong picture. Maybe you're looking at them from the wrong angle.
See more »


Soundtracks

Chicago (That Toddlin' Town)
(1922) (uncredited)
Music by Fred Fisher
Played during the Prohibition montage
See more »

Frequently Asked Questions

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User Reviews

 
A Story Of a City
5 April 2001 | by (brighton, ma) – See all my reviews

This is the last, and in my opinion the best, of director Henry Hathaway's so-called 'numbers' trilogy (the other two are House 0n 92nd Street and 13 Rue Madeline, both badly dated now). It was made at the height of the so-called semi-realist or semi-documentary movement in American film-making, which was just peaking (and soon to decline) when this picture came out. Filmed on location in and around Chicago, it tells the story of a newspaperman who comes to believe in the innocence of a convicted criminal when the man's aged mother places an ad in the paper asking for information about the by now almost forgotten crime her son was accused of.

At first cynical, the reporter comes to believe the man's story, and arranges for him submit to a lie-detector test, which he passes. In short time the hunt is on the one person who can help prove the man's innocence. This is a very gutsy film for its day, and along with the much inferior The Naked City, released at about the same time, it is the one that makes the best use of urban locations. We see a long-gone Chicago, a city of brick and cement buildings that echo with the footsteps of busy men in heavy overcoats on their way to the 'office'. It is also a city with a huge, almost underground immigrant population, which we see only glimpses of early in the film, but whose members take on increasing prominence as the story progresses. The last part of the movie, with the reporter taking to the streets in tough authentic Polish neighborhoods, contains some of the best, most evocative and sympathetic views of the streets, saloons and dingy walk-up apartments of the urban poor I've ever seen. No pity is asked for and none is given. This is simply the way some people live; by beer, boiler-maker, song and crude humor. There is warmth, too, in these tight-knit communities, with their air of familiarity and loyalty, their rules of conduct unknowable to the outsider.

Hathaway is often seen as a plain, almost prosaic director, even at his best. In Call Northside 777 his steady journeyman hand is most welcome. He shows us an American city landscape quite different from what one normally finds in movies. We are in a terrain very much of the interior, the heartland, an America most easterners scarcely know of, its cities just as big and bustling as any on the Atlantic seaboard, but also quite different in tone, style and flavor. The film captures this aspect its midwestern city to perfection.


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