In 1902 London, unhappily married Philip Marshall meets young Mary Gray, who is unemployed and depressed. Their deepening friendship, though physically innocent, is discovered by Philip's ... See full summary »
A man is found murdered, with witnesses convinced about the woman they saw leaving his apartment. However, it becomes apparent that the woman has a twin, and finding out which one is the killer seems impossible.
Olivia de Havilland,
A woman secretly suffering from kleptomania is hypnotized in an effort to cure her condition. Soon afterwards, she is found at the scene of a murder with no memory of how she got there and seemingly no way to prove her innocence.
Petty crook and cop-killer Martin Rome, in bad shape from wounds in the hospital prison ward, still refuses to help slimy lawyer Niles clear his client by confessing to another crime. Police Lt. Candella must check Niles' allegation; a friend of the Rome family, he walks a tightrope between sentiment and cynicism. When Martin fears Candella will implicate his girlfriend Teena, he'll do anything to protect her. How many others will he drag down to disaster with him? Written by
Rod Crawford <email@example.com>
The doctor that illegally treated Martin Rome (Richard Conte) was implicated by being paid in cash, in money reportedly taken from the lawyer Niles' safe. However Rome only finds jewelry and documents in Niles' safe, while emptying it. See more »
I had enough of that when I'm a kid. Crummy tenements, no food, no clothes.
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.
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It is not surprising that so much has been written about the sub genre of the "film noir". The execution of a noir film required a tremendous artistry and expertise in all aspects of cinema. The classic noir films are truly works of art; cinema at its best, not relying on star power or big budgets, but rather a mastery of the very rudiments of making movies.
What Ford was to the western, Hitchcock to suspense, Sirk to melodrama, so was Robert Siodmak to the noir. While "Cry of the City" is often left out of discussions of the genre, it is, in many ways a near perfect example of the genre.
By 1948 the noir was beginning to hit its stride. Siodmak came to this project with much valuable experience. His execution of this not especially remarkable story has a fluidity and assurance of style that one can only marvel at.
Despite the well worn cop vs. gangster tale, there is a potent psychological complexity at the core of "Cry of the City". Richard Conte's Martin Rome, is charismatic and charming. Not only does he work his magic on unsuspecting females, we the audience are firmly on his side at the start of the movie. As the plot unfolds his ruthless, selfish and manipulative motives become apparent. Yet it will take some time before we are completely convinced. It's a masterly stroke of screen writing. It will take Victor Mature's impassioned indictment to completely convince us.
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. Despite a host of fine performances, Conte seems to not have garnered the respect he deserved.
A classic of its kind.
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