The Naked City (1948)

Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran ... See full summary »

Director:

Jules Dassin

Writers:

Albert Maltz (screenplay), Malvin Wald (screenplay),

Stars:

Barry Fitzgerald, Howard Duff, Dorothy Hart

Won 2 Oscars. Another 1 win & 4 nominations.

Cast

Complete credited cast:
Barry Fitzgerald	...	Det. Lt. Dan Muldoon
Howard Duff	...	Frank Niles
Dorothy Hart	...	Ruth Morrison
Don Taylor	...	Jimmy Halloran
Frank Conroy	...	Captain Donahue
Ted de Corsia	...	Garzah (as Ted De Corsia)
House Jameson	...	Dr. Stoneman
Anne Sargent	...	Mrs. Halloran
Adelaide Klein	...	Mrs. Batory
Grover Burgess	...	Mr. Batory
Tom Pedi	...	Detective Perelli
Enid Markey	...	Mrs. Hylton
Mark Hellinger	...	Narrated By (voice)

Storyline

Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran investigate. Suspicion falls on various shifty characters who all prove to have some connection with a string of apartment burglaries. Then a burglar is found dead who once had an elusive partner named Willie. The climax is a very rapid manhunt sequence. Filmed entirely on location in New York City.

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Plot Keywords:

new york city | detective | murder | police | semi documentary | 

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Taglines:

RAW LIFE! REAL LIFE! RECKLESS LIFE! (re-release print ad - all caps)

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Genres:

Crime | Drama | Film-Noir | Mystery | Thriller

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Certificate:

Unrated

Details

Country:

USA

Language:

English

Release Date:

4 March 1948 (USA)

Also Known As:

Die nackte Stadt

Filming Locations:

City Morgue, New York City, New York, USA

Company Credits

Production Co:

Hellinger Productions, Universal International Pictures (UI)

Technical Specs

Runtime:

96 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Film debut of John Randolph.

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Goofs

In the scene where New York's East Side is being introduced, a set of headlights can be seen appearing and disappearing near the center of the shot.

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Quotes

Willie Garza: Thought you were off the liquor. Liquor is bad. Weakens your character. How can a man like me trust a liar like you? I can't.

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Crazy Credits

The opening credits are spoken by producer/narrator Mark Hellinger. No credits are seen on the screen.

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Connections

Referenced in This Theatre and You (1948)

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Soundtracks

"Sobre las Olas (Over the Waves)"
(1887) (uncredited)
Written by Juventino Rosas
Background music for the girls on swings

User Reviews

A Turning Point In Film Noir

There are two styles of Film Noir. Fueled by writers like James M. Cain, Dashiell Hammett, and Raymond Chandler, the first style emerged in the 1940s and was characterized by a cynical, often witty tone; anti-heroes, dangerous women, and assorted criminal elements; and complex plots that emphasized betrayal and moral ambiguity. It was also photographed in a remarkable visual style that combined glossy production values with atmospheric emphasis on light and shadow--and films like THE MALTESE FALCON, THIS GUN FOR HIRE, MILDRED PIERCE, THE BLUE DAHLIA, and DOUBLE INDEMNITY remain great classics of their kind.

But after World War II public taste began to change. Things that could only be hinted at in earlier films could now be more directly stated, and as audiences clamored for a more gritty realism the glossy sophistication of 1940s Noir fell out of fashion. The result was a new style of Noir--photographed in a grainier way, more direct, more brutal, and even less sympathetic to its characters. And the 1948 THE NAKED CITY was among the first to turn the tide. The sophisticated gumshoe, slinky gun moll, and glossy production values were gone; this film felt more like something you might read in a particularly lurid "true detective" tabloid.

In an era when most films were shot on Hollywood backlots, THE NAKED CITY was actually filmed in New York--and while filmmakers could film with hidden cameras sound technology of the day posed a problem. But producer Mark Hellinger turned the problem into an asset: the film would be narrated, adding to the documentary-like style of the cinematography and story. (Hellinger performed the narrative himself, and his sharp delivery is extremely effective.) The story itself reads very much like a police report, following NYPD detectives as they seek to solve a dress model's murder.

For 1948 it was innovative stuff-but like many innovative films it falters a bit in comparison to later films that improved upon the idea. The direct nature of the plot feels slightly too direct, slightly too simple. The same is true of the performances, which have a slightly flat feel, and although Barry Fitzgerald gives a sterling performance he is very much a Hollywood actor whose style seems slightly out of step alongside the deadpan style of the overall cast. Even so, the pace and drive of the film have tremendous interest, and while you might find yourself criticizing certain aspects you'll still be locked into the movie right to the very end. Particularly recommended for Film Noir addicts, who will be fascinated to see the turning point in the style.

Gary F. Taylor, aka GFT, Amazon Reviewer