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Rick Leland makes no secret of the fact he has no loyalty to his home country after he is court-marshaled out of the army and boards a Japanese ship for the Orient in late 1941. But has ... See full summary »
Millionaire Turner, on his deathbed, leaves a million to Jane Barker. A movie addict who believes life is like the movies, marries Donn without telling him about the bequest. Turner gets ... See full summary »
Frederick De Cordova
Three time loser Duke Berne risks life in prison with one more armored car robbery. His attorney's wife Lorna, Berne's old sweetheart, keeps him from it but he goes to jail anyway. Duke and... See full summary »
After years of pursuit, Assistant D.A. Martin Ferguson has a good case against Murder, Inc. boss Albert Mendoza. Mendoza is in jail and his lieutenant Joseph Rico is going to testify. But Rico falls to his death and Ferguson must work through the night going over everything to build the case anew. Written by
Ed Stephan <firstname.lastname@example.org>
According to the New York Times' Feb. 16, 2014 article on films influenced by the Kefauver hearings, Sen. Estes Kefauver appeared in a prologue for this film. See more »
When Rico gets in his car at the hideout on his way to fulfill a "contract" in the city, a crew member is visible in the reflection of the window of the car door as it is closed. See more »
[Rico is convinced that Mendoza has escaped from prison, so Ferguson takes him down to Mendoza's cell]
[after looking in]
He's smiling at me...
[looks in again]
Mendoza! Call them off! I'm not going into court! I swear I won't! Tell 'em! I'm not squealing! Please, tell 'em I'm not...
D.A. Martin Ferguson:
Rico! You're gonna talk! Do you hear me? You're gonna talk! You're not blowing up this case! It took four years to put him in that cell and when he walks out he's going to the chair. So you gonna talk, it's the only ...
[...] See more »
Post 1950 police noir with flashbacks inside of flashbacks.
This is a perfect example of the typical post-1950 noir which tended to be told from the point of view of the police rather than the criminal so they are less existential than the classic pre-1950 noir. Blame it on the blacklist. Anyway, it retains the noir virtues of a simple story economically told and expressively photographed. Only the garishness of containing a super star and being directed, uncredited, by Raoul Walsh , lifts this film to 'A' status but in fact this is a 'B' picture all the way.
There are plot holes aplenty, cars which are fifteen years out of date, an unusually high body count and police procedures which would give the ACLU, if not the Supreme Court, apoplexy. That said The Enforcer is a lot of fun and a satisfying little picture. Connoisseurs of character actors will have a field day as the picture contains a who's who of heavies and henchmen.
THE ENFORCER is one of the few noirs with the hyper classic devise of a flashback inside of a flashback. In fact there are three of them. The body of the film is D.A. Humphrey Bogart and cop Roy Roberts reviewing their notes for a case against a murder for hire racket. During the review they recall the arrest Zero Mostel who tells a story about joining the gang of killers. Then they listen to a dying man who tells a story of a failed hit. In another flashback a man who we already know to be dead tells a story of the organizations first hit. There have been more convoluted flashback structures (there are some with flashbacks inside of flashbacks inside of flashbacks) but at least add THE ENFORCER to the list of noirs with flashbacks within flashbacks.
P.S. Ted de Corsia should either try to stay away from high places or else get a good pair of sneakers- c.f. THE NAKED CITY.
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