After Police Captain Dan McLaren becomes police commissioner former detective Johnny Blake knocks him down convincing rackets boss Al Kruger that Blake is sincere in his effort to join the ... See full summary »
Edward G. Robinson,
Matt Brennan runs into Jo Holloway, the Red Cross girl he romanced in Europe when he was a flyer in World War II, when he is offered a job by jet manufacturer Leland Willis as a test pilot.... 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>
Everett Sloane, who plays the kingpin of the underworld in this movie, provided the voice of do-gooder Dick Tracy in the 1961 cartoon shorts based loosely on the Chester Gould comic strip. 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 »
[Big Babe Lazich has just been invited to join Rico's gang. While he is waiting, he notices that Rico is always on the phone]
Who calls him on the phone?
Philadelphia Tom Zaca:
If you're a good swimmer, you can ask the guy who found out. He's at the bottom of the river.
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Bogart and Burks (the photographer) are first rate...the rest tags along
The Enforcer (1951)
Humphrey Bogart makes this film, and if you like him, you'll love this. If you don't know or care about Bogart, you'll see what he's all about here. The rest of the film is good, very good, but it's standard fare. And it has a few moments of just incredulous stuff, like toward the beginning when they are protecting a key witness and they ignore the obvious problem of having the witness sit in front of a window across from a hotel. Naturally, a sniper takes a shot at him. I won't say whether he succeeds, but it sets you up to be suspicious of the director and writer from there on.
But there's Bogie, the relentless investigator. He needs to put a terrible crime boss in the chair, and sets off to find proof against him, running up against mobsters who seem to be one step ahead, covering up or wiping out (with bullets) anything or anyone who might know something. It's good stuff, but not great stuff. Director Bretaigne Windust had done some Broadway and a couple of films, but he doesn't pull this together. I'm surprised a Bogart film at the top of his career was handled by Windust, but at this time Bogart had been battling the Hollywood Communist lists and blacklists, and he got his independent Santana production company going, and I'm guessing that he was working against a lot of the Hollywood mainstream at this point (as was John Huston, who used Bogart in "African Queen" the next year).
But this is Bogart at his best, really, just after "Treasure of the Sierra Madre" and "In a Lonely Place." The photography is first rate (Robert Burks was by this point doing a whole bunch of Hitchcock films, too). In all, a decent, well made if unexceptional film.
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