Barry Sulivan is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner: the police are in his pocket and the local hoods are on his payroll.
Sam Hurley, "Nation's No. 1 killer" with a cold contempt for "heroes," escapes prison with two companions and takes a mixed bag of hostages to Nevada ghost town Lost Hope City. He knows ... See full summary »
Jim Curtayne, formerly a successful criminal defense attorney and currently a recovering alcoholic, has turned to civil law because of his problems with the bottle, daughter Ginny delays marrying in order to keep her dad on the straight and narrow, but when the son of neighborhood friends is accused of murder, he is lured into returning to criminal law. Complications arise as the initially overconfident Curtayne experiences lapses inn memory and judgment as well as an uncooperative client. He finds himself well over his head as he tries to reclaim his self-confidence and professional standing. Written by
According to John Sturges's inputs for the book of Emmanuel Laborie "Sturges: a filmmaker's story", John Sturges said he was frightened directing Spencer Tracy who was a living legend. At the beginning, he was just stuck on the story-board and choosing good camera angles and did not dare to interfere in Tracy's way of acting. Until the day, Tracy rehearsed a scene, while Sturges was looking at it through the eye-piece of the camera, suddenly took off his jacket and hung it on the camera lens blocking up the director's view. Then Tracy took Sturges aside and told "John, can you stop only worrying about your camera and take care about the actors because the camera is only a hungry machine and it will not be satisfied if you feed it with junk food". See more »
When Curtayne walks up to the bar to order a short beer, a moving shadow of the boom microphone and cables can be seen in the mirror behind the bar. See more »
The People Against O'Hara is a slightly offbeat film to have come out in 1951. It's both a crime picture and a fairly realistic study of alcoholism. The photography is by noir tyro John Alton, and in many of its night-time and shadowy scenes the movie looks like a thriller, which it really isn't. Director John Sturges was an up and comer at the MGM of this time, and the film was one of the earlier shots at A level film-making. The cast,--Spencer Tracy, Diana Lynn, Pat O'Brien, John Hodiak--are all fine.
I can't say that the script is any great shakes, but it gets the job done. The story goes off in several directions, as it deals with everything from father-daughter love to gangsters. I like the film more than most people and think that had the script been tidied up it might have been a great movie. There are some splendid moments, and one in the courtroom in particular stands out, when a young thug delivers such a double-talking testimony that lawyer Tracy almost has a nervous breakdown while questioning him. The kid senses that Tracy is vulnerable and keeps on twisting his words deliberately, and Tracy goes for the bait. It's a tough scene to watch, alternately sad, realistic and infuriating.
Tracy plays his role as a recovering alcoholic with sincerity and a conspicuous absence of sentiment. This man is not a saint and never was. Even when clean and sober he's a far cry from perfect, and he always will be.
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