The Globe is a small, but visionary newspaper started by Phineas Mitchell, an editor recently fired by The Star. The two newspapers become enemies, and the Star's ruthless heiress Charity Hackett decides to eliminate the competition.

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Cast

Complete credited cast:
...
Mary Welch ...
Charity Hackett
Bela Kovacs ...
Ottmar Mergenthaler
...
Josiah Davenport
Tina Pine ...
Jenny O'Rourke
George O'Hanlon ...
Steve Brodie
J.M. Kerrigan ...
Dan O'Rourke
...
Charles A. Leach
Don Orlando ...
Mr. Angelo
Neyle Morrow ...
Thomas Guest
...
Jeff Hudson
...
Mr. Spiro
Dee Pollock ...
Rusty
Hal K. Dawson ...
Mr. Wiley
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Storyline

In New York's 1880's newspaper district a dedicated journalist manages to set up his own paper. It is an immediate success but attracts increasing opposition from one of the bigger papers and its newspaper heiress owner. Despite the fact he rather fancies the lady the newsman perseveres with the help of the first Linotype machine, invented on his premises, while also giving a hand with getting the Statue of Liberty erected. Written by Jeremy Perkins <jwp@aber.ac.uk>

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Taglines:

Street of rogues... reporters... and romance!

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Drama | Thriller

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Details

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Release Date:

12 August 1952 (USA)  »

Also Known As:

A Dama de Preto  »

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Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Shot in 14 days. See more »

Quotes

Phineas Mitchell: The press is good or evil according to the character of those who direct it.
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Crazy Credits

Instead of "The End", the picture ends with "Thirty"; newspaper jargon for "that's all. There ain't no more!" See more »

Connections

Featured in Maltin on Movies: Bad Teacher (2011) See more »

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User Reviews

 
An excellent film about rival New York City newspapers in the 1880s
9 July 2002 | by (Saint Paul, MN) – See all my reviews

Its main draw is Sam Fuller's direction – he is, without a doubt, one of the most skillful American directors to have ever lived. You have to see some of the brilliant long takes in Park Row to believe them. The flowing shots make the rather brilliant moves in Alfred Hitchcock's Rope look trite (which is no dump on Hitch, mind you; Park Row is just that impressive). Unfortunately, Fuller's screenwriting ability is quite a bit below his directorial prowess. You've got to admire any director who was working in Hollywood at the time and was also able to write his own scripts. There is only the smallest handful of writer/directors at the time. But, man, can Sam Fuller be overbearing at times. Fortunately, the sillier pieces of the script, as well as bad bits of dialogue, fuel the madness of it all in Park Row. I found myself utterly entertained by the larger than life situations and the hamfisted attempts at symbolism. I laughed quite hard at a scene where Phineas Mitchell, the film's protagonist, attacks a hired thug from the rival newspaper and pounds him repeatedly against the statue of Ben Franklin. I also loved the overwrought symbolism of the scene where Phineas hangs the final issue of his paper on a hook labeled `Deaths.' Or how about the ridiculously over-the-top editorial that Davenport writes near the end? And you've just got to love the final scene, with the word `THIRTY' boldly replacing `THE END'. You'll understand what that means if you see the picture. The only piece of the film that should really have been subtracted is the horribly clunky romance; it seems like an afterthought developed to capture a greater number of female moviegoers and it doesn't work a lick. 9/10.


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