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IMDb > 99 River Street (1953)

99 River Street (1953)

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User Rating: 7.4/10 (168 votes)

Overview

Director:
Phil Karlson
Writers:
Robert Smith (writer)
George Zuckerman (story)
more
Release Date:
3 October 1953 (USA) more
Tagline:
Rips into you like a double-crossing Dame!
Plot:
Having lost his heavyweight championship match, boxer Ernie Driscoll now drives a taxi for a living and earns the scorn of his nagging wife... more | add synopsis
User Comments:
Clearly Karlson's best film more

Cast

 (Complete credited cast)
John Payne ... Ernie Driscoll
Evelyn Keyes ... Linda James
Brad Dexter ... Victor Rawlins

Frank Faylen ... Stan Hogan
Peggie Castle ... Pauline Driscoll
Jay Adler ... Christopher
Jack Lambert ... Mickey
Glenn Langan ... Lloyd Morgan (as Glen Langan)
Eddy Waller ... Pop Durkee
Ian Wolfe ... Waldo Daggett
Peter Leeds ... Nat Finley
William Tannen ... Director
Gene Reynolds ... Chuck
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Additional Details

Also Known As:
Crosstown
more
Runtime:
83 min
Country:
USA
Language:
English
Aspect Ratio:
1.37 : 1 more
Sound Mix:
Mono (Western Electric Recording)
Certification:
Argentina:13 | Australia:PG | Finland:(Banned) (1954) | Sweden:15 | USA:Approved (certificate #16973)
MOVIEmeter: ?
No change since last week why?

Fun Stuff

Goofs:
Crew or equipment visible: When Ernie Driscoll leaves the stage, the shadow of a crew member is projected on the wall. more
Quotes:
Ernie Driscoll: There are worse things than murder. You can kill someone an inch at a time. more
Movie Connections:
Referenced in Fade to Black (1980) more

FAQ

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6 out of 8 people found the following comment useful:-
Clearly Karlson's best film, 21 January 2002
8/10
Author: muddlyjames from Hemet, Ca.

- Not the meandering KANSAS CITY CONFIDENTIAL. This one has all his best elements: terse, supremely functional scenes, casual brutality, a visual style emphasizing the coarse, glaring surface of things, a view of the world as one big "con" (with actors (!) featured as moral shysters in this case), and a plot that barrels along like a freight train. It also features a surprisingly sympathetic lead character (great job of low-key acting from Payne)and believable interchanges between him and the good and bad women in the film. The ending is a marvel of staging, lighting, and camera movement. This film is the main basis of Karlson's genuine (if minor) film legacy.

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