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99 River Street (1953)
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Overview
Release Date:
3 October 1953 (USA) moreTagline:
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 synopsisPlot Keywords:
User Comments:
Clearly Karlson's best film moreCast
(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 |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
83 minCountry:
USALanguage:
EnglishColor:
Black and WhiteAspect Ratio:
1.37 : 1 moreSound Mix:
Mono (Western Electric Recording)Certification:
Argentina:13 | Australia:PG | Finland:(Banned) (1954) | Sweden:15 | USA:Approved (certificate #16973)MOVIEmeter: 
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Fun Stuff
Goofs:
Crew or equipment visible: When Ernie Driscoll leaves the stage, the shadow of a crew member is projected on the wall. moreQuotes:
Ernie Driscoll: There are worse things than murder. You can kill someone an inch at a time. moreFAQ
This FAQ is empty. Add the first question.more
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- 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.