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99 River Street (1953)

Not Rated | | Action, Crime, Drama | 3 October 1953 (USA)
A former boxer turned cab driver has to hide from the police when his badgering wife is murdered by the jewel thief she was having an affair with.

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(screenplay), (story)
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Cast

Complete credited cast:
...
Ernie Driscoll
...
Linda James
...
Victor Rawlins
...
Stan Hogan
...
Pauline Driscoll
Jay Adler ...
Christopher
...
Mickey
Glenn Langan ...
Lloyd Morgan (as Glen Langan)
...
Pop Durkee
John Daheim ...
Bud (as John Day)
...
Waldo Daggett
Peter Leeds ...
Nat Finley
William Tannen ...
Director
Gene Reynolds ...
Chuck
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Storyline

Having lost his heavyweight championship match, boxer Ernie Driscoll now drives a taxi for a living and earns the scorn of his nagging wife, Pauline, who blames him for her lack of social status. Involved with jewel thief Victor Rawlins, Pauline is murdered by him when she impedes his ability to fence the jewels. Blamed for his wife's murder, Ernie must track down Rawlins before he leaves the country. Written by Doug Sederberg <vornoff@sonic.net>

Plot Summary | Add Synopsis

Taglines:

The Picture That Lays It On The Line ! See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

3 October 1953 (USA)  »

Also Known As:

Crosstown  »

Filming Locations:

 »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Goofs

When Earnie goes to Rawlins apartment he leaves Linda outside. He never mentions the apartment number to her. Later she enters the multi storied building and walks into the correct apartment. See more »

Quotes

Ernie Driscoll: There are worse things than murder. You can kill someone an inch at a time.
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Connections

References A Night at the Opera (1935) See more »

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User Reviews

 
Clearly Karlson's best film
21 January 2002 | by (Hemet, Ca.) – See all my reviews

  • 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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