7.3/10
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36 user 36 critic

Cry of the City (1948)

Police Lieut. Candella, longtime friend of the Rome family, walks a tightrope in the case of cop-killer Martin Rome.

Director:

Robert Siodmak

Writers:

Richard Murphy (screenplay), Henry Edward Helseth (novel)
Reviews
1 nomination. See more awards »

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Cast

Complete credited cast:
Victor Mature ... Lt. Candella
Richard Conte ... Martin Rome
Fred Clark ... Lt Collins
Shelley Winters ... Brenda Martingale
Betty Garde ... Miss Pruett
Berry Kroeger ... W.A. Niles
Tommy Cook ... Tony Rome
Debra Paget ... Teena Riconti
Hope Emerson ... Rose Given
Roland Winters ... Ledbetter
Walter Baldwin ... Orvy
Rest of cast listed alphabetically:
Martin Begley Martin Begley ... Bartender (scenes deleted)
Dan Sheridan Dan Sheridan ... Detective (as Michael Sheridan)
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Storyline

Petty crook and cop-killer Martin Rome, in bad shape from wounds in the hospital prison ward, still refuses to help slimy lawyer Niles clear his client by confessing to another crime. Police Lt. Candella must check Niles' allegation; a friend of the Rome family, he walks a tightrope between sentiment and cynicism. When Martin fears Candella will implicate his girlfriend Teena, he'll do anything to protect her. How many others will he drag down to disaster with him? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

From the heart of its people comes the ... cry of the city. See more »

Genres:

Crime | Drama | Film-Noir

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English | Italian

Release Date:

11 October 1948 (Sweden) See more »

Also Known As:

The Chair for Martin Rome See more »

Filming Locations:

Los Angeles, California, USA See more »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Debra Paget's screen debut. See more »

Goofs

Midway through the film, while Rome is knifing Niles to death, the latter manages to pull a pistol from his desk drawer, but is only able to fire 1 shot through the ceiling; moments later we see Niles' secretary, who was eavesdropping just outside the door, is seen dropping dead, apparently from that bullet. See more »

Quotes

Martin Rome: I had enough of that when I'm a kid. Crummy tenements, no food, no clothes.
Lt. Candella: Oh, save it for the jury, Marty. Who do you think you're kidding? l was brought up in the district too. I've heard that dialogue from you poolroom hotshots ever since l was ten years old. Get hip... only suckers work... don't be a square... stay with the smart money. Let the old man get the calluses digging the ditches. No food... no clothes... crummy tenements. You're breaking my heart, Marty.
See more »

Connections

Edited into American Cinema: Film Noir (1995) See more »

Soundtracks

Baby Face
(uncredited)
Music by Harry Akst
Played during the scene in the bar
See more »

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User Reviews

"Every Place You Look, A Bullethole"
26 July 2000 | by stryker-5See all my reviews

Marty Rome and Vittorio Candella both grew up in an Italian neighbourhood in New York. Both are smart, handsome young men. But that's where the similarity ends. Marty became a violent criminal, and now he lies in a hospital bed, riddled with gunshot wounds. Vittorio went straight, and is now the police lieutenant investigating Marty.

It's not as if Marty never had a choice. The film stresses the decency of Marty's upbringing. The family is 'deserving poor' - crucifix on the living-room wall, mother attending Mass every day, display case of war medals in the back room. Marty's girlfriend, Teena Riconti, is also from an honest family. So what turned Marty bad? This is analysed through the treatment of Tony, Marty's kid brother. Tony is on the cusp of manhood and beginning to adopt Marty's warped values. Can he be saved, or will he inevitably gravitate towards the "poolroom hotshots"?

Lest we conclude that moral depravity is the preserve of immigrants or even the urban poor, the film offers us Niles, the crooked lawyer. Played by Berry Kroeger with almost Wellesian flamboyance, Niles is the distillation of nastiness - a man with every advantage in life who still elects to sup with the devil. Twentieth-Century Fox's films noirs exhibited little love for attorneys, but Niles is probably the most unpleasant of them all.

Victor Mature and Richard Conte are in great form as Candella and Marty respectively. There is no real romantic sub-plot - Teena appears briefly at the beginning and the end, but plays no part in the story - and Candella is too busy making himself at home in the Rome household to go out and get a girl. Shelley Winters plays Brenda, one of Marty's dumb broads. For her, here in 1948, the typecasting had already begun.

As always, noir uses external scenery to symbolise internal emotion in the classic expressionist manner. Marty and Teena are filmed through the bars of the hospital bed-head, representing both the imprisonment awaiting Marty and the way in which Society is bearing down on these two, restricting their options. The hospital architecture is much vaster than the human scale, making a similar point - we like to think of ourselves as autonomous individuals, captains of our own destinies, but we are little more than insects, and the nest we have built around us dominates our existence. Marty's journey through the tunnel of the prison hospital is like an expressionist bad dream, a virtual street with pedestrians and vehicles, but no sky. Arches are everywhere. Marty's hospital ward is a forest of arch shapes. Niles' office has two arched windows whose insistent geometry dominates the screen. The church continues this motif with its lines of arches overhead. The city is our nest, and its institutions are the linked burrows through which we are obliged to scurry. Neon signs continually force themselves on our attention - the Gillette ad in the street, and the garage sign intruding through Rose Gibbons' apartment window. Just as with the terrific el-train shot, the city creeps into our consciousness, never allowing us to forget that we are living in its bowels.

Tony's moral crisis centres on the hard decisions which his bad-guy brother forces him to make. We see his hesitation when Marty tells him to take Candella's gun, then later when he is asked to steal the family's savings. In the church, the wall picture shows Christ falling with His cross. When, moments later, Candella the Christ-figure slumps to the pavement, it is Tony who (quite literally) supports the police.


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