In New York, after seven years in prison, the lawyer Max Monetti goes to the bank of his brothers Joe, Tony and Pietro Monetti and promises revenge to them. Then he visits his lover Irene Bennett that asks him to forget the past and start a new life. Max recalls the early 30s, when he is the favorite son of his father Gino Monetti, who has a bank in the East Side. Gino is a tyrannical and egocentric self-made man that raises his family in an environment of hatred and Max is a competent lawyer engaged with Maria Domenico. When Max meets the confident Irene, he has a troubled love affair with her. In 1933, with the new Banking Act reaches Gino for misapplication of funds. Max plots a plan to help his father but is betrayed by his brothers. Now Max will see his brothers that have also being raised under the motto "Never Forgive, Never Forget".Written by
Claudio Carvalho, Rio de Janeiro, Brazil
According to Kenneth L. Geist's biography of the film's director Joseph L. Mankiewicz, People Will Talk, the film's producer Sol Siegel hired Philip Yordan to adapt Joseph Weidman's novel for the screen. After Yordan submitted three-quarters of the script, Siegel, finding the script unacceptable, fired him and asked Mankiewicz to redo the script. Mankiewicz rewrote all of Yordan's dialogue, reshaped the script and finished it. The Screen Writers Guild ruled that Yordan receive sole story credit and that Yordan and Mankiewicz share credit for the screenplay. Mankiewicz refused to share credit for a screenplay he had basically written and so received no credit. The studio remade House of Strangers as a western in 1954 as Broken Lance and Yordan was given credit for the story and won an Academy Award for Best Writing, Motion Picture Story. As Yordan's filmography shows, he was a prolific front in the 1950s for screenwriters who were blacklisted. And so, it seems oddly fitting that he received his only Academy Award for a film (Broken Lance) that he did not work on that was based on a screenplay to which his contribution is a matter of dispute. See more »
In flashbacks dating back to 1932, Irene wears hairstyles and clothing that are not significantly different from the fashionable look she sports during the 1939 framing story, 7 years later, and all of which are strictly in the significantly different mode of 1949, the year the film was made. See more »
This movie is just superb. I can't believe I had not even heard of it, hopefully this DVD release will help it find a new audience and some deserved critical acclaim. It's billed as film noir, but it really isn't; it's more an extremely complex, suspenseful family drama. But that doesn't even do it justice. The screenplay is terrific, subtle, thoughtful, and at the same time, razor sharp. Some of the exchanges between Conte and Hayward in particular are electrifying. Talk about two 'tough cookies' that ignite when they get together. And you really begin to care deeply about what happens to them. (All of the acting is top notch, across the board.) And then there is the direction by Joseph L. Mankiewicz. The movie is so beautifully crafted and feels as if it could have been made yesterday, it's gritty and urban and fresh. The composition in the movie has deep meaning in just about every shot, and is gorgeous to behold besides. Watch this movie.
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