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Park Row (1952)

The Globe is a small, but visionary newspaper started by Phineas Mitchell, an editor recently fired by The Star. The two newspapers become enemies, and the Star's ruthless heiress Charity Hackett decides to eliminate the competition.

Director:

Samuel Fuller

Writer:

Samuel Fuller
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Cast

Complete credited cast:
Gene Evans ... Phineas Mitchell
Mary Welch Mary Welch ... Charity Hackett
Bela Kovacs Bela Kovacs ... Ottmar Mergenthaler
Herbert Heyes ... Josiah Davenport
Tina Pine Tina Pine ... Jenny O'Rourke
George O'Hanlon ... Steve Brodie
J.M. Kerrigan ... Dan O'Rourke
Forrest Taylor ... Charles A. Leach
Don Orlando Don Orlando ... Mr. Angelo
Neyle Morrow ... Thomas Guest
Dick Elliott ... Jeff Hudson
Stuart Randall ... Mr. Spiro
Dee Pollock ... Rusty
Hal K. Dawson Hal K. Dawson ... Mr. Wiley
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Storyline

In New York's 1880's newspaper district a dedicated journalist manages to set up his own paper. It is an immediate success but attracts increasing opposition from one of the bigger papers and its newspaper heiress owner. Despite the fact he rather fancies the lady the newsman perseveres with the help of the first Linotype machine, invented on his premises, while also giving a hand with getting the Statue of Liberty erected. Written by Jeremy Perkins <jwp@aber.ac.uk>

Plot Summary | Add Synopsis

Taglines:

The picture with the page one punch! (original poster) See more »

Genres:

Drama | Thriller

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English | German | French

Release Date:

24 February 1971 (France) See more »

Also Known As:

A Dama de Preto See more »

Company Credits

Production Co:

Samuel Fuller Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

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

Trivia

Director Samuel Fuller put up his own money to make the movie and lost it all. See more »

Quotes

Phineas Mitchell: The press is good or evil according to the character of those who direct it.
See more »

Crazy Credits

Instead of "The End", the picture ends with "Thirty"; newspaper jargon for "that's all. There ain't no more!" See more »

Connections

Featured in The Typewriter, the Rifle & the Movie Camera (1996) See more »

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User Reviews

 
"You're in love with a dead woman, my boy."
8 September 2009 | by Irie212See all my reviews

Sage old reporter Josiah Davenport says this to crusading editor Phineas Mitchell, but writer/director Sam Fuller might have been speaking to himself when he wrote the line. He is clearly pining for the long-dead old days of newspapers in New York-- and with good reason, check http://www.nysl.nysed.gov/nysnp/history.htm for a brief and amazing history.

The IMDb reviewer, st-shot, who called this movie a "valentine" hit the mark. This valentine has a fair amount going for it, but it's more flawed than faithful. A newspaperman himself (ca. 1930), Fuller prided himself on the historical accuracy of "Park Row" and there is truth behind, if not in, many of the people and events alluded to in the screenplay: The base of the Statue of Liberty, which was unveiled in 1886 when the movie takes place, was indeed partly paid for by a newspaper campaign (Joseph Pulitzer's "New York World"). A Bowery bookie named Steve Brodie did claim to have jumped off the Brooklyn Bridge that same year, and survived to both acclaim and controversy. Linotype was indeed invented by German immigrant Ottmar Mergenthaler in 1886, but it wasn't for a Park Row newspaper, it was for lawyers wanting a way to get legal papers printed faster. The young political cartoonist called "Thomas Guest" is obviously a thinly veiled Thomas Nast, who would have been in his mid-40s and very famous by 1886.

Much of that cinematic license can be forgiven, because the problem isn't the lack of historical accuracy; it's Fuller's proud claim that it WAS accurate. Perhaps he was referring to the typesetting and printing processes he shows in such loving detail-- which certainly are fun and fascinating to see.

Then there's the plot, another big problem. Melodrama was Fuller's Achilles' heel (see THE NAKED KISS for Fuller at his lawless heights) and he pours it on rather thickly here-- injured towheaded kid, heroic journalists, rival editor and publisher as the Clark Kent & Lois Lane of 1886. But, while the movie is more frenetic than energetic, there's enough camera movement and odd angles to establish this firmly as a Fuller film, and therefore worth seeing. Once.


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