Danforth is assigned to take over the police department in a section of a large city saddled with juvenile delinquency, petty crimes, graft and also a recent unsolved murder of a ...
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American gambler Nick Cain arrives at the Mediterranean town of San Paola, and befriends an orphan Italian shoe-shine boy named Toni. He is puzzled by the reception and welcome he receives ... See full summary »
An ex-military accountant is recruited by the FBI to infiltrate the mob in Chicago in an attempt to break open the rackets. To complicate his job, two women stand in his way, each with their own agenda.
Danforth is assigned to take over the police department in a section of a large city saddled with juvenile delinquency, petty crimes, graft and also a recent unsolved murder of a strip-tease dancer. Recognizing the laxity of the department he implements many changes and soon finds himself under fire by the newspapers, the attorney of a racket leader and the denizens of this human jungle. He calls this a cop's war that is the same as a soldier's war with the difference being that people hate cops. His cause isn't helped when a rookie policeman accidentally kills an innocent bystander. And he has to protect police informer Mary Abbott from Swados, a killer in the hire of the man behind the petty mobsters.Written by
Les Adams <firstname.lastname@example.org>
The Human Jungle is a fairly mediocre crime thriller that combines police procedural with noir to limited effect. Clearly made on the cheap (by Allied Artists, the 'high-budget' arm of the by-then defunct Poverty Row studio, Monogram) the film is populated with a number of actors who were either never more than second-string or were still in the early stages of their careers. Gary Merrill was as famous for being the toy-boy squeeze of Bette Davis as he was for his acting skills, and in this one he wears a permanent scowl and is nearly always angry presumably to show the righteousness of his crusade; Lamont Johnson as the police department's hot-head never really cut it as an actor and would find more success as a director. He's OK here, and certainly had the looks to go further, but his character seems to have been inserted for no reason other than to flesh out a short running time. Claude Akins and Chuck Connors, both in the early years of their careers, also appear as a pair of tough guys. Highlight of the film, though, is Jan Sterling as a brassy bottle-blonde, callously used by the cops as bait to catch the villains. In fact, the cast is by far the most interesting thing about this ordinary b-movie.
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