Cry of the City, directed by iconic noir filmmaker Richard Siodmak, offers both good and bad aspects. Let's start with the positives: the film features intriguing and quirky characters, solid performances, and impressive on-location cinematography showcasing 1948 New York City. However, there is a notable downside-the story lacks suspense.
One commendable aspect of this film is its unflinching portrayal of violence. Siodmak doesn't shy away from depicting it realistically, without sugarcoating or romanticizing the brutality.
The movie opens with the introduction of the antagonist, Martin Rome (Richard Conte), who is receiving treatment for gunshot wounds sustained after killing a police officer. Our protagonist, Lt. Vittorio Candella (Victor Mature), arrives at the hospital with his partner, Jim Collins (Fred Clark), to question Rome. Candella approaches the investigation with more caution due to his shared Italian neighborhood upbringing and familiarity with Rome's family.
The inciting incident becomes somewhat convoluted. Niles (Berry Kroeger), a lawyer representing a man he claims was wrongly accused of torturing and killing a woman named de Grazia, offers Rome $5,000 to confess to the murder. Rome refuses the offer, escapes from the hospital ward with the help of a disgruntled prison hospital trustee, and later discovers de Grazia's jewels in Niles' safe. In a series of events, Rome accidentally shoots and kills Niles' secretary and brutally stabs the corrupt lawyer. The unfiltered portrayal of the secretary's death exemplifies the director's refusal to hold back.
The second act of Rome's journey lacks suspense. The primary point of interest becomes whether Rome will manage to pawn the jewels and escape, although it's evident that success is unlikely. Still recovering from his injuries, Rome seeks assistance from the unlicensed Dr. Verof (Konstantin Shayne), a shady yet intriguing character. Additionally, Rome's former girlfriend, Brenda (Shelley Winters), joins the mix by helping him track down one of the accomplices in the de Grazia murder, Rose Givens (played by the unique Hope Emerson, originally a circus strongwoman).
In a turn of events, Rome betrays Givens, who accidentally shoots Candella in a subway station during her arrest. Rome's mother and teenage brother, who overlook his transgressions, also play significant roles in the unfolding drama.
I almost forgot to mention Rome's teenage girlfriend, Teena (played by newcomer Debra Paget), whose appearances at the beginning and end of the film add a touch of humanity to his character. However, the predictable plot makes it clear that Rome's fate lies in his demise at the hands of Lt. Candella. The outcome is foreseeable from miles away. Despite the lack of surprises, "Cry of the City" earns points for its atmospheric setting and provides a glimpse into how certain parts of New York City appeared in bygone days.
Conte delivers a believable performance as a hardened criminal, and Mature gives one of his stronger portrayals as he relentlessly pursues the elusive killer. While the film lacks a traditional femme fatale, the supporting cast compensates for this absence, adding depth to the overall narrative.
In conclusion, Cry of the City presents a mixed bag of strengths and weaknesses. It is worth appreciating for its distinct atmosphere, captivating characters, and historical depiction of New York City. However, the predictable plot and lack of suspense prevent it from reaching greater heights. I would rate "Cry of the City" a decent 6 out of 10.
One commendable aspect of this film is its unflinching portrayal of violence. Siodmak doesn't shy away from depicting it realistically, without sugarcoating or romanticizing the brutality.
The movie opens with the introduction of the antagonist, Martin Rome (Richard Conte), who is receiving treatment for gunshot wounds sustained after killing a police officer. Our protagonist, Lt. Vittorio Candella (Victor Mature), arrives at the hospital with his partner, Jim Collins (Fred Clark), to question Rome. Candella approaches the investigation with more caution due to his shared Italian neighborhood upbringing and familiarity with Rome's family.
The inciting incident becomes somewhat convoluted. Niles (Berry Kroeger), a lawyer representing a man he claims was wrongly accused of torturing and killing a woman named de Grazia, offers Rome $5,000 to confess to the murder. Rome refuses the offer, escapes from the hospital ward with the help of a disgruntled prison hospital trustee, and later discovers de Grazia's jewels in Niles' safe. In a series of events, Rome accidentally shoots and kills Niles' secretary and brutally stabs the corrupt lawyer. The unfiltered portrayal of the secretary's death exemplifies the director's refusal to hold back.
The second act of Rome's journey lacks suspense. The primary point of interest becomes whether Rome will manage to pawn the jewels and escape, although it's evident that success is unlikely. Still recovering from his injuries, Rome seeks assistance from the unlicensed Dr. Verof (Konstantin Shayne), a shady yet intriguing character. Additionally, Rome's former girlfriend, Brenda (Shelley Winters), joins the mix by helping him track down one of the accomplices in the de Grazia murder, Rose Givens (played by the unique Hope Emerson, originally a circus strongwoman).
In a turn of events, Rome betrays Givens, who accidentally shoots Candella in a subway station during her arrest. Rome's mother and teenage brother, who overlook his transgressions, also play significant roles in the unfolding drama.
I almost forgot to mention Rome's teenage girlfriend, Teena (played by newcomer Debra Paget), whose appearances at the beginning and end of the film add a touch of humanity to his character. However, the predictable plot makes it clear that Rome's fate lies in his demise at the hands of Lt. Candella. The outcome is foreseeable from miles away. Despite the lack of surprises, "Cry of the City" earns points for its atmospheric setting and provides a glimpse into how certain parts of New York City appeared in bygone days.
Conte delivers a believable performance as a hardened criminal, and Mature gives one of his stronger portrayals as he relentlessly pursues the elusive killer. While the film lacks a traditional femme fatale, the supporting cast compensates for this absence, adding depth to the overall narrative.
In conclusion, Cry of the City presents a mixed bag of strengths and weaknesses. It is worth appreciating for its distinct atmosphere, captivating characters, and historical depiction of New York City. However, the predictable plot and lack of suspense prevent it from reaching greater heights. I would rate "Cry of the City" a decent 6 out of 10.