Both are children of immigrants. Sure, he was renowned for the darkness of his work but he did not rely on recycling the same motif in his films, making each one a very notable and individual work by itself. A masterpiece of law and disorder, Robert Siodmak's film noir classic depicts a timeless battle of good versus evil on the streets of New York. Robert Siodmak's penchant for shaping melodramatic excitement that gets through to an audience is realistically carried out in this one.The telling screenplay by Richard Murphy, based on a novel, The Chair for Martin Rome by Henry Edward Helseth, presents Victor Mature as a police lieutenant in homicide and Richard Conte as a cop-killer – antagonists, although both sprung from New York’s Italian sector.Shelley Winters sparks small assignment of a girl who drives the killer through the New York streets while an unlicensed doctor works desperately to patch up his wounds. And that even applies to his occasionally disappointing offering, such as For instance, in Cry of the City, it may well be Victor Mature who gets top billing but this film is…Cry of the City is an unexpectedly fine film noir from a director whose ventures into the genre could be sublime (The Killers, Criss Cross) or, well, not (Christmas Holiday). Both of them pay lip service to ideas of community and loyalty before slowly slipping into something more primal. Grim and deterministic. Despite Conte’s progressively abandoning the façade of a good boy who made bad choices and revealing his selfishness and indifference to others, it doesn’t have the same nihilism or inexorable darkness of the best noirs and seems more akin to the sort of 30’s social realist films starring Humphrey Bogart and The Dead End Kids that were a staple of Warner Bros. throughout that decade.Comes alive when Shelley Winters finally shows up an hour in for a few scenes, and is fully fascinating and riveting and weird when Hope Emerson enters even later, but mostly it's serviceable noir (with ALL my respect to Fred Clark's great mustache and greater slouch and Berry Kroeger's emanating sleeze). When Martin fears Candella will implicate his girlfriend Teena, he'll do anything to protect her. Only this time, the policeman chasing him is given more screen time and a moral pulpit.What’s really strange is the way WWII isn’t brought up.

Candella and Martin Rome are two sides of the coin that find themselves on opposing sides of the law. Put it down to a beautiful, dead man walking set up; which reveals everything of character and little of mystery; the character of a criminal with his own set of principles, which allows Conté, enough sympathy to be rooted for, even after the cop killer status has been established. I'm not normally a big fan of Victor Mature but he's very good here as the guy who grew up in the same slums as Conte but chose to be a cop instead of a criminal.Richard Conte and Victor Mature come from the same neighbourhood and background however one is a cop killer and the other is a police lieutenant. The whole treasure trove - a "Where-Do-I-Begin" blend of esoteric and classic…Planning to get back to into Film Noir again, one of my favourite genres. Cry of the City. For me though, the film took far too long to spark into life -…Excellent Noir from Siodmak, Conte's cop killer tangles with the law, lawyers and criminals to keep his girl safe and maybe get out from under his murder rap with the proceeds from a different job. Neither so stiff as a board, as cop and cop killer. Criss-cross.Nifty - I like The Fugitive-esque dynamic between Mature and Conte, both of whom are smart, resourceful, and hell-bent on getting their way. Conte’s criminal is treated with the same ambivalence afforded Tom Powers or Little Caesar. The hard-hitting suspense of the chase formula is given topnotch presentation in Cry of the City.

Noir is supposed to be hard-boiled but I've often found it to be bigger-hearted and more empathetic than a lot of other forms, this is a great example of that, its heart seems to be breaking before the movie even starts, the Alfred Newman score sounding like Gershwin in a bad mood.

Police Lt. Candella must check Niles' allegation; a friend of the Rome family, he walks a tightrope between sentiment and cynicism. Great performances by Mature and Conte, portraying the contrasting fates of the immigrant life in America.

Solid and entertaining noir. Some medals hanging on the wall of the family apartment point to some military service but the story doesn’t touch on it.The movie doesn’t wring enough internal conflict out of Mature’s cop to make him unique, and the story doesn’t have anything new to say about the immigrant gangster character. It's just a question of personal taste, but I really wish his films would have those poetic lines all over the place, instead of being often so cold. The story follows a cop killer (Richard Conte), struggling to protect his innocent lover (Debra Paget) as a dragnet closes in - led by the hood's flipside, law enforcer Victor Mature. It's cliched but…About time we had some Robert Siodmak in this project and it did not disappoint at all.Even though Siodmak was renowned for taking an unorthdox approach to noir, I think that's really the only thing that pins together his work in this genre.



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