Awesome Movie

The movie's only flaw is also a virtue: It's jammed with characters, stories, warmth and laughs.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

This film was either ahead of its time, or today's copycat films are way behind. Director Jules Dassin, one of the 'born in the USA' crew was hunted out of his homeland by his own contemporaries for 'comunistic' political leanings. Here we see him at work in the UK and angry at everyone.In 'city' he's working with Screenwriter and fellow American Jo Eisinger. Eisinger tends to excel writing about psychologically driven characters and 9 yrs later would co-write the screenplay for the rare (possibly now lost) but worth looking for German film "As The Sea Rages" Berlin born Director of Photography Max Green (Thunder Rock '42 - Hatters Castle '42) has, under direction of Dassin, created what ranks as one of the most visually striking 'Noir' films to date. It would be interesting to know who called what shot as there are many classic Dassin stylistic touches throughout this collaboration.It's just a pity the characters don't hold more interest. Peopled with 98% despots, has beens, and morally bankrupt no-hoper's, there's no-one to identify with unless you fit into the same crowd. The revealing German title: "The Rat of Soho" summed it all up aptly! The only halfway decent character is played by Gene Tierney, then even she works for the super shady 'Silver Fox' establishment. Ms Tierney's role is a token part but she's very good with it and her character is integral to story. This is possibly the role Richard Widmark was born for (even though he may have been wanting better characters to play) as Harry Fabian he is practically the whole show, and unfortunately in Hollywood when you're this good at being bad, your stuck with it!Exeptionaly good also, are the many strong British players that pepper this grueling watch. There seems to be a marked absence of the British 'Bobby on the beat' or other Law officers (even though everyone seems to be constantly running through the cities streets) perhaps, this aspect gives a misrepresentation of Britain at the time.Starting right from the opening of the 20th Century Fox trademark (minus the famous fanfare) the music commands your attention with powerful orchestral statements complete with Bells. This to me sounded like it could have been a remnant of the British version with its score written by Benjamin Frankel (Frankel did a similar thing under the Columbia trade mark of his '55 film "The End Of The Affar" to equally dramatic effect) The score then tends to change to what could be a more up tempo piece by Franze Waxman, composed for the American release. It's fairly obvious the descriptive incidental music by Waxman had set the tone for several other film score composers who followed during the latter 50's - 70's. The British version has been restored by the B.F.I. and would make for interesting viewing at 6mins longer. Much lauded 'modern' film makers such as Scorsese, Tarantino, among others throughout the world, grew up on these films and are constantly copying this, and other similar works, but they too have dumbed down the genre with flashy techniques, ultra gore and crude language to hide the fact they are often working with empty characters, below average scripts and situations, leaving little doubt that their possible intentions are simply to glorify ugliness because they sadly enjoy it.'City' is seductively good to look at, while it may not be completely satisfying to some, 'Moderns' may have more chance of enjoyment because they may have had little else to compare it with.

For a 1950 film with a title like "Night and the City", I was really expecting more in the way of the noir genre than what the picture delivers. It has some of those elements to be sure, but the story is set in London, and the idea that it veers off into pro wrestling territory seemed a bit bizarre to me. Since it did however, I was genuinely surprised to see an old time wrestling great featured prominently in the picture, Stanislaus Zbyszko. Zbyszko was a genuine mat star in the pre-TV era and a world champion who's name was highly regarded by fans the world over. He doesn't appear that imposing in the movie, but he was seventy one at the time and could still get pretty physical when he had to, as in the wrestling scene with Mike Mazurki. Pretty cool for that reason alone.The role of confidence man seems made to order for someone like Richard Widmark. He revives that sly Tommy Udo cackle from "Kiss of Death" in his characterization of Harry Fabian, the slick talking self-promoter who never misses a chance to hit up anyone in his vicinity for a quick loan on the way to his next big score. In his wake he leaves pretty girlfriend Mary as a bystander in his schemes, notably absent for most of the picture even though Gene Tierney is second billed right behind Widmark.It's the unintended consequences of Harry's haphazard plan to corner the London wrestling scene that keeps this film anchored with one foot in noir territory. It seems Harry's always on the run from one desperate situation to another, and when he crosses Herbert Lom's Kristo character by manipulating the father (Zbyszko), he sets himself up for a final dangerous confrontation. Through it all, Mary remains loyal, even though she had every reason not to be.Say, stay attentive and you'll catch that neat movie marquee that promotes "Escape Me Never" with Errol Flynn, Ida Lupino and Eleanor Parker. I'd be curious how Twentieth Century Fox managed to plug a Warner Brothers flick in one of their pictures but it was probably inadvertent. I think it's neat to catch stuff like that in old films; it makes watching them even more enjoyable.You know, I had a thought about the casting after this was over. Mike Mazurki did a pretty effective job as the Kristo henchman and pro wrestler Strangler in the picture. Back in Stanislaus Zbyszko's heyday there was another champion grappler by the name of Ed 'Strangler' Lewis. I'm not sure if they ever wrestled each other although it would have been likely since they were contemporaries. It would have been cool to see Zbyszko against the 'real' Strangler here; I wonder if anyone thought of it.

A Film Noir is only as good as its city is corrupt. Night and the City presents the darkest. A Film Noir is only as tender as its women are vicious. A Film Noir is only as poignant as its hero is perilous. Meet Harry Fabian. Many disregard the character as unlikable, but I like to think of him as the most easily accessible protagonist in all of Film Noir. Richard Widmark, in his Kiss Of Death best, gives a bold, honest, engaging and truly sympathetic performance. I think when most watch Film Noir, they forget all about empathy, to truly fall in love with Night and the City, you must first empathize with its hero. Have you ever been so desperate you'd do almost anything? I have. Have you ever been so deep in a hole that it could very well become your grave? I have. Have you ever loved someone so much that you'd do anything to give her world? I have. Have you ever wanted to be somebody. I have. Harry Fabian is the desperate Man immortal. He is the most insecure of all Noir heroes, and the most certain to fail. But we're here, we're with him on his long descent straight to hell. The film's uncanny pacing will make you feel completely helpless, like Fabian ultimately does, and since you are a part of the audience and you are thereby privileged with information kept from Fabian, you become aware of the tragedy that awaits him at the end of his descent, unlike our unfortunate hero, Harry Fabian. Night and the City was directed by the exceptional and overlooked true pioneer of Noir, Jules Dassin. Dassin made a few extremely serene pictures at the very height of Noir, his best was Night and the City. Made shortly before his exile during the Communist Witch Hunts of which he fell victim to in 1952, Night and the City is everything a Film Noir should be, and everything it could have been if the genre's longevity had been harnessed and controlled early on, and if his film wasn't so easily swept aside in its time. And with God as my witness, I profess! Night and the City is better than every movie that has ever been made since then, with the one exception of Alexander Mackendrick's 1957 magnum opus and testament of the cinema Sweet Smell Of Success. Night and the City is one of the greatest films ever made, and also one of the most forgotten. Quite like what we'd expect of Harry Fabian. The way that this film seems lost simply mirrors the themes that made the film so wonderful in the first place, all Harry Fabian wanted to do was to be somebody, to be remembered. Sadly, in both film and history, he never was. And that, that makes Night and the City poetic.

Jules Dassin (Never on Sunday) does an excellent job of directing Richard Widmark and Gene Tierney in an outstanding example of the noir genre.Harry Fabian (Widmark) is a loser who comes up with a great idea after seeing Gregoriuos (Stanislaus Zbyszko), a famous wrestler. Harry is full of ideas, seldom coming up with anything that works. Unfortunately, most know his track record, and he runs from one to another trying to get the money to make his idea a reality. He gets help from the most unlikely source.Widmark was excellent in this role, showing a wide range of emotions.Francis L. Sullivan is equally excellent as Harry's silent partner, and the husband of an ungrateful wife (Googie Withers).Gene Tierney's role as Harry's girlfriend was small, but significant.Dassin really ratchets up the action and suspense at the end when everything turns sour. Widmark also ratchets up his performance to give us what is probably the best he has done.Great film.