La ville enchaînée

John Forsythe stars in this excellent crime drama directed by Robert Wise. Unlike most movies involving the mob, this one is quite a bit different, as you never actually get to see many of the crooks and the menace is much more implied than actual. This isn't bad, as it makes the film seem less predictable and more realistic.

Forsythe is a newspaper owner in a small town where you'd never expect the mob. When a local private detective comes to Forstythe with stories of mobs and payoffs, the newspaperman can't believe it and only does a cursory investigation. But, when a bit later this detective is killed, Forstythe starts to wonder if there really is more to the story. Unfortunately for him, when he digs deeper, he puts his life on the line as well.

Senator Kefauver (who made a name for himself crusading against organized crime) gives an epilogue in which he says the story is true. I'd really like to know more, though IMDb doesn't have any information about the case. If anyone can give me more info, I'd appreciate it.

It's strange how this Wise movie influenced "Invasion of the body snatchers".The construction is exactly the same:a car belting with a couple inside:close shots on their faces,full of fear.They take refuge in a police station,and the man begins his story which he records on a tape.Like in "body snatchers",there's a description of Kennington,a peaceful town,but little by little,the witness,a journalist, reveals us what lies beneath.And by the way,in 1945,Wise made a movie called "the body snatcher"!

The town seems to be under Sirak's thumb,a local tycoon who has a hand in shady and illegal business.The police is totally corrupted,and ,it's the last analogy with "Body snatchers" ,ordinary people seem contaminated too (the car salesman),or about to be(the journalist's partner).

A private eye tried to spill the beans,but he was murdered soon after having asked for the journalist's help.The murder scene is masterfully directed by Wise whose editing science is astounding:the private,driven back against a dead end street,in a symphony of black and white,by a mysterious car which will come back as an ominous messenger of death,then,abruptly,a trumpet bellowing out in a nightclub.Violence always takes place in the night,in Wise 's world (remember the end of "odds against tomorrow",or even the rumble in "west side story").

The characters are realistic to a fault.No stereotype,no real baddie (except for the gangsters whom we hardly see;their presence can be felt everywhere though,that is to say how great Wise is!)It seems that Sirak is actually overtaken by events.Characters of secondary importance are wonderfully depicted:Sirak's wife,whom we see only twice in the movie appears at first as an indifferent woman,then ,a fearful,pitiful one,an alcoholic at that.

The main message of the movie is that we are not helpless,as the private detective's wife told the journalist soon after her husband 's death.If the gangsters took over the town ,it's because of people (ordinary people) who are too afraid of getting mixed up in a fight against the strong and the mighty,or worse,because bribes make ends meet.

In 1952,with no star,a low budget,and a great modesty,Wise showed the way to modern film noir.

A riveting film about a small town newspaper editor who simply won't quit seeking justice. I was struck by the remarkably good acting from mostly no-name actors. Also, you will certainly notice the cinematography. The use of the new Hoge lens allowed an unusual depth of focus and interior shots in low lighting. Every scene, inside and out, was shot in Reno, Nevada. The score is also noteworthy. Definitely worthwhile viewing!

Robert Wise directs but without much enthusiasm and Lee Garmes, the cinematographer has little opportunity to show his skill. Indeed, this little B movie, I hesitate to use the much overused 'noir' tag, is most uninspired. Prompted, apparently, by the real life Senate Committee on organised crime and even sporting an afterword by the real life head of that committee, Senator Estes Kefauver, urging American citizens to play their part in stamping out such crime in their neighbourhoods, this still lacks a bit of 'life'. John Forsythe doesn't help with a lacklustre performance as the lead and Joan Camden even less so as his wife. The thing here is that this was clearly intended as a well meaning do good kind of a film, setting out the problem and urging everyone to help solve it. To help things along at one point the wife asks her husband, 'What is the mafia?' so there's little doubt at what level this film was aimed. Competent but far too uninteresting a story and with no violence the 'real life' message is about all this has.

An atmospheric dramatisation of the revelations about the activities of the mafia in the United States investigated by Senator Estes Kefauver; who set his seal of approval on the venture by putting in a special appearance as himself.

The sensitive subject matter meant raising even a shoestring budget took more time and effort than actually making the film itself; but enhanced the atmosphere of the film itself with glacial documentary-style deep focus location work by veteran cameraman Lee Garmes.

Bernard Herrmann was keen to score it but they couldn't afford him, hence the incongruously playful music recognisably the work of 'Big Country' composer Jerome Moross.