User reviews

Robert Siodmak took to the city streets of New York for much of the location shooting in CRY OF THE CITY and it gives the whole story much more credence. Furthermore, the classic B&W photography of the city streets, a study in sunlight and shadows, heightens the tense mood and atmosphere of an engrossing crime story.

VICTOR MATURE and RICHARD CONTE are adversaries, one good, the other bad, buddies who grew up together on the city streets. Mature is a police lieutenant whose mission it is to find Conte once he's escaped from jail, with most of the story involved in Mature's search for the ruthless thug who has committed several serious crimes including murder.

The final scenes with Mature finally cornering Conte in a church are filled with high tension, thanks to director Siodmak's expert direction. He gets fully developed characterizations from his principal actors, as well as the supporting cast which includes FRED CLARK, DEBRA PAGET, TOMMY COOK, SHELLEY WINTERS and a standout turn from HOPE EMERSON as a woman intent on a jewel heist.

New Yorkers will be especially interested in seeing the Third Ave. El appearing prominently in one of the lower Manhattan scenes, as well as other Manhattan shots that show the city as it existed in '48. A classic example of '40s film noir.

I think this is an underrated (and under-publicized) film that sports an interesting story. Yes, it's a typical one of its day in that it highlights two boyhood friends who wind up on the opposite side of the law ("Angels With Dirty Face," etc.) but it is well done.

Victor Mature "Lt. Candella") and Richard Conte ("Martin Rome") both do a very credible job as the good and bad guys, respectively.

Shelley Winters, Debra Paget and Hope Emerson all provide solid female acting support in this little-known film noir. Emerson ("Rose Given") might be the least known of the three, but not to me since I am a big fan of the Peter Gunn TV series of the late 1950s in which she played a key role.

With film noir making a comeback in recent years, I hope someone puts this movie out on DVD.

Marty Rome and Vittorio Candella both grew up in an Italian neighbourhood in New York. Both are smart, handsome young men. But that's where the similarity ends. Marty became a violent criminal, and now he lies in a hospital bed, riddled with gunshot wounds. Vittorio went straight, and is now the police lieutenant investigating Marty.

It's not as if Marty never had a choice. The film stresses the decency of Marty's upbringing. The family is 'deserving poor' - crucifix on the living-room wall, mother attending Mass every day, display case of war medals in the back room. Marty's girlfriend, Teena Riconti, is also from an honest family. So what turned Marty bad? This is analysed through the treatment of Tony, Marty's kid brother. Tony is on the cusp of manhood and beginning to adopt Marty's warped values. Can he be saved, or will he inevitably gravitate towards the "poolroom hotshots"?

Lest we conclude that moral depravity is the preserve of immigrants or even the urban poor, the film offers us Niles, the crooked lawyer. Played by Berry Kroeger with almost Wellesian flamboyance, Niles is the distillation of nastiness - a man with every advantage in life who still elects to sup with the devil. Twentieth-Century Fox's films noirs exhibited little love for attorneys, but Niles is probably the most unpleasant of them all.

Victor Mature and Richard Conte are in great form as Candella and Marty respectively. There is no real romantic sub-plot - Teena appears briefly at the beginning and the end, but plays no part in the story - and Candella is too busy making himself at home in the Rome household to go out and get a girl. Shelley Winters plays Brenda, one of Marty's dumb broads. For her, here in 1948, the typecasting had already begun.

As always, noir uses external scenery to symbolise internal emotion in the classic expressionist manner. Marty and Teena are filmed through the bars of the hospital bed-head, representing both the imprisonment awaiting Marty and the way in which Society is bearing down on these two, restricting their options. The hospital architecture is much vaster than the human scale, making a similar point - we like to think of ourselves as autonomous individuals, captains of our own destinies, but we are little more than insects, and the nest we have built around us dominates our existence. Marty's journey through the tunnel of the prison hospital is like an expressionist bad dream, a virtual street with pedestrians and vehicles, but no sky. Arches are everywhere. Marty's hospital ward is a forest of arch shapes. Niles' office has two arched windows whose insistent geometry dominates the screen. The church continues this motif with its lines of arches overhead. The city is our nest, and its institutions are the linked burrows through which we are obliged to scurry. Neon signs continually force themselves on our attention - the Gillette ad in the street, and the garage sign intruding through Rose Gibbons' apartment window. Just as with the terrific el-train shot, the city creeps into our consciousness, never allowing us to forget that we are living in its bowels.

Tony's moral crisis centres on the hard decisions which his bad-guy brother forces him to make. We see his hesitation when Marty tells him to take Candella's gun, then later when he is asked to steal the family's savings. In the church, the wall picture shows Christ falling with His cross. When, moments later, Candella the Christ-figure slumps to the pavement, it is Tony who (quite literally) supports the police.

It is not surprising that so much has been written about the sub genre of the "film noir". The execution of a noir film required a tremendous artistry and expertise in all aspects of cinema. The classic noir films are truly works of art; cinema at its best, not relying on star power or big budgets, but rather a mastery of the very rudiments of making movies.

What Ford was to the western, Hitchcock to suspense, Sirk to melodrama, so was Robert Siodmak to the noir. While "Cry of the City" is often left out of discussions of the genre, it is, in many ways a near perfect example of the genre.

By 1948 the noir was beginning to hit its stride. Siodmak came to this project with much valuable experience. His execution of this not especially remarkable story has a fluidity and assurance of style that one can only marvel at.

Despite the well worn cop vs. gangster tale, there is a potent psychological complexity at the core of "Cry of the City". Richard Conte's Martin Rome, is charismatic and charming. Not only does he work his magic on unsuspecting females, we the audience are firmly on his side at the start of the movie. As the plot unfolds his ruthless, selfish and manipulative motives become apparent. Yet it will take some time before we are completely convinced. It's a masterly stroke of screen writing. It will take Victor Mature's impassioned indictment to completely convince us.

Victor Mature is surprisingly competent in the lead in what must be surely one of his best roles. Richard Conte is simply superb in a complex and tricky role. His method is one of economy and subtlety and a lesson to screen actors. Despite a host of fine performances, Conte seems to not have garnered the respect he deserved.

A classic of its kind.

Victor Mature and Richard Conte deliver strong performances in this engrossing, uplifting story of the struggle between a cop and a criminal. Both men are presented as products of the city's Italian working class, and the film manages to make much of their divergent paths without being pedestrian or pedantic. The supporting characters are finely drawn and add an intriguing dimension to a plot-line that, otherwise, could have come off as time-worn and predictable. Hope Emerson is of particular interest as a disgruntled masseuse of rich old ladies. The movie is a marvelous example of the excellence that could emerge from 40's morality and is missing from much of modern filmmaking.

Cry of the City (1948) : Brief Review -

Some cry, some laugh at the trademark film noir of dark night player Robert Siodmak. Almost all the majorly known films of Siodmak have that darkness and night to capture, no matter what the story is. Mostly, it's a crime world, so it's a good excuse for him to get away. But I feel some of his films are boosted by the same night watchman thing. Cry of the City falls into the same category, and it's an engaging flick too, but it lacks some hardcore seriousness. Like I said, some cry and some laugh. Those laughs shouldn't have been there because they don't belong to the dark film noir genre in the crime world. The film is about a criminal who has killed a cop and is now admitted to the hospital. There are more charges against him than the murder of a cop, but he just doesn't accept any of them since he knows that he can't go to the chair twice. Well, to add more dramatic conflict and take the story forward, he escapes from the police's eyes. Now that's strange and too easy for him, and he does it again and again. For once, I might have overlooked this flaw, but again and again? No, definitely not. Then, the officer who is trying to capture him is on his tail throughout the film and is finally shot in a raid. That wounded man, with a strong dose of sedation, flees from the hospital just to catch the criminal. Can you believe it? I mean, who does that? A big laugh. And how poorly this entire process goes on and somehow reaches its conclusion. The script didn't really work for me, but the screenplay did. There may be fewer twists, but the pace and thrills are there. Victor Mature and Richard Conte's performances held me well for 95 minutes, while others just passed their time for the screen's sake. This may not be one of Robert Siodmak's best works, but it is not that bad or mediocre either. My night player knew how to hit better than this.

RATING - 6/10*

By - #samthebestest.

Cry of the City has good performances by Richard Conte and Victor Mature. Conte is great with his soft-spoken voice and shifty eyes. The best scenes though are with the bigger-than-life HOPE EMERSON! Her entry down the long corridor, eating the pancakes, and trying to strong-arm Conte are all memorable, cult-ish moments.

This Robert Siodmak work may seem derivative as another film noir.But it does not follow the rules.First the two leads are cast against type.We would expect Mature as Rome and Richard Conte as Candella.It increases the interest because we do not know how their characters will evolve.Then ,and it was extremely unusual at the time,there is no female central character;gorgeous Debra Paget appears in the first sequences ("she must be an angel") and only returns at the end of the movie in the church.No central female character ,but plenty of them ,and all are interesting: a nurse and her mom,a street gal (Shelley Winters),a mannish (lesbian?) female crook-the scene in the subway is very suspenseful-,and finally Rome's mom.A true mom,who still believes in her children ,but who begins to lose her illusions; fortunately there is a younger son,and the cop keeps a close watch on him.This mother is very different from the terrifying over possessive one Siodmak had introduced in his overlooked " Christmas holiday" (1944)

With his silky manners and glittering eyes, Richard Conte was a prince among hoodlums: elegant, magnetic and sharp as a shiv. As the mugs and roughnecks of the early thirties evolved into more sophisticated postwar gangsters, Conte's regal bearing gloved the gangster's raw aggression in smooth style. (Significantly, he was one of the first Italian-American leading men in Hollywood.) Conte always looks like he's plugged into some private source of electricity, like you could get a shock from touching him. He needs that intensity here, since he plays a wounded criminal who spends most of the movie lying in bed or limping around, dragging a gunshot-riddled leg and crumpling with pain. He still manages to radiate menace and charisma, threatening or seducing everyone who comes near him.

Plot-wise, CRY OF THE CITY is that old chestnut about two boys from the same neighborhood (New York's Little Italy, presented with far more nuance and authenticity than Hollywood's usual spaghetti-with-meatballs style) who grow up on opposite sides of the law. Lieutenant Candella (Victor Mature) pursues Martin Rome (Conte) relentlessly after he escapes from a prison hospital; Rome is determined to clear his girlfriend of suspicion in a jewel theft by finding the real culprits. The plot is just a scaffolding to support a series of scenes in which Rome and Candella alternately vie for leverage and influence over an eclectic parade of supporting characters, all of whom seem driven by fear or greed. Desperation inhabits the city like weather. Director Siodmak, one of the masters of film noir, suffuses the film with a dark mood, atmospheric locations, and those corrupted personal transactions that define the genre.

In a hospital in the middle of the night a priest murmurs and family-members weep quietly over a dying man who is chained to his bed—Martin Rome has just killed a cop in a shoot-out. Later, after he has escaped and collapsed again, his girl (Shelley Winters in a leopard-print coat) enlists an unlicensed foreign doctor to treat him in the back seat while they drive around damp city streets, using neon signs for light. Stolen jewels get stashed in a locker in a subway station. Marty almost meets his match in a massive, burly masseuse (Hope Emerson), who looms over him as he works his bright-eyed, caressing charm. Their scene together is funny, scary and perversely titillating all at once, as the mountainous woman starts to massage his back and then gets her hands around his throat. Sadder is Marty's seduction of a plain, middle-aged hospital nurse who is burdened, we later find out, with a nasty, selfish, annoying old mother. At one point Candella reads off to Marty a list of all the former girlfriends the cop has had to look up, and Marty amusingly reacts to each name with regret, embarrassment or fondness. For this tough guy, sex appeal is as powerful a weapon as a gun or a knife—sometimes it's the only one he has.

All the time we're rooting for Marty—at least I was. CRY OF THE CITY perfectly demonstrates how easily movies can mess with one's moral compass. Marty is a killer and a selfish, remorseless crook, but his élan and vulnerability make him an irresistible underdog. His adversary, Candella, is a self-righteous moralizer, a monomaniacal Javert whose hatred seems inspired more by his enemy's charisma than by his crimes. Victor Mature's heavy, stolid presence sharply contrasts with Conte's proud, dazzling quickness. Someone once described Mature as an intelligent actor cursed with the face and physique of a dissipated life guard; I forget who wrote that, but it hits the nail on the head. The poor guy *looked* like a bad actor—all beef and no brains—even though he wasn't. Here his scenes with the Rome family are intended to soften his character, and he does have likable moments, but the way he turns them all—finally even the kid brother—against Marty only increased my sympathy for the endangered outcast. His accusation that Marty uses people is fair enough, but he lays it on too thick; it wasn't Marty's idea to enlist the illegal doctor or the "trusty" who helps him break out of jail. Booming, "Stop in the name of the law!" Candella embodies implacable authority, and who could root for that?

I like to think that in real life superficial concerns like these wouldn't get in the way of my knowing right from wrong, but this is a movie; style is bound to trump substance. Are films like this one—made under the Hays Code, when movies were not allowed to openly glorify criminals—deliberately subversive? The script says one thing, but the casting says another. In a way, that hypocrisy is essential to noir, an under-the-radar phenomenon that made caustic comments about human nature while ostensibly endorsing the Ten Commandments. For Martin Rome, a premature death isn't too high a price to pay for all the fun he had breaking the rules. And a clichéd ending is not too high a price for the pleasure of this movie.

Despite having a good cast, this fails to be a good film. There are some good performances from Victor Mature and Debra Paget, and the director really makes Mature look as though he can act. Paget gives a grounded performance, and Richard Conte is doing what he is known for. There is a big lady who attempts to strangle Conte in the film. I remember seeing her in 'Westward the Women'. It's good seeing Mature square up against Conte. It's almost like 'Kiss of Death' where Richard Widmark challenges Mature. However, it is everything in between these challenging scenes that make this film dull. The problem is with the script rather than the performances. An actor can only pursue truth if the script is truthful. If the script is not truthful then the film is just a calling card of truthful performances.

I remember seeing this movie many times on "Picture For A Sunday Afternoon", "The Early Show" and "The Million Dollar Movie" and I always loved watching it. I thought Richard Conte played one of the best "bad guy" roles I'd ever seen. Using his girlfriend, kid brother and even his mother to facilitate his life of crime. Victor Mature gives his usual solid performance and Fred Clark as his assistant was interesting as well considering that his future seemed to be bumbling comedic bit player. The sleazy lawyer and murderous masseuse were also well cast. What I can't understand is why this flick as well as One Million BC aren't available on DVD.

Richard Conte and Victor Mature play tough adversaries in "Cry of the City," a 1948 film noir from 20th Century Fox, directed by Robert Siodmak.

The film also stars Shelley Winters, Debra Paget, Tommy Cook, Hope Emerson, Roland Winters and Barry Kroeger.

Set on the streets of New York, the subways, the lower class neighborhoods, the film's atmosphere is perfect,although the story of gangster versus cop is derivative.

Conte plays Martin Rome, a completely amoral thug who escapes from the prison hospital where he's recovering from bullet wounds. He manipulates and/or uses everyone he runs into in his quest to get some relief from his injuries, get money to leave town and find his girlfriend.

His victims include an equally crooked attorney (Kroeger), a she-man masseuse (Emerson), an old girlfriend (Winters), his mother and his brother.

Meanwhile, another kid from the neighborhood, Lt. Candella (Mature) tries to find him and at the same time convince Martin's little brother that Martin's choices should not be his.

The film is a little slow-moving at times, but Conte and Mature have never been better.

There was always something a little dumb about Mature's performances - probably because he didn't take himself too seriously. Just as filming had started on a scene of 1984's "Samson & Delilah," he announced to the entire cast and crew, "I knew he was gay," when one of the actors sat next to a known gay actor. The scene had to be started over.

Despite Mature's less than committed attitude, Robert Siodmak drew an excellent performance from him, possibly his best. The underrated Conte was always a force to be reckoned with, and this is one of his best roles.

There are some stunning shots to be appreciated in "Cry of the City" - my favorite is as Rose Given takes a walk down her long hallway, the shadows that look like prison bars giving way to curtains and Rose's face and body walking into focus.

Much to like here, but in the end, it's quite predictable, right down to the ending. But the acting, atmosphere and characters created are a real treat.

In New York, when the cop killer Martin Rome (Richard Conte) arrives in the hospital badly wounded, the lawyer W.A. Niles (Berry Kroeger) unsuccessfully tries to convince him to confess the robbery of a collection of jewels and the death of the owner. Along the night, Martin's girlfriend Teena Riconti (Debra Paget) sneaks and visits him. Later Niles threatens Martin telling that he would catch Teena to force her to assume the other crime. When Martin escapes from the hospital, Lieutenant Candella (Victor Mature), who is an old friend of the Rome family, investigates the case and has to chase Martin.

"Cry of the City" is a moralist police story, with the fight between good, represented by Lt. Candella, and evil, represented by Martin Rome. Both characters have the same origins in the lower class neighborhood, but follow different paths of law: while Candella accepts to earn a low salary and "sleep well at night", the manipulative Martin uses people and prefers to taste the pleasures of life whatever the final price is. Their duel has a predictable and corny conclusion, but the story is engaging and supported by a beautiful black and white cinematography and good acting. My vote is seven.

Title (Brazil): "Uma Vida Marcada' ("A Marked Life")

Note: On 20 Dec 2018, I saw this film again. Now my vote is eight.

Had Cry Of The City been done at Warner Brothers in the Thirties this would have been perfect material for a James Cagney/Pat O'Brien film with the story of two childhood friends, one who goes into the police force and one who goes into a life of crime. Of course they would have to have been Irish because neither Cagney or O'Brien would have made convincing Italian protagonists as Cry Of The City has in its leads.

And the leads are Victor Mature and Richard Conte. Mature is good as the upright cop who makes it personal to go after Richard Conte who has now committed the ultimate sin, he's killed a cop. But like a film a year earlier for Mature, Kiss Of Death, the film is dominated by Richard Conte who plays a charismatic and fascinating villain just as Richard Widmark did in Kiss Of Death.

Unlike Widmark who is a loner, Conte is charming and is ruthless in his use of that charm. The film opens with him seriously wounded after shooting a police officer. But he recovers and is in a prison hospital awaiting trial. It's the death penalty for sure, but Conte does in fact charm his way into an escape (I won't say how) and from then on because of his wound has to rely on a lot of help including his own family.

Some other standout performances including an old girl friend, Shelley Winters whom he has obtain an unlicensed physician to tend him. Hope Emerson who is as evil as she was as the prison matron in Caged, plays a masseuse who Conte uses to obtain traveling money as the woman is quite mobbed up. Tommy Cook plays Conte's hero worshiping younger brother who realizes just how much he and the family were being used in the climax.

Most of all there's Berry Kroeger who plays one of his usual slime ball characters as a criminal attorney who indulges in a bit of criminality himself most discreetly behind the scenes. Kroeger split parts like that with George MacReady back in the day and is always fascinating to watch.

Most of all there is Richard Conte who should have merited Oscar consideration in one of his best screen performances.

From the opening strains of Alfred Newman's "Street Scene" Theme Music, which accompanies the Credits to the End title, "Cry of the City" invokes a tale of good and evil in the persons of Victor Mature & Richard Conte........Boyhood pals from the lower East Side of N.Y......One a Cop, the other a Gangster................But make no bones about it, this film is Conte's showcase and he makes the most out of it in a chilling performance as Martin Rome(Roma), a savage killer with no remorse at all.........He is persued throughout the film by Victor Mature as Leut. Candella, Chief of the Homicide Beaureau......and Mature gives a fine performance in the role...........Supporting players are highlighted by Hope Emerson in a performance of a lifetime, as a Female version of Conte.....their scenes together are cat & mouse......but which is which?.......For a special treat on the film noir craze of the 1940s; and a pure New York City feeling; do not miss "Robert Siodmack's"...."Cry of the City"-1948---20th. Century Fox........Respectfully submitted, sasheegm at the movies

Cop killing, jewel thief and all round tough guy Richard Conte, escapes from prison and goes on the run, pursued by tough guy cop Victor Mature.

Hugely gritty, downbeat film noir featuring 2 enjoyable performances. Conte is entirely irredeemable with his love for Debra Paget as his only plus point with Mature equally powerful stoppping at nothing to get him. The story is unremarkable and you know pretty much where it's going, but is directed with such grim determination by Siodmak that it all seems so very real. Special call out for the remarkable Hope Emerson an equally tough character Conte seeks out - I would not want to get on the wrong side of her.

Very fine noir. From beginning to end this character driven tale is very well told with some solid performances, dialogue and location shooting. Maybe this lacks a little 'action' but it is gripping and suspenseful in places nevertheless. Everyone is believable, even the kid, and that's a rarity. Richard Conte's performance as the truly ruthless bad guy is quite majestic and Victor Mature, as the ever on his heels good cop, does well to keep up, in both senses of the word. Even the smaller parts are great, including a lovely performance (which I understand was virtually all removed from the US release) from Shelley Winters. It is an almost nothing part and easily cut but she plays the moll so well, with a mixture of caring, humour and concern for her own safety. I was astonished that the several family scenes did not slip into sentimentality and even increased ones general concern for all concerned. Great street scenes, busy ones too and including shots of overhead railway. Really good, attention grabbing noir of the first order.

Maybe not my first choice as leading man here, but to be fair to Victor Mature he turns in one of his better efforts as officer "Candella". When low-life "Rome" (Richard Conte) finds himself lying in an hospital bed, badly bruised and being pressured by the odious lawyer "Niles" (Barry Kroeger) to admit to a robbery he didn't commit, it falls to the policemen to try to verify who did/knew what - and soon we discover that we have a cop-killer to find. Now "Candella" has been an integral part of this close-knit community for a very long time. He is treated almost like a son by "Ma Rome" and is pretty conflicted as he balances what is right for his job with his local loyalties and his conscience. Things take a turn for the worse for "Rome" when his girlfriend "Teena" (Debra Paget) starts to become embroiled in the investigation and quickly he is faced with tough choices that could put lives at risk as they go into hiding before trying to flee. This is a well paced and scored thriller with an on form Conte rather effective as the borderline smug hoodlum gelling well with both the flighty Paget and the at times almost menacing Mature. It twists and turns a little, giving us a slight indication of the internecine fashion in which these "Little Italy" communities were built and thrived, and the denouement is not quite what you might expect. A tight cast help keep the story focussed and make for an intriguing crime drama with just a little bit extra.

Lieutenants Victor Mature (Candella) and Fred Clark (Collins) get to gangster and cop-killer Richard Conte's (Martin) hospital bedside because they want to bust his backside and get information regarding a couple of crimes. He's not the sort to play ball, though, and gives them the slip. Mature gets on his case despite there being a family friendship.

The story seems a little empty and the film never really kicks into gear. The cast are good but the storyline is unrealistic and uninteresting. Family friends take a different life-path - one good and one bad - leading to a showdown in the end. Even the climax is horribly contrived. Nothing very memorable but the cast make it ok for a single viewing to pass some time.