The Gangster

As a film noir entousiasme, I don't rate this film on the top ten of the genre. But it has some moments. Some great shots by Cinematographer Paul Ivano that would deserve being laminated and hanged on a wall. I'll let you notice them. Also check out a young 24 years old Shelley Winter with a 10 seconds scene as a waitress.

In brief a movie carried by cinematography more than acting, by atmosphere more than by a script.

Occasionally Allied Artists was able to produce a first rate serious film unrelated to their usual formularized output.'The Gangster' is an unconventional crime picture that concentrates on the latter end of a racketeer's career,the effects rather than the causes of his persona,his neighborhood of operations,and the people who have been corrupted by his contact. As the protagonist Barry Sullivan essays a suitably morose,hardened individual driven by desperation to hold onto his rapidly crumbling kingdom.Desperate too are the pathetic bystanders who will be effected if this petty prince of rackets should fall to the machinations of a rival mob.Belita is a fashion socialite whom Sullivan uses but cannot love.Akim Tamiroff is terrific as the owner of a seemingly innocuous ice-cream parlor where Sullivan's influence has set in motion the tragic events that follow.Also well-cast are Joan Lorring as an adoring counter girl,John Ireland as a hooked gambler,Harry Morgan as an amusing soda-jerk,and every film buff's "favorite" New York thug,Sheldon Leonard as the leader of the new mob organization.

Surprising film from a Poverty Row company, an awesome film noir made with great talent and care from the director as well the screenwriters - the great Dalton Trumbo - and a psychological portrait of a gangster, so impressive. Jawdropping photography too. Gordon Wiles, whose this film is the last, shows also his best, even better than PRISON TRAIN, made nine years before. This is a great underrated film noir that should be shown again. The scheme is however everything but new, everything but unpredictable, the fall of a petty hoodlum. But, I repeat, it is very well done, and for crime films buffs, it is far enough to enjoy this little jewel. Barry Sullivan si impressive in such anti hero, a weak gangster who thinks he his strong. Yes, an outstanding performance that we could have found in a major Warner Bros film from the forties.

Here's a film I wish I could see again, even though it's a little too slow and talky for my tastes. It still was very interesting in spots.

Barry Sullivan and Belita both provide some great film-noir lines and the photography is pure film noir. Henry Morgan has interesting part although his role is minor and Sheldon Leonard (with hair) is notable. The only character who became annoying was Akim Tamiroff, as the scared soda shop owner.

The story, though, centers around Sullivan, who plays a man who doesn't trust anyone but would really like to find a woman he could trust. His outlook on humanity is brutal. It's so bad, it's almost funny. He reminded me of Lawrence Tierney in "Born To Kill."

This movie is an odd combination of film noir, melodrama and character study and is worth checking out, if you can find it.

After the 1946 success of their million dollar musical noir SUSPENSE Monogram and their A grade production name ALLIED ARTISTS repeated their Barry Sullivan and Belita pairing plus many excellent sets and camera angles in a truly strange crime drama THE GANGSTER. Typical of their urban style and effort to make socially arresting films (BLACK GOLD, HIGH TIDE, and later PHENIX CITY STORY)I find I am quite haunted by this grim and emotional portrayal of a doomed big shot draining mentally and emotionally in his seaside square mile of crummy crim competition. It is almost as if everyone in this film acts as though he is sure they are trying to cause him to have a mental breakdown. Sullivan is a career criminal on the very edge of insanity brought on by just a plain lousy life of struggle, arguing and ratty behavior. His affair with the incredibly gorgeous Belita (of skating fame) is racked with his paranoia and melancholy at best. It is as if his falling in love with her is causing his mind to unravel and local thugs know it. THE GANGSTER is a very well made film and genuinely emotionally interesting. It is NOT as the title suggests, a 'gangster film' however it is quite a sad and tortured tale depicting the tragic shattering in slow motion of a big man's heart and mind as he realizes (or just thinks that) his world is crumbling. The scenes at the beach promenade with Belita dressed all in white offer the viewer genuine beauty. She is sublimely dressed and photographed all through this handsome film. In fact she reminded me of a young Gertrude Lawrence: Belita was British and a champion skater at a young age throughout the UK before coming to Monogram when only about 19 years old. She just died, in 2006 at about 82 years old. Barry Sullivan is a revelation. THE GANGSTER is one of the most interesting psychological dramas made, given that it is set within his mind, hence the fake looking world he inhabits (stylised sets etc). He has fallen in love and knows he doesn't deserve it or control it, thus causing emotional fright and mental collapse. What a topic! Good movie, this!