Cry of the City


Crime / Drama / Film-Noir

IMDb Rating 7.3 10 1,900


Downloaded 8,484 times
November 2, 2019



Debra Paget as Teena Riconti
Richard Conte as Larry O'Brien
Shelley Winters as Madame Irma
Victor Mature as James Sullivan
720p.BLU 1080p.BLU
817.22 MB
23.976 fps
95 min
P/S N/A / N/A
1.46 GB
23.976 fps
95 min
P/S N/A / N/A

Movie Reviews

Reviewed by grahamclarke 9 / 10 / 10

A classic of its kind

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.

Reviewed by rmax304823 8 / 10 / 10

Mamma Mia. Some picture!

Robert Siodmak packs a lot of color and tension into this tale of Martin Rome (Richard Conte), an escaped and wounded murderer who wanders around a city that oozes staged authenticity, bringing trouble to everyone he manipulates into helping him -- a kind of "Odd Man Out" as seen in a schmutzy mirror. It's a very well-done example of a dark crime drama, and this despite the fact that it lacks a sense of place. The city is a huge presence rendered anonymous by its own incognito. The names of streets and neighborhoods always tell us something about the characters and the life styles as well as about the locations. Hollywood Boulevard, Haight and Ashbury, Greenwich Village, Chinatown, 42nd Street, Beacon Hill, Covent Garden, Montmarte. Even fictional names are evocative, as in Beaver Canal. This movie succeeds in steeping us in seamy urban setting despite the total absence of navigation aids. The sense of ethnicity helps. We get to know the Italian-American family of Martin Rome rather well. His father wants nothing to do with him. His mother is in the approach-avoidance conflict that all such mothers are in. Marty's younger brother, Tony, at first admires and helps Marty but then, when his back is to the wall, changes allegiances and helps the wounded Lieutenant Candella (Victor Mature). Mature, I understand, was of mixed ancestry, including Swedish, but I'm sorry -- he LOOKS Italian! He's fine as the business-like but not insensitive cop on Marty's trail. And as Marty, I don't think Richard Conte has ever given a better performance. His range was limited but this role plays into his strong suit -- the underground person who is not big and strong but lives by his wits, a wily man, ferret-like, who scans others quickly and accurately to sum up their weaknesses. The cast has many familiar names in it. Shelley Winters, Konstantin Shayne, Fred Clark, Barry Kroeger, Debra Paget. If you don't recognize the names, the faces will often register as seen-before. And then there is the almost unimaginable Hope Emerson, a woman so huge and so smarmy that if she didn't exist it would be necessary to invent her. She's easily a head taller than her patient, Conte, to whom she gives an ominous massage. (She calls him only by his full first name, "Martin.") And she's built along the lines of her contemporary, the pro wrestler, Man Mountain Dean, or maybe some East European shot putter fed on steroids. My God, watch her push pancakes into that mushy face! Look at her cross-eyed and she'd shove her fist down your throat and rip out your pyloric sphincter. The directorial style is heavily influenced by noir. Most of the story seems to take place at night. Pavements are wet with recent rain. Guns are small but ubiquitous. Siodmak actually inserts some scenes that are strictly speaking unnecessary but nevertheless powerful. Barry Kroeger, for instance, having been stabbed by Conte in the back through the chair he is sitting in. After he's been dead a minute or so and the camera has been on Conte who is ransacking the office, there's a shocking off-screen thump and a rhythmic squeak, squeak, squeak, and the camera moves to show us that Kroeger's body has fallen to the floor and the chair (with a gaping knife hole through the back) is swiveling crazily on its pivot in circle after circle. There's hardly any musical score but what there is, is used to good effect. Note the steady slow beat of the drums as Conte makes his escape from the hospital. It's just a gangster story but one of the better ones. Recommended.

Reviewed by ccthemovieman-1 8 / 10 / 10

Another Good 'Noir' Needing To Be Released

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.

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