Mary Poppins Returns
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All Critics (12)
| Top Critics (4)
| Fresh (11)
| Rotten (1)
| DVD (1)
Film noir doesn't get much murkier than Robert Siodmak's 1948 New York-set immigrant story.
It's an exciting motion picture, credibly put together to wring out every bit of strong action and tension inherent in such a plot.
Riveting example of Siodmak's skill not only in transforming indifferent material, but in giving the feel of studio noir to location shooting.
Cry of the City may be strident at times but its message, story and players are thoroughly effective.
The urban atmosphere of city traffic and the scuffed and worn authenticity of real storefronts and sidewalks gives the film a charge of realism but Siodmak forgoes docurealism for his beloved expressionist style.
the strengths of Cry of the City lie mostly in the strong performances ... and realistic evocation of life among the urban poor
The beauty of Siodmak's film is how it objectively observes how a man acts with the spectre of death on his shoulder.
In luscious blacks and whites, this film noir thriller takes place in Little Italy, New York, and is a precursor to the cinema of Scorsese, with a touch of Hitchcock in its affectionate embrace of man's dark side.
The sequences on the rainy, neon-lit streets of downtown Manhattan are brought off with exhilarating flair and the two men's closeup confrontations have power and punch.
Splendid on-location photography by Sersen and top performances from Mature, Conte, and the wicked Emerson make this a film noir must.
The supporting cast is mainly wasted, with interesting characters quickly sidelined in favour of an impossibly complicated story, while a plot strand involving stolen diamonds just doesn't work.
Top notch film noir.
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