CrawlerChunky In truth, there is barely enough story here to make a film.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Celia A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

mark.waltz Up there with the 1946 sleeper "Somewhere in the Night", this is one of the best lesser known thrillers of 20th Century Fox's film noir collection. Film noir festivals should focus more on the more obscure films like this since everybody who studies the noir genre has seen the classics like "Double Indemnity", "Laura", "The Big Sleep" and "Detour", to name a few. This practically completely dark film noir is set mostly at night and shows New York City at its most depraved and mysterious. It focuses on two long-time family friends, Victor Mature and Richard Conte, one on the right side of the law, the other accused of killing someone on the right side of the law, playing a game of cat and mouse where only death can bring peace for one of them. There is no doubt in my mind that a certain large actress got her most famous part after being seen in this film, one which could have brought her an Oscar nomination just like that famous part did just two years later.The person I am referring to is Hope Emerson, the amazon woman of the city who gives Swedish massages and could break someone's neck if she wanted to. Yes, this is "the" Hope Emerson whose unforgettable matron in "Caged" remains the quintessential evil prison employee yet could also be lovable and funny when the part called for it. While they do not share any scenes, her "Caged" rival Betty Garde is also here as a tough nurse whose involvement in the plot takes her from the hospital room where suspected cop killer Conte is convalescing to her home where Garde's mother (the always scene-stealing Kathleen Howard) spills some beans to Mature that helps move the plot along even further. It gets complicated, but not convoluted, and that keeps you gripped to the screen.There are two small roles for the film's "leading ladies", Shelley Winters as Conte's girlfriend and Debra Paget as a neighborhood girl who knew both Mature and Conte growing up. Tommy Cook is very Sal Mineo-esque in his role as Conte's younger brother, giving information over a drug store phone in Italian as Mature's partner (Fred Clark) listens in, obviously understanding enough. But for me, it is Emerson who steals this film with her long scene taking care of an exhausted Conte (having escaped), then using her brute force to get her hands on the jewels he had stolen before allegedly killing a cop, and ending up with a gun herself shooting randomly in a Manhattan subway station. Director Robert Siodmark, one of the masters of the film noir genre, leaves no stone unturned in presenting the darkness of society here, and as a result, turns in a masterpiece that really deserves to become a classic.

RanchoTuVu A familiar story of a cop (Victor Mature) and a criminal (Richard Conte) who grew up in the same tough New York City neighborhood, in the same culture, but chose different paths in life, and end up facing off against each other. Mature's part as the detective could almost put him in the role of the bad cop out to bring down the neighborhood hero, though the story, with some excellent lines for Mature, leads us to the truth, that Conte was playing the part of a fairly ruthless con man, especially with the people closest to him. The essential conflict between the two primary roles gives the film a strong focus, but other characters elevate the movie to unexpected heights. Betty Garde, Barry Kroeger and Hope Emerson each have great parts in this film. Garde's part looks like it's going to be brief, but she reappears later in the film and adds another dimension to the story. The story is already hitting its stride when Hope Emerson makes a memorable appearance as a deadly masseuse who takes Conte into her parlor/apartment. Their lines are some of the best in the movie. Lloyd Ahern, the cinematographer captures the essence of a crime drama in the great night scenes.

romanorum1 Reflecting lights off the wet streets … neon signs flashing inside buildings … the noises of a busy city … odd angles … low angles … exotic women … black and white … of course we are into a noir movie.At the beginning we see Martin Rome (Richard Conte), badly wounded in a hospital bed, receiving the Last Rites of the Church. In fact, he will be in pain – mental as well as physical – for the entire film. Although he comes from a good family, Rome is a criminal who in a shootout has killed a cop, albeit in self-defense. At times Rome will evoke sympathy, for he has some positive attributes; he certainly is charismatic. Sordid lawyer extraordinaire, Neils (Berry Kroeger), who has not a decent bone in his entire body, wants Rome to take the rap for the heist of precious jewels stolen from a Mrs. DeGrazia. Neils figures that Rome is facing a possible death penalty for the death of the policeman anyway. At bedside he is unsuccessful in wheezing out a false confession, even though he says he will frame Rome's teen-aged girlfriend, Teena Riconti (Debra Paget). Later on we will discover Neils has stashed the jewels in his office.Lt. Candella (Victor Mature), a good and decent policeman, has Collins (Fred Clark) for a partner. Candella is not one of those wise-crackers or playboy cops; his essence is almost pokerfaced as compared to Conte's charm. Candella is a friend of the Rome family. It bothers him to know that Martin Rome has taken a different path than the righteous one and has caused his mother and father so much pain. But his real concern is on the direction that Tony Rome (Tommy Cook) will take. Tony is Martin's teen-aged impressionable brother, and Martin's negative influences are strong. His younger brother looks up to him. Martin Rome's interest is on the stolen DeGrazia jewels, and after he escapes from custody – with the significant help from inmate Orvy (Walter Baldwin) – heads for Nile's office dressed in a trench coat and fedora. There, in a confrontation, kills Niles in self-defense and limps away with the jewels. Constantly tracked by Candella and Collins, Rome's wounds are operated on in a car at night by an unlicensed European doctor. Rome soon heads for the business of the masseuse Rose Given (Hope Emerson), who is also implicated in the stolen jewels. Given agrees to trade cash and a ticket out of the country for the jewels, which Rome has hidden in one of the public lockers in a subway station. When Rome leaves to get the jewels, he calls and tips off Candella. When the police arrive at the station they arrest Given, but Rome escapes while Candella is wounded. Soon Rome meets with Teena in a church and tries to convince her to go to South America with him. Rome also orders the now-hesitant Tony to steal some money. But Candella also arrives and sees Teena finally reject Rome, while Tony also switches loyalties. As Rome tries to leave on his own, he is stopped by Candella."Cry of the City" is filmed on location in New York. The characters are more than one-dimensional. It is refreshing that both leads are played by real Italian-Americans (Mature was Italian-Swiss; his family name was Maturi (which means about the same thing as Mature). Mature had some interesting historical he-man roles: Samson, Hannibal, Doc Holliday, and Chief Crazy Horse (!). Richard Conte, as usual, was nothing less than terrific (and underrated). He had already starred in "The Purple Heart" (1944) and Call Northside 777 (1948). Hope Emerson, in her debut, plays an appropriately large (over 200 pounds and six foot two, almost as tall as Victor Mature) and murderous masseuse. When she places her hands around five foot eight Conte's throat she is unsettling, to say the least. Two years later she would be a sadistic prison guard in "Caged." Walter Baldwin plays a woebegone Orvy. Shelley Winters has an appearance as Brenda, who helps Martin Rome. Lovely Debra Paget, in her first role, certainly has the look of a Teena Riconti. It is hard to believe that she had this role, although brief, at only age fifteen. She often played princesses, ancient ladies, and Indian maidens. Tommy Cook also "passes" in this film. See this movie.

edwagreen This is film-noir at its best. In fact, this is the way they used to make great films.Victor Mature, as the cop, and Richard Conte, the criminal, star in this terrific film.The film shows that despite an excellent upbringing by a Conservative Italian Catholic family, Conte chose a life of crime and he is about to be joined by his kid brother who idolizes him.When Conte breaks out of jail, the fun really begins with everyone in hot pursuit for him.The picture is aided by a fine supporting cast. Hope Emerson, who was Oscar nominated in 1951 for "Caged," shows her mettle here as a hard-boiled tough lady involved in a jewel heist. This must have been Shelley Winters' first film and she makes the most out of it as one of the many Conte girls who drives him around. Debra Paget, who is only 15 years of age here, plays a sweet, innocent thing involved with Conte. She is the love of his life. Bette Garde, so memorable as Wanda Skutnik in "Call Northside 777" plays a nurse who shields Paget. We have Fred Clark as a fellow cop in a pretty serious role for him.What makes this film so good is that it shows how innocent, decent people could be drawn into Conte's web. The bullets may fly in this film but they're well on target.