September
29, 1948, release date
Directed
by Robert Siodmak
Screenplay
by Richard Murphy, Ben Hecht
Based on The Chair for Martin Rome by Henry Edward
Helseth
Music by
Alfred Newman
Edited by
Harmon Jones
Cinematography
by Lloyd Ahern
Victor Mature as Lieutenant Candella
Fred Clark as Lieutenant Collins
Shelley Winters as Brenda Martingale
Betty Garde as Frances Pruett, the nurse in the hospital
Berry Kroeger as W. A. Niles
Tommy Cook as Tony Rome, Martin’s younger brother
Debra Paget as Teena Ricante
Hope Emerson as Rose Givens
Roland Winters as Ledbetter
Walter Baldwin as Orvy
June Storey as Ms. Boone
Tito Vuolo as Papa Rome
Mimi Aguglia as Mama Rome
Konstantin Shayne as Dr. Veroff
Howard Freeman as Sullivan
Joan Miller as Vera
Dolores Castle as Rosa
Kathleen Howard as Frances Pruett’s mother
Distributed
by Twentieth Century-Fox Film Corporation
Produced
by Twentieth Century-Fox Film Corporation
Cry of the City is a multilayered story that stays true to its
characters. It involves Italian immigrants living in New York City; religious
themes, specifically pertaining to Catholicism; urban poverty; and possible mob
connections. It is definitely film noir, with its murders, robberies, and
betrayals, but it is surprisingly hopeful—in spite of the violence and
desperation that it portrays—because it shows the power of individual decisions
that can turn the course of one’s life.
The
opening credits appear over still shots of New York City, which orients viewers
right away. The film starts with Martin Rome on what appears to be his
deathbed, with a priest reading him his last rites. He’s surrounded by weeping
relatives. Two detectives, Lieutenant Candella and Lieutenant Collins, show up
at his hospital bed because they consider him a suspect in the DeGrazia case.
Martin Rome has been in trouble with the law before: He held up a restaurant
and killed a police officer, and his penchant for violence helps to explain why
he is in the hospital in the first place.
A lawyer,
W. A. Niles, also shows up Martin’s hospital bedside. Niles is the attorney
representing Whitey Legget, the guilty party in the DeGrazia case. Niles wants
Martin Rome to clear Leggett before Martin dies. But Martin Rome survives. And
he denies torturing Mrs. DeGrazia, stealing her jewelry collection, and then
strangling her. Lawyer W. A. Niles decides to defend Martin Rome in the
DeGrazia case, but only if Martin pleads guilty to second-degree murder. Niles
bribes Martin with $10,000 to confess to the crime. Martin is furious and grabs
Niles, and then passes out with the effort.
(This blog post about
Cry of the City gives away all the
spoilers, including the ending.)
Lieutenant
Candella visits Martin’s family while Martin is convalescing. He gets a
firsthand glimpse of what Martin’s life is like. Many of Martin’s family
members are recent Italian immigrants living in the tenements of New York City.
His younger brother Tony idolizes Martin and follows his every move. Lieutenant
Candella is all too familiar with this story: He comes from the same
neighborhood and from very similar circumstances. Lieutenant Candella visits
Martin Rome, now convalescing in the prison hospital. He tells Martin that he
knows all about the neighborhood: the tenements; the hard work; no money, food,
or clothes. Martin is facing a sympathetic adversary in Lieutenant Candella.
Orvy, a
trustee in the prison hospital, wants to help Martin escape so his boss
Ledbetter will be blamed and then fired. Orvy’s plan to help Martin escape from
the prison hospital is eventually discovered, and police detectives interview
him with Ledbetter present. Ledbetter loses his job because he was in charge of
the prison hospital ward, and Orvy has more prison time tacked onto his
sentence for his escape plot. Orvy is still happy, however, because Ledbetter
will be gone and will no longer torment him. The explanation of the
consequences of Orvy’s actions shows more desperation for another character,
this time on the part of a prison inmate who will do anything to get rid of
someone who treats him so badly.
Martin’s
escape from the prison hospital is successful, however, and he visits W. A.
Niles in his legal office. He learns that Niles has the DeGrazia jewels. Martin
threatens him at knifepoint to reveal the identity of his female accomplice
(Rose Givens) because the police suspect Martin’s girlfriend, Teena Ricante.
Martin gets the information from Niles, but Niles takes a gun out of his desk
drawer to kill Martin. In the ensuing struggle, Niles accidentally shoots his
secretary Vera. Martin takes advantage of the moment of shock to stab Niles and
kill him. Martin Rome steals the DeGrazia jewels from Niles’s office safe and
takes them back to his parents’ apartment.
Martin
finds Brenda Martingale because his wounds from the restaurant robbery are
giving him more pain and trouble. Brenda is apparently an old acquaintance, but
her relationship to Martin is not made clear. Brenda finds an unlicensed doctor
to work on Martin when he passes out in the back of her car. When the doctor is
finished, she takes Martin to Rose Givens’s home, who was in on the DeGrazia
case with Whitey Leggett. In exchange for the jewels, Martin wants a car,
$5,000, a way out of the country, and a good night’s sleep.
In the
meantime, Lieutenant Candella brings in all foreign-born physicians in his
jurisdiction because he knows that a man with four bullet wounds was treated in
a car on 54th Street. These physicians were licensed in their home countries,
but they are not licensed in the United States. Sullivan, the drunk man on the
street who wanted to pick up Brenda Martingale when she was helping Martin
Rome, is also in the police station to identify the doctor. This scene is one
of the few where the narrative seems to have some holes in it, for instance:
◊
How did Lieutenant Candella
know that Martin Rome was treated in Brenda Martingale’s car and that Sullivan
saw anything at all about the episode?
◊
How did he get so many
doctors working illegally in the city to the police station?
◊
How does he know that the
two $100 bills in the doctor’s wallet came from the safe in Niles’s office?
It seems
that viewers have to assume that all that investigative work went on already,
behind the scenes and quickly. (The other possibility is that I missed some
plot details, which is a good excuse to see the film again!) But the scene in
the police station is important for another reason: The doctor who worked on
Martin needs the money for his sick wife, and he doesn’t know what will happen
to her now that he is about to be arrested. The film shows the competing
interests that the police must contend with because by showing Lieutenant
Candella’s sympathy for the man’s plight and his promise to see that his wife
gets the help that she needs.
Tony,
Martin’s brother, arranges a meeting between Martin and Teena at a church. When
Martin shows up, Tony is there on the street to greet him: He will do anything
to help his brother. When Martin wants Tony to take all the money in their
parents’ apartment and bring it to him, however, Tony balks. It’s all the money
their parents have, and that’s what he tells Martin. Martin doesn’t care what
will happen to his parents; the only thing he cares about right now is leaving
the country with his girlfriend Teena.
In the
church, Martin tells Teena that he wants her to leave the country with him.
Teena refuses because she thinks Martin has changed, and she feels that what
Martin is doing is wrong. Lieutenant Candella shows up and tells Teena all the
ways that Martin has used other people to evade the law: Orvy with his five
more years of prison time, Brenda Martingale who sheltered Martin, the doctor
who treated Martin and has a sick wife that he will no longer be able to care
for himself. He tells Teena that Martin brushed them all aside, just like he is
brushing aside all his family members. Teena agrees with Candella, and she
leaves Martin behind in the church.
Martin
agrees to leave the church with Candella, but when he sees that Candella is
injured from a previous incident involving Robin Givens, Martin punches him,
and Candella collapses. Martin walks off, and Candella recovers enough to shoot
Martin in the back, but not before warning him to stop. (The photo above shows
the chiaroscuro lighting that is one of the hallmarks of noir. It’s also a beautiful
black-and-white photo of an urban setting.)
Tony Rome
returns to find his brother Martin dead in the street. Tony walks away and
returns to Candella, who is still alive. At this point, viewers still don’t
know what Tony has decided about his parents’ money or what he will do in
reaction to Martin’s death. And here is where the film shows some hope for the
remaining characters: Tony admits to Candella that he couldn’t steal his
parents’ money. He makes the decision to refuse his brother Martin’s request.
He helps Candella into the back of a police car, and Candella consoles Tony,
who gives in to his grief about the loss of his brother.
Cry of
the City is a film noir, yes.
But it is also a moving story about city dwellers caught in urban poverty and
crime. Several of the characters and their circumstances reveal what living in
these conditions means and how easy it is to succumb to bitterness and a life
of crime in order to survive—and how difficult it can be to rise above it.
Cry of the City is the third film noir starring Victor Mature that I
have seen. The others are Kiss of Death
and I Wake up Screaming (click on
each film title to see both blog posts). Victor Mature is capable of showing
many layers to a character, no matter which side of the law his character may
be on. I thought he was fantastic as Lieutenant Candella in Cry of the City, and he is becoming one
of my noir favorites.
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