NIGHT AND THE CITY (1950)
A film review by Rod Crawford
Copyright 1997 Rod Crawford
20th Century Fox, B&W, 96 min. Film-Noir Director: Jules Dassin Cinematographer: Max Greene (a.k.a. Mutz Greenbaum) Screenplay by Jo Eisinger from the 1946 novel by Gerald Kersh. Stars: Richard Widmark, Francis L. Sullivan, Googie Withers, Gene Tierney, Herbert Lom, Stanislaus Zbyszko. Full details in Internet Movie Database.
Though filmed in London, with a partly British cast (5 of the credited players, including stars Widmark and Tierney, were American), this is very much a Hollywood film, and about as "noir" as Hollywood ever got. If I were picking the Ultimate Film Noir, 'Night and the City' would be a leading candidate.
In the gritty underworld of post-WWII London, Harry Fabian (Widmark) is a small-time shill and all-around hustler. Though completely unprincipled, Harry remains almost likeable through his childlike, imaginative eagerness, and because he is the underdog. Yes, success in his chosen field has eluded Harry; but his certainty that each new scheme will bring him the "life of ease and plenty" makes him feel justified in swindling or stealing from anyone, even the woman (Tierney) who inexplicably loves him. Harry's latest scheme is foolproof (he thinks): he'll wrest "control of wrestling in all London" away from gangster Christo (Herbert Lom), by taking on as partner Christo's father Gregorius (Stanislaus Zbyszko, former U.S. champ), an aging, "legitimate" Greco-Roman style wrestler. But in execution, this plan makes Harry new enemies, all of whom are harder, more realistic, and more dangerous than himself. Caught like a rat in a trap? Harry's plight is more that of a worm in a malevolent chicken coop.
Almost all the performances are just a bit over the top, not least Widmark's as Fabian, from cringing to cocky bravado to hysterical enthusiasm (with just a touch of his Tommy Udo laugh from 'Kiss of Death (1947)'). Francis L. Sullivan, as nightclub owner Nosseross, turns in a menacing portrait worthy of Sydney Greenstreet. Googie Withers is spellbinding as Helen, a hard-as-nails former b-girl who married the boss but isn't above using Fabian (or anyone else) to further her ends; perhaps the most compelling performance of her career. An array of fine character actors vividly represent the small-time grifters who constitute most of Harry's social circle. These larger-than-life performances fit the story perfectly. Gene Tierney, de-glamorized but still lovely as the nominal leading lady, does a fine job as Mary, but her more naturalistic acting seems pallid by comparison. Fortunately, the American actors don't attempt phony British accents.
Screenwriter Eisinger changed the original novel extensively (at least partly because of censorship), while remaining true to its spirit. Many plot events, the ending, and especially the character relationships are different. In the book, Fabian is a pimp, living with Zoe, a bosomy prostitute; Mary is Mrs. Nosseross, while Helen is a nightclub hostess involved in a second main plot with Adam the sculptor. The 'Strangler' is black, and there is no character Kristo. The novel is well worth reading, but I'm inclined to think the screenplay in some ways an improvement.
This is cinematographer Greene's only film-noir credit, but his skill at low-key lighting is also evident in thrillers like 'So Evil My Love (1948).' In 'Night and the City' Greene has helped director Dassin to create a brilliant visual style, very different from previous Dassin films such as 'The Naked City (1948).' The world of Harry Fabian is a maze of wet cobblestoned alleys, narrow staircases, bombed-out walls, and subterranean dives, crossed by the blackest, most menacing shadows London has ever seen. Actors are often photographed from low angles and even lit from beneath for maximum menace. Location scenes meld so seamlessly with studio shots that infinite pains must have been taken with location lighting. From tight close-ups to long shots, the entire film is a sequence of little masterpieces of visual composition. Editing is similarly superb, with not a moment wasted. Franz Waxman's music score swings from unobtrusive to the same hyper-dramatic heights as the acting and lighting. This is (fortunately) not real life. This is film noir, a world unto itself.
Not everyone enjoys film noir, as 20th Century Fox discovered when this one lost money on first release. Perhaps you do have to be slightly twisted to feel ecstatic over a film as dark as this...who, me?
Rod Crawford, Seattle, USA
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