The Sleeping City

The Sleeping City is a 1950 film directed by George Sherman starring Richard Conte and Coleen Gray.

The story begins with an intro by Richard Conte, extolling the virtues of Bellevue Hospital, where the filming took place, and explaining that the story is fictional. This was done to overcome the objective of Mayor O'Dwyer, who did not want the hospital portrayed negatively.

In the film, an intern is shot and killed. In order to investigate, Detective Fred Rowan (Conte) who has a medical background, is sent in to pose as an intern from Los Angeles.

There is something going on among the hospital interns, but it's hard to pinpoint. Rowan suspects it may have something to do with an old man who works there, Pop (Richard Taber) who takes gambling bets from the interns.

Rowan refuses to bet on the horses, but eventually does to find out what's going on. He soon learns of the sinister happenings that caused one intern to be killed and another to commit suicide.

Good story that keeps the viewer absorbed throughout, with good performance by Conte, Taber, Gray, and Alex Nicol as an unhappy intern. Exciting finale.

Two well-known titles in the noir cycle are The City That Never Sleeps (1953) and While The City Sleeps (1956). Before them, there was the less familiar The Sleeping City. In this last (or first), what seems asleep is not so much New York as a city-within-a-city – the huge old fortress of Bellevue Hospital, where, at night in its wards and among its staff, skulduggery is afoot. Bellvue opened its doors to the film's cast and crew, perhaps not wholly grasping that the resulting portrait might be less than reassuring to prospective patients. But it's not a story, at least explicitly, about malpractice.

A jumpy, distracted intern on his break goes outside to grab a smoke. He ends up with a bullet through his brain. Since the murder appears to be an inside job, an undercover department of the city police plants a detective (Richard Conte) in the hospital among the interns. He's had some medical training in the army and so should pass casual muster. Taking lodging in the building and going on rounds, he makes acquaintances. Among them are his bitter roommate, Alex Nichol, nursing some resentments about not being rich, either by birth or through wedlock; ward nurse Coleen Gray, raising a young son from an unhappy first marriage; and chummy elevator operator Richard Taber, who bunks down off the boiler room – where he runs a book where the cash-strapped interns can play the ponies.

What Conte's after is not just the killer but the source of an infectious but non-microbial malaise that will claim Nichol, too, the night before he was to marry. Conte finds himself the prime suspect in his roommate's death and comes close to blowing his cover before his own superiors intervene. But Conte's suspicions about Taber's bookmaking operation aren't quite on the mark; it turns out that a 'white-stuff job' is the real racket....

Light and portable equipment developed during World War II made location shooting finally feasible, and the low-budget second-features in the post-war years pioneered its use. The Sleeping City affects a pseudo-documentary style that also came into vogue as a complement to the new cinema-verité look (a chase through the bowels of the massive institution stays particularly sinister). Despite a nifty shot of the new interns descending an endless stairwell en masse, the vast hospital looks underpopulated, especially during the graveyard shift. But the claustrophobia (the whole picture is shot in and around the hospital) pays off. The main characters aren't many, but not so few that they can't deliver a final twist.

This novel crime film set entirely in Bellvue Hospital in NYC is more interesting for its picture of intern life at mid-century than for its farfetched premise of a police detective planted inside the institution as a physician to try to catch a murderer. Realistic location shooting enjoyed a vogue in the late 40's and early 50's, and undoubtedly Bellvue was well compensated for extending its hospitality to Hollywood. It's also a reminder of how much cigarette smoking was an accepted "relaxant" in those days, even for the medical profession. Among numerous tobacco moments, Nurse Coleen Gray urges undercover man Richrd Conte to step outside for "a cigarette and a breath of fresh air," as though one went hand in hand with the other. Although that kind of thing seems ridiculous now, in an age of idiotic comic book and video game movies, it's a pleasure to watch a film performed on an intimately human scale.

The Sleeping City has a unique, unfortunately not fully realized, setting for a noir. Shot on location at Bellevue Hospital, the film stars Richard Conte as policeman Fred Rowan as he goes undercover to solve the murder of a hospital intern.

Conte carries the film while the supporting cast mostly serves as window dressing to keep the plot moving forward. The exception being Rowan's interactions with staff member Steve Anderson, played by Alex Nichols. Nichols' character reveals more intimate details than Rowan's supposed love interest (Coleen Gray) of the film, and it his personal struggles feel genuine.

Although I won't give any spoilers, the twists in the plot are surprises sure, yet still underwhelming. What keeps this film from being more than good was its underutilization of the hospital setting. Besides one scene where Rowan aids a patient, the setting serves nothing more than as a locale when it could have uplifted an otherwise average plot. Despite the missed opportunity, Conte alone makes the Sleeping City a B-movie noir worth watching.

I saw this movie once, many years ago, in NYC. It was filmed on location at Bellevue Hospital, eighty blocks south from where I did my residency training in medicine (50's-60's.) The medical attire, locations, and medical palaver are certainly dated, but that was the way it was ... many years ago. The movie's characters (Conte et al.) were grand; an atherosclerotic, aging, Bellevue Hospital was really like that, the state-of-the-art treatments, the accomodations for patients were all shockingly interesting. In this sense, it is living history of a past medical era.

The Noir is also so nicely done: hospital corridors, primitive art deco elevators, and night shots of Gotham streets. (All these retro-images are based on a film once seen by me forty years ago!)

If film renovators/DVD entreprenuers were to read this clip, I would recommend they consider this movie as one that many forgotten Noirs that need to be resurrected. It would be a cryptogenic discovery. Conte was a great actor, and he has a loyal following. (This movie was in his early career, and he plays a good guy!) He would be lauded later for his Godfather roles.)