Der Gangsterkönig von New York

When John Drew Barrymore was making films in the 50s he opted for a more modern style than his father John Barrymore ever tried. The elder Barrymore's classical style of acting was quite passé and would never have been accepted. Sad to say that young Barrymore tried and failed to be a James Dean type rebel. For Never Love A Stranger that's especially interesting because supporting Barrymore was an actor who would become the ideal image of cool.

With elements taken from Manhattan Melodrama and Little Caesar, Never Love A Stranger is an old fashioned type film that probably was an anachronism in the 50s let alone now. Young Barrymore plays a slum kid who suffers an identity crisis when he discovers his Jewish roots after having been raised in a Catholic orphanage.

He goes away but comes back one mean and tough punk who becomes kingpin of the rackets, taking over from Robert Bray who gave him his start. And as it turns out his childhood friend, Steve McQueen becomes the special prosecutor with the mission of bringing Barrymore down.

Steve McQueen might have made this film slightly better had he been cast in the lead. But frankly this film was a turgid mess and I doubt that would have helped.

The film while not exactly a clunker could have been a lot better.

it has that late 50's b/w gangster feel to it like "Studs Lonigan" a couple of years later. A young Steve McQueen cast as a Jewish kid who becomes an attorney does what he can in a supporting role. The person who did have me riveted throughout was John Drew Barrymore who is pretty good in this although his character gets more absurd as the film goes on. Barrymore was a striking looking actor & had talent enough to have a much better career than he actually ended up having.

His lifestyle choices ruined all that, Lita Milan who plays Barymore's girlfriend retired from films all together shortly after & married the Prime minister of the Dominican Republic or something.

I found "Never Love a Stranger" on YouTube and decided to watch it as it is the first credited movie appearance by Steve McQueen. He doesn't star in the film, but he is an important character in the story.

When the movie begins, a woman dies in a rooming house...leaving a brand new baby behind. With no other options, the boy is sent to be raised in a Catholic orphanage. While he's there, Frankie (John Drew Barrymore) makes friends with a Jewish teen, Marty (McQueen), and his family. He also makes friends with the local mob boss...a guy who likes what he sees in Frankie.

Some time later, the folks at the orphanage discover that Frankie's dead mother was Jewish...and they make arrangements to send him to a Jewish orphanage. Frankie doesn't want to go and disappears for seven years.

In the interim, Marty goes to law school and obtains a job with the District Attorney's office. When Frankie returns, he goes back into business with the mob boss...and soon is able to wrangle his way to the top of the mob empire! As a result, Marty is given a new job by the DA....to get Frankie and make sure he goes to prison! This is made all the tougher as they were friends AND Marty's sister, Julie, is in love with Frankie. What's next? See the film.

While this is generally a very good film, I think all the narration could have been removed and the film could have been a bit better. It's just too schmaltzy and unnecessary. Apart from that, it was an entertaining crime film....not noir, as it lacked the camerawork, glib dialog and violence you'd expect in noir.

Co.produced from his first novel by Harold Robbins, plainly patterned after 'The Public Enemy' and 'Angels with Dirty Faces' and ambitious enough to hire top cameraman Lee Garmes and commission a romantic musical score from Raymond Scott (with a moralising commentary of the sort later parodied by Russ Meyer). It's failure obviously decided Robbins to stick thereafter to glossy trash (a decision that swiftly made his fortune).

As a leading man John Drew Barrymore as a Jewish gangster proves a chip off the old block, while fourth-billed Steve McQueen as a Jewish lawyer (described by the late David Shipman as resembling "a Botticelli angel crossed with a chimp") already demonstrates the star quality that soon took him to the top and kept him there until his untimely death.

As Barrymore's mother Dolores Vitina is unrecognisable as the sexy green alien (billed as 'Vitina Marcus') she later played in 'Lost in Space', while R.G.Armstrong is allowed more nuance than one initially anticipates as a hired gun.

Never Love a Stranger (1958)

You might be most impressed by the early appearance of Steve McQueen, who shows a spark and intensity that makes him rise above the rest of the cast, who are really rather good in all. It says something about star power, which isn't all smoke and mirrors. You might also get a kick that the leading male (McQueen is secondary) is played by John Drew Barrymore, son of the famous John and father of the famous Drew. Sadly, this man of the generation in the middle was troubled and had a mixture of leading roles, never achieving greatness or fame.

If the plot is a familiar one about two slum kids in New York growing up into opposite roles, one a thug, the other the area's district attorney (there are several of these films), there is another theme that makes the movie singular. That is the issue of being Jewish, and at times downright anti-Semitism, though handled with kid gloves. The fighting between Catholic boys and the one Jewish kid (McQueen) is standard clan rivalry, with a religious twist. But when the other character, raised in a Catholic orphanage, discovers he is actually Jewish, his first reaction is rebellion. And the movie carries this theme throughout, adding a good if forced second level to work with.

I'm not sure it matters, but it's interesting, at least, that McQueen and Barrymore are both not Jewish as far as I know (McQueen in particular doesn't fit the stereotypes, but that's probably okay by itself), nor was the director, Robert Stevens the American (as opposed to the more famous Robert Stevens the Brit). Even more interesting, the book the movie draws from was written by Harold Robbins, whose parents were Jewish immigrants, but when he was a child he claimed (falsely) to have been raised in a Roman Catholic orphanage. For whatever reason, then, the theme is handled with a kind of detachment that makes it odd, and not nearly as affecting as, say, some of the European films that really attack the issue of "passing" for Goy when the Nazi rampage was on (Louis Malle's "Au revoir les enfants" possibly the best). The Barrymore character never does quite accept of address his heritage.

Now to be clear, the movie lacks a directorial touch to keep it alive and pertinent. It's a decent if uninspired effort, but the exceptions will make it worth a close look for some.