La ciudad cautiva

John Forsythe stars in this excellent crime drama directed by Robert Wise. Unlike most movies involving the mob, this one is quite a bit different, as you never actually get to see many of the crooks and the menace is much more implied than actual. This isn't bad, as it makes the film seem less predictable and more realistic.

Forsythe is a newspaper owner in a small town where you'd never expect the mob. When a local private detective comes to Forstythe with stories of mobs and payoffs, the newspaperman can't believe it and only does a cursory investigation. But, when a bit later this detective is killed, Forstythe starts to wonder if there really is more to the story. Unfortunately for him, when he digs deeper, he puts his life on the line as well.

Senator Kefauver (who made a name for himself crusading against organized crime) gives an epilogue in which he says the story is true. I'd really like to know more, though IMDb doesn't have any information about the case. If anyone can give me more info, I'd appreciate it.

A riveting film about a small town newspaper editor who simply won't quit seeking justice. I was struck by the remarkably good acting from mostly no-name actors. Also, you will certainly notice the cinematography. The use of the new Hoge lens allowed an unusual depth of focus and interior shots in low lighting. Every scene, inside and out, was shot in Reno, Nevada. The score is also noteworthy. Definitely worthwhile viewing!

Shot on a shoestring budget The Captive City features the starring film debut of John Forsythe. It also has the endorsement of Senator Estes Kefauver who was busy running for president at the time when it made it's debut on April 11, 1952.

Forsythe plays the editor of a smalltown newspaper who gets a story from a private investigator on a divorce case. He's representing the wife of a local bookie suing for divorce and he's being hassled by some very big muscle way out of proportion. When the PI is run down by a car, Forsythe pursues the story.

Against the advice of one and all. But what has happened is that this local bookie played by Victor Sutherland has taken on the syndicate as a partner. These folks make all kinds of threats laced with intimidation.

Forsythe does a nice job as the crusading editor whose only real support in the town is his wife Joan Camden. A few familiar faces like Martin Milner, Ray Teal, and Ian Wolfe are in the cast, but the performance best remembered will be that of Marjorie Crossland as Sutherland's wife. She's a truly frightened woman and has reason to be.

Estes Kefauver chair of the special Senate committee investigating organized crime introduced and provided a conclusion for the film. Kefauver was also running for president and racking up a string of primary victories when this film was released. The Captive City turned out to be a great campaign commercial. His party drafted Adlai Stevenson to stop him and in 1952 America liked Ike best of all.

Still The Captive City is a fine film, a good suspenseful noir,.

This is a true story of moral heroism, as a lonely journalist struggles headstrongly against all odds and all advising against it to expose the firm grip of a town by a mafia, which apparently is expert at committing murders and getting away with it. The mood of the film is slightly paranoic, but, as usual with Robert Wise's films, it is efficiently made and keeps a firm grip on the audience to the bitter end, which comes as an unexpected relief. John Forsythe never became a great star, maybe he was to intense in his roles of exposed risk-takers to ever advance from that stage, but his films are always worth watching. The music, also as usual in Robert Wise's films, is exquisitely well suited and keeps up the drama. The message of the film is almost universal: this could happen to you and in any town, and the warning message is to always keep alert and never flinch at the truth.

When newspaper editor John Forsythe and wife rush into the police station with an urgent tale told in flashback, I thought Invasion of the Body Snatchers (1956). In fact, there are a number of similarities between the two films. Here, however, the menace is not seeds from outer space but plain old organized crime. The story is told in grippingly fluent fashion by versatile director Robert Wise. I really like the way the film uses unfamiliar faces in the important supporting roles, giving the docu-drama a more authentic appearance.

Actually, the movie is rather educational since it reveals the various pressure points within a community where criminal influence can make a difference. Note how newspaper policy can be manipulated by advertising revenue; how church involvement can be influenced by congregation size; how police policy can be set by civic elders instead of the law. That is the point of the movie-- to show how a community can be corrupted by exploiting these various pressure points. At the time (1951), the Kefauver Committee on Organized Crime was making national headlines, accounting for the Senator's public service epilogue.

Surprisingly for a crime drama with noirish overtones, the violence and menace are mostly understated. Menace consists mainly of warnings to crusading editor Forsythe from ordinary-looking people. For me, however, the scariest part was neither the beating nor the hit-&-run, but the sudden transformation of affable used car salesman Andy (Jess Kirkpatrick). In social scenes showing the town's normality, Andy comes across as the typical friendly, outgoing salesman, but later, when the pressure's on, he slides into a startlingly sinister personality-- one of the many parallels with Body Snatchers.

Filming on location in grainy black&white amounts to a real plus for an authentic feel. Forsythe and Camden are excellent in their central roles, without going over the top. There's a low-key intensity to the narrative that rivets interest, but never reaches the emotional pitch of the sci-fi classic. In my book, this is one of those polished little B- productions that Hollywood used to turn out with some regularity. Too bad that they have no counterpart in today's over f-x'ed cinema.