La calle del azar

This is a superior crime noir let down by a most nondescript title! Harry Morgan ("Hal") is found at the bottom of a flight of stairs - George Raft ("Gannin") and detective "Barney" (William Bendix) know his death is a bit fishy, and decide to investigate (separately!). Soon it transpires that the former is involved in dodgy bookmaking, as was the deceased, and that someone is trying to muscle in on their business. Raft is good as he tries to avenge his dead friend, never quite sure to trust, as are femme fatale Marilyn Maxwell as "Robbie" and Gale Robbins as his sister "Elaine" who sings a couple of quite decent numbers too. It's quite a tense short feature with plenty of darkly lit scenes and a tight dialogue to keep the suspense going until, I have to say, a rather silly ending. Well worth a watch, though.

George Raft and director Edwin Marin made several films together: JOHNNY ANGEL, INTERIGUE; NOCTURNE and this very one, which is for me the best of them all, also showing William Bendix in an unusual cop character. Bendix should have made more films like this one, he had the face and charisma for it. This crime noir is excellent for me, a pretty exciting RKO feature which I watch regularely with great pleasure. Fast paced, not too long, the ending is also in the line of the story and far better than other movies from this era; Good directing and camera work emphasize the power of this story. I recommend it;

In San Francisco, bookie Dan Gannin (George Raft) quits the racket and opens a nightclub. He offers his pal Hal Towers (Harry Morgan) a piece of the club to get out as well but Hal turns him down. Then thugs murder Hal by throwing him down a flight of stairs. Dan goes searching for the killers.

The stairs may be the best part of the movie especially when the thugs take Dan back to the place where they killed his friend. It's the best scene. I hoped for more San Francisco street scenes. Those street scenes have a vibrancy that is missing from much of the movie. Raft does a workmanlike job but he doesn't shine like a movie star. The story doesn't pop with the exception of certain scenes. All in all, it's a functional crime noir thriller.

From 1948, Race Street, starring George Raft and directed by Edwin L. Marin.

Slower moving than an iceberg with two tuneless musical numbers to boot.

Raft plays bookie Dan Gannin, who is leaving the racket and has opened his own nightclub featuring his sister (Gale Robbins). When his buddy (Harry Morgan) is killed after refusing mob protection, Dan goes after the killers. This doesn't sit well with Runson (William Bendix) a cop and friend, who feels Dan is putting himself in danger.

Race Street has no zip, no pace, and the plot just meanders along. It seemed as if the same scenes were repeated over and over - Runson asking Dan if he had any info, Gannin's friends discussing the problem, Gannin being threatened.

Marilyn Maxwell as a brunette is Gannin's girlfriend. Charles Lane, who died at 102, is a switchboard operator - his last credit was in 1995 after a 65-year career. Jason Robards Sr. Is uncredited as a hotel clerk. Frank Faylen plays a bad guy.

You can skip this.

Race Street, directed by Edwin L. Marin and adapted to screenplay by Martin Rackin from a story by Maurice Davis. Starring George Raft, William Bendix, Marilyn Maxwell, Frank Faylen, Gale Robbins and Harry Morgan. Music is by Roy Webb and cinematography by J. Roy Hunt.

Story centers around two friends played by Raft and Bendix, the former is a turf accountant and night club owner, the latter a plain clothes policeman. With a syndicate racket moving in on the Frisco bookmaking circuit, Dan Gannin (Raft) refuses to co-operate, putting himself in grave danger. Barney Runson (Bendix) wants to move in and do it the official way, begging Dan to step aside and let the police do their job. But when the syndicate make a deadly move that hits Dan close to home, he's not for turning.

In the grand scheme of Raft and Bendix movies, or classic era film noir pics in fact, this one is small fry, but strong cast and solid production foundation ensure it's an enjoyable experience. Story isn't strong, where two old friends lock horns while some villain throws his weight around, but in true noir fashion there's some sneaky surprises in store and a none cop out finale.

Technically it's interesting, one quite dreadful process backed sequence aside, Marin and Hunt hit the noir bars for mood compliance. The absence of chiaroscuro is a shame, for a number of scenes here cry out for it, but the lighting techniques and shadow indulgence keeps the eyes pleased. There's even a startling sequence that appears to show Gale Robbins floating in and around the night club crowd as she sings a song, while a bit of zoom play and nifty Frisco locations add further quality.

Good honest noirville enjoyment. 6.5/10