Puerto abismal

Good gritty docu-drama of the procedural sort made popular by The Naked City (1948). Here we follow a Customs agent (Rober) and a Treasury agent (Brady) as they track down a gang of narcotics smugglers headed by a hirsute Yul Brynner in his first film. Unlike most docu- dramas of the period, this one is not overly diverted by procedure. Instead, the drama plays out in pretty tense fashion. Happily, the rather complex storyline is fashioned smoothly by director Benedek, despite the many segues. Then too, the live shots of New York are especially revealing to a non-New Yorker like myself, even if they are decades old.

The faces in the movie also furnish a boost. There're the three gimlet-eyed hard cases (Challee, Stevens, Kellogg), the exotic looking Brynner, and the two meek-looking fall-guys (Blake, Carter), while Rober and Brady are appropriately clean-cut and strong-jawed. Brynner, of course, is particularly notable for his effortless accent and Euro-Asian appearance. The latter seems appropriate for a time when the Cold War was heating up. Thus Hollywood's lauding law enforcement at a tense time comes as no surprise.

Except for Brynner and a couple jarring scenes as when Brynner turns on the disloyal Stevens, there's nothing particularly memorable here. Just solid entertainment done in highly competent fashion.

This effective noirish crime drama was Yul Brynner's film debut in which he demonstrates star quality as a debonair, brutal crime boss engaged in drug trafficking. Brynner was born in Vladivostok and his oriental features and full head of wavy hair (!) are perfectly suited to this role. In particular, his facial expressions and body language when he gets busted are superbly acted and well worth watching.

Scott Brady and Richard Rober deliver generally good performances as federal agents whose goal is to track down a shipment of narcotics. Although they are portrayed as heroes, neither has star quality and their acting is occasionally hammy. The rest of the cast plays a convincing ensemble of feds, thugs, dealers, and dames.

The direction and cinematography are excellent with some beautifully composed classic noir scenes where Brady and Rober explore a dark warehouse. The plot is predictable without major twists or sharp dialog, although the stentorian narrator gives the movie an interesting fascist undertone as war-on-drugs propaganda.

The print (Classic Film Noir, Volume 2) is quite good although the sound track is scratchy. Despite its flaws, this is a well-crafted fast-paced minor film noir worth adding to your collection.

The opium-stocked "S.S. Florentine" docks in New York City with cool blonde K.T. Stevens (as Toni Cardell) and a murder. Distraught, Ms. Stevens goes to drug-smuggling boss Yul Brynner (as Paul Vicola) to ask for more money. Getting no for an answer, and cast aside for sexual relations, Stevens decides to try to sell her naughty knowledge to Federal investigator Richard Rober (as Jim Flannery). Mr. Rober and young partner Scott Brady (as Mickey Waters) track dope to addicted nightclub comic Arthur Blake (as Dolly Carney). Dancer friend Lynne Carter (as Lili Long) tries to help Mr. Blake, who is made to squeal during withdrawal…

Narrated by future news-reader Chet Huntley, "Port of New York" is a surprisingly good feature. The leading man is Rober, who channels William Holden well; if he hadn't met with misfortune, Rober might have had a successful TV crime drama. The fine supporting cast is highlighted by Blake's drug-addicted stand-up comic; he's the one introduced while entertaining patrons with his impersonation of Charles Laughton in "Mutiny on the Bounty" (1935). Noir photographer George E. Diskant excels. Today, the main attraction will by an early look at Mr. Brynner, who plays the villainous drug lord with most of his hair intact, and unshaven.

******* Port of New York (11/28/49) Laslo Benedek ~ Richard Rober, Scott Brady, Yul Brynner, K.T. Stevens

Port of New York is directed by Laszlo Benedek and written by Eugene Ling. It stars Scott Brady, Richard Rober, Yul Brynner and K.T. Stevens. Music is by Sol Kaplan and cinematography by George Diskant.

Two federal agents work to crack a gang of murderous drug dealers who are operating out of the Port of New York.

The strengths here are obvious, Diskant's photography provides atmospheric dread, the location shooting of New York is superb, and the smoothly villainous portrayal by Brynner is on the money and sets him on the path to the "A" list. Pic is kinda semi-documentary in style, complete with narration of course, and it's often violent enough to keep one hooked to the end.

Minor film noir but not without merits. 6/10

Had a chance to sit down and watch PORT OF NEW YORK some time ago and I have to say that this is a terrific little noir/crime/thriller! Told in "documentary style" as in such films as HOUSE ON 92ND STREET, THE NAKED CITY and HE WALKED BY NIGHT, the movie is swiftly paced, violent with a decent amount of suspense and plenty of fisticuffs. Scott Brady and Richard Rober play a couple of federal agents, one a customs agent and the other a treasury agent out to stop the distribution of illegal "contraband", i.e., opium, that came in on a ship but was smuggled off by drug dealers. The leader of the drug operation is Yul Brynner, sporting a head of dark, wavy hair and appearing in his first film role I believe. Brynner is suave and refined and listens to avant-garde piano music but it is clear that he is also quite cold and violent as the bodies start to pile up. Plenty of action to keep one interested and wonderful direction from László Benedek. The real star though is cinematographer George E. Diskant. Filmed entirely on location in New York City, the film bursts to life with magnificent images of the Big Apple and some truly wonderful shots of the NYC maritime scene. This is a rather obscure, "B" noir/crime film that was a pleasant surprise and a movie that all fans of the genre should check out.