La ley del hampa

Written, directed and produced by Sam Fuller, this is a tough, straight-talking, no nonsense film noir. This is like a 1940s noir but it's 1961 instead. So, instead of the boxy cars, of the Forties you have long- finned late 1950s automobiles. Otherwise, it''s the same genre.

You get the same film noir photography: black-and-white with lots of nighttime shots and a lot of tough characters. I just wish they had at least really likable person to root for, but I didn't find any. The "hero," played well by Cliff Robertson, is a tough, revenge-obsessed guy and that's basically the storyline as he tracks down the hoods who beat up and killed his father.

Even though the rest of the cast doesn't have big names, many of the faces are familiar and all are good actors. This is an earlier "Point Blank" film seven years before that came out - same kind of story.

Of the women in here, I found Dolores Dorn the most interesting.

When a young boy witnesses the murder of his father he vows to revenge his death. After reaching manhood he joins the organization that the killers preside over with the intention of fulfilling his death wish. Good action and dialogue kept this story moving right along, even though it was a little corny and the ending was predictable.

Cliff Robertson plays Tolly Devlin, an embittered ex-convict who has spent a lifetime tracking down the men who murdered his father. Desirous of handling matters on his own, Devlin pretends to be loyal to both the Mob and the Government, playing one against the other in hopes of flushing out the killers. He learns that the three surviving assassins are employed by a supposedly charitable "cover" operation known as National Projects. To get what he wants, Devlin ingratiates himself with mob boss (and outwardly solid citizen) Conners (Robert Emhardt). What Robertson didn't count on was falling in love with "Cuddles" (Dolores Dorn), which leads to his own downfall - but not before justice is served. Producer/director/writer Fuller based "Underworld U.S.A." on a series of "exposé" articles in The Saturday Evening Post. A prime example of Fuller's tabloid sensibility, the film careens through its plot at a lightning pace showcasing his penchant for fevered, sensationalistic imagery and shocking violence. Though not as good as his earlier crime thriller "Pickup On South Street", or his later masterpieces "Shock Corridor" and "The Naked Kiss", this is prime Fuller for afficianados.

A juvenile delinquent witnesses the murder of his father by mobsters and seeks revenge as an adult. This is a brutal crime drama, with lively direction by Fuller, although he goes a bit overboard with shadows, closeups, and zooms. Robertson is not bad, but seems miscast as the tough guy who, driven by vengeance, singlehandedly takes on the syndicate. The best performances are turned in by the two leading actresses: Dorn (recalling Stella Stevens) as a gangster's moll and Kay (recalling Thelma Ritter) as a mother-figure for Robertson. Also notable are Rust as a ruthless mob henchman and Gates as a federal prosecutor.

Writer/director Samuel Fuller is not personally attached to the material he presents in Underworld USA in the sense of it being autobiographical. But it is pretty likely, from listening to interviews with him and just from seeing his other work in the noir-esquire realm of motion pictures, that he knew at least the world these characters are in. Or at least he knows what kinds of emotions and what lies underneath certain aspects of lesser pulp fiction- and has a kind of journalistic sensibility that is all his own, telling it like it is from the mean streets of who-knows. It's got an assured eye working the gears, and it by-passes some usual clichés to get at some more interesting bits within some of the conventions. This is in the bones just a tale of revenge, but Fuller wants the little things and moments that make up such a tale, and how the characters can be more realized than might usually be. I liked, for example, early on when Tolly Devlin is 14 and makes a comment to his mother about something in the middle of their conversation- the mother doesn't say anything, but there's a quick, tight close-up of her face to catch the moment. It actually stuck with me longer than I expected, even as the main parts of the scene went along.

Another part that really, really impressed me was when Devlin (Cliff Robertson, not bad at all in a part that gets to stretch his skills somewhat), nearing the end of his prison term, and finally finds one of the men who beat his father to death when he saw when he was 14. The scene is very tense, but somehow very human too, as Tolly has to contend with a dying man that he has to kill with his own hands. Soon, Fuller gets the gears of the story going further, as he vows revenge against the others who committed the crime, making him pull an undercover act to infiltrate the mob to get close to them, particularly Earl Conners (Rober Emhardt, a plum role for him considering all of his TV parts). But he also falls for a woman, Cuddles, played by Dolores Day, and like Fuller's Crimson Kimono, the weight of the main thrust of what Tolly needs is balanced against what he could also have with his possible romantic interest, caught up in the emotional bog he's in.

I liked a lot how Robertson tapped well enough into the character to make him plausible, even sympathetic. He understands what Fuller is going for, a slightly more realistic- or more powerful kind of representation in the midst of the hard-boiled dialog and more complicated scenes- as he's playing a character who actually has a past, a childhood shown as shattered and made as the complete context that he has to contend with as an adult, despite women around him telling him otherwise. I still remember plenty of shots in the film too (not the gun-shots, the camera-work I mean), and this is after having seen the film months ago, and the driving musical score from Harry Sukman (a solid Fuller collaborator). That Fuller extracts a good deal of compelling entertainment out of a premise that seems pretty standard and even slight is remarkable, and ranks among the other fine superlative B-movies he was doing at the time.