The Mob

Three years before 'On the Waterfront' Broderick Crawford was already there busting the rackets in this tough little thriller backed by a big police operation with advanced surveillance technology at its disposal, a wisecracking script by William Bowers, atmospheric photography by veteran Columbia cameraman Joe Walker and a creepy supporting cast of ugly young faces including Ernest Borgnine, Neville Brand, Charles Bronson and John Marley to give big Brod a friendly reception...

Consistent with its simplistic title, "The Mob" is a straightforward cops vs. mob story starring the reliably tough Broderick Crawford. He goes undercover among the longshoremen after being 'suspended' from his police-detective job. He's trying to find the big cheese controlling extortion and payoffs on the docks, and meets up with several shady (or actually criminal) characters along the way. Crawford is his usual no-nonsense self, working his way into the scene with an abrasive coating over a good-cop personality. Neville Brand and Ernest Borgnine have a few scenes as mobsters, and Crawford's dockside pal is played by Richard Kiley. The only confusing part for me was that the TCM description stated that Crawford's character goes "from California to New Orleans" to discover the mob crime, but as far as I can tell, he leaves "town" (wherever that is) briefly, then returns by ship in his undercover mode to the place where he started. Overall, a good-quality crime-fighter movie, worth watching on Saturday night for a B/W movie fan.

Broderick Crawford plays a cop who goes undercover to infiltrate the mob. And to make them think he's "their kind of guy" he comes into town with a major attitude and a willingness to slug anyone who gets in his way. However, this is no routine assignment, as there are lots of dangerous twists and turns and repeatedly it appears he's about to buy the farm. I particularly loved the very tense and rather violent ending in the hospital---you just have to see it to understand.

This film has one of the most important ingredients of Film Noir down pat--it has one of the ugliest casts in film history!! True lovers of this gritty genre know that actors in such films can't be "pretty boys" but ugly and cold-blooded killers. That's why when I saw this film starred Broderick Crawford (king of the hard-drinking ugly actors), Ernest Borgnine and Neville Brand (the scariest looking thug in film history) I was thrilled to see it. Now this ISN'T meant as an insult--I am just stating a fact necessary for a good Noir film. Great Noir abounds with ugly mugs like Edmund O'Brien, John Ireland and John McGraw--though the cast in THE MOB is among the ugliest and therefore best in genre history. In addition to ugly and menacing men, the film also features realistic and gritty violence, tough dialog, lots of great shadows and camera angles as well as a taut script--and all are in THE MOB in spades. All the elements needed for exceptional Noir--so it certainly wasn't a surprise that I really enjoyed the film.

If you love Noir, you will love this film. If you don't, then watch this film anyways!! Then, try some other great Noir films like THE KILLERS, DOA, KISS OF DEATH and ASPHALT JUNGLE--then you, too, will most likely be hooked!!

I got to ask -- because so much of the plot of "On the Waterfront" is here. Broderick Crawford is first rate (not as good as in "All the King's Men"); because Crawford has none of the depth and range of Brando. Plus, this is not a longshoreman's movie -- it's the cops' movie. The police are the key players; they get the full camera foreground and background. But how could "On the Waterfront" (1954) have existed without "The Mob" (1951)? All the character and story leads are here -- plus our hero gets a threatening backseat ride in the car with a gun pointed at his gut. The police forensic details are excellent; not hokey (and probably based on WW2 techniques?). It's surprising this movie isn't better known. Again, quality-wise, it's not "A+" as a film -- more like "B+". It's got long, excellent passages that are then followed by filler, Hollywood product (like the scenes with Ernest Borgnine). But what's great about "The Mob" is how when it works it rings true about the life and struggles of blue collar Americans just after the victory of WW2. Where's their victory? Except for the cops. In sum, tough minded doozie of a film.

Broderick Crawford is terrific as a police detective going undercover as a longshoreman. The film begins with Mr. Crawford, while off-duty, investigating a shooting; when he arrives, he's told to watch the victim by another detective - only to be left holding the victim (so to speak). After his "error", he is assigned to undercover as longshoreman at a mob-infested dock, and locate dangerous mob boss "Blackie".

On the docks, the film really takes off - the story gets very exciting, with hardly a misstep. The camera is a sharp match for the players and script. Note, Ernest Borgnine throws a swell party. Broderick says "Oh, please…" like he was born yesterday. "The Mob" has enough twists and turns to keep the interest brewing... to a tight ending.

******* The Mob (1951) Robert Parrish ~ Broderick Crawford, Richard Kiley, Ernest Borgnine