Violences à Park Row

Sam Fuller is not a name most folks would recognize. However, to film lovers and critics, he's a famous guy--famous for making really good movies that are without the usual clichés and frills as well as with very low budgets. In the case of "Park Row", for instance, he completely financed the movie with his own money! And, it stars Gene Evans--an ordinary looking guy who starred is several Fuller films.

The story is about a guy who is fired from one New York newspaper and decides to start his own. However, the deck is definitely stacked against him and a tough female newspaper owner seems willing to do anything to see his paper fail--and she takes this competition very personally. At first, she laughs off his attempts to put out a paper. But, when he starts seeing success after success, the competition becomes very dirty. In fact, the ugliness of this fight surprised me...it was THAT tough!

The film has some amazingly good camera-work--with great lighting and composition. It never looks cheap. Additionally, Evans is memorable as a tough guy who not only can out-think but out-punch his competition! His intensity is what makes the film. Overall, despite a few rough moments, it's a great textbook example that a film doesn't have to be expensive or filled with mega-stars to be a very good picture.

It's about a 19th century New York City newspaper editorial writer, Phineas Mitchell, who is fired when he insults the owner of the newspaper he works for, The Star. Some of his companions are also fired when they back him up. An older journalist mentions to Mitchell that he has some money - enough to start up a newspaper. And so The Globe is born with the highest journalistic standards of integrity. At first Mitchell's former employer, Charity Hackett, laughs at their efforts. But soon The Globe's innovation and enterprise are threatening her circulation and she tries to shut them down by any means, fair or foul.

This is a completely fictional story, but it incorporates enough truth to be confusing. In the 1880s Park Row was newspaper row in New York City. There was a campaign that looks like crowdfunding today to finance the pedestal for the Statue of Liberty so the monument could be completed. There was an Ottmar Mergenthaler who invented the linotype machine, the first device that could easily and quickly set complete lines of type for use in printing presses. But all of these things did not take place under one roof for one newspaper. The film does have a pretty accurate depiction of newspaper printing as it occurred in the late 1800s, and that is the most interesting aspect of it.

I could deal with the confusion, but then there is the ham fisted romance/ sexual tension between The Star's Charity Hackett and The Globe's Phineas Mitchell. It reminded me of Hill Street Blues' romance between police captain Frank Furillo and public defender Joyce Davenport - If these two people really believe in what they are doing, how could they ever be attracted to one another? But then I am showing my age to explain a 70 year old movie in terms of a 40 year old TV show.

Overall, I'd recommend it. This was a passion project for Sam Fuller as he used his own money to produce it. Just be prepared for it to be a bit of an uneven ride.

Samuel Fuller was a newspaperman before he was a filmmaker and his passion for journalism and free speech infuses every frame of "Park Row" making this one of his most enjoyable pictures which, for a movie about the printed page, is intensely cinematic. Of course, whether Fuller was a good journalist, a great journalist or even a lousy journalist I can't say but he had one of the great eyes in American cinema and he knew, in movie after movie, how to bombard our senses with a host of images that gave his films, be they westerns, thrillers, war pictures or, in this case, simply a picture about the founding of a newspaper, the feeling they were ripped from today's headlines.

The plot of "Park Row" is relatively thin. Gene Evans is the newspaper man who becomes the editor of a crusading newspaper in opposition to the more powerful paper from which he's just been fired. It is, in other words, a feelgood movie about a David triumphing over a mean old Goliath, (in this case represented by Mary Welch's excellent performance as the owner of the rival paper), but it's a populist picture with none of the sentimentality that Capra would have brought to it. Indeed, being a Sam Fuller picture, there's a fair amount of violence en route to the happy ending. It also has one of Fuller's best scripts; this is a movie full of crisp dialogue that makes great use of factual material. Amazingly, despite it's substantial critical reputation, it's seldom revived. Time, I think, to rectify that.

One of my favorites from Samuel Fuller; a frenzied, kinetic melodrama about journalism in the late 1800's. Although the film is laughably unrealistic at times in it's portrayal of two major newspapers competing for more readers, this is no hindrance to one's enjoyment of the film.

Never did Fuller create a film of such sheer energy and nostalgia. The film's tracking shots and frenetically-edited montages seem to get the most attention, but there are also some great monologues and magnificent performances, particularly from Mary Welch as the head of the "evil" newspaper, The Star, and Gene Evans as the leader of their opposing newspaper, The Globe.

The film has it's moments of campiness, but overall it's one of cinema's overlooked classics.

Sam Fuller's brilliant direction combines a tatty set, low watt cast, and potentially preachy and pedantic script into a small masterpiece...seemingly with the sheer electric passion of his film sense. Superb use of camera takes ordinary talking head shots and makes them off kilter peeks into the clash of opposing souls. The passion filled but low key love/hate/love interplay between opposing editors played by Gene Evans and Mary Welch is one of the most adult and genuine dark romances in cinema history (how sad that this was only major appearance for Welch...who died in 1958). Fuller's lauded tracking shots...including some which seem to have the camera being tossed about like a football in an effort to keep up with the action..are very much in evidence...but film is most striking for it's effortless ability to capture the quiet passion and integrity of one mans devotion to the craft of journalism...a devotion so strong that great love for an unscrupulous competitor was no obstacle...a devotion so great that his insight and passion helped transform the press into the behemoth it is today. Any film that can turn the creation of linotype into a miracle of discovery is a wonder. Check out this 83 minute masterwork...rediscover how alive film can be.