Meurtres sur commande

"The Miami Story" begins with a prologue that really isn't necessary. Then, through the story, the same narrator makes a few comments here and there...which again, aren't needed. If you haven't guessed, I don't like such narration...especially when it really doesn't help the film.

The story itself, however, is quite good. Apparently, a mob has taken hold in Miami and a secret committee decides to call in an ex-mobster to help. Mike Flagg (Barry Sullivan) now lives a normal life and he apparently hates the mobs. Now, he returns to Miami...playing up that he is a mobster and is now working with a Cuban mob. This new mob, according to Flagg, is there to take over from the existing mob...in an attempt to get the mob leader (Luther Adler) to try to wipe them out and incriminate themselves. What's next? See the film.

The film is tough, well acted and enjoyable. Not perfect (mostly due to the narration) but very good.

I did not expect to see Barry Sullivan and Luther Adler together in a Fred S Sear's crime flick and produced by the terrible Sam Katzman who, for once, doesn't bring us some lousy junk material. That doesn't make it a terrific crime flick however just an acceptable time waster,, with too much off voice, as in an "expose" cime film. Good photography and good directing. Do not confound this Fred Sears' MIAMI STORY with Fred Sears' MIAMI EXPOSE made just a bit later. Same kind of stuff. I prefered CHICAGO SYNDICATE and also INSIDE DETROIT, also from the same Sears- Katzman collaboration, for whom the best result is and will forever remain EARTH VS FLYING SAUCERS.

Luther Adler heads a crime syndicate that's running Miami, with a fancy lawyer making sure he's untouchable, and a coldblooded John Baer to do his dirty jobs for him. The latest one is the assassination of 2 Cubans as they exit an airplane, in front of a crowd. Frustrated and fearing things will go from bad to worse now, local businessmen hire an ex-gangster from Chicago, Barry Sullivan, to try and get enough on Adler to get him in front of a grand jury. Adler framed Sullivan years before, so Sullivan accepts, and enlists the help of Cuban cops to pretend he's part of a Cuban crime ring moving in on Adler's turf. He also meets a woman who flew to Miami with the 2 deceased Cubans, Bevery Garland, who has an unsuspected connection to Adler's squeeze, Adele Jergens.

One of countless docu-noirs exposing every sort of crime ring in every major US city, this one even has a Florida senator chime in at the start, as well as the mandatory authoritative narration. Made on a low budget, it's pretty standard fare, but still manages to entertain. Sullivan ('The Gangster') is great as the former gangster who's still cold and callous when necessary, and Adler ('D.O.A.') played villains for breakfast, lunch and dinner. Jergens ('Armored Car Robbery') and Garland ('New Orleans Uncensored') play opposite roles, and esp Jergens is great as a bitter femme fatale just past her prime.

The directing by Fred F. Sears and cinematography by Harry Freulich is competent and occasionally inspired (there's a great shot of Garland when Sullivan first meets her inside his hotel room). They worked together on a number of movies, including other city/crime exposés like'Chicago Syndicate' and 'Inside Detroit'. Sears would even return to Miami a few years later for 'Miami Exposé'. All in all, while there's nothing under the sun here, and there are no real surprises (maybe that it's slightly more graphic than usual), it's a fast-paced and enjoyable movie if yer into this subgenre/corner of film noir.

Viewed Out of Time these 1950's Police Procedurals and City Exposes, both Sub-Genres of Film-Noir, are so Blatantly Chest-Thumping "The Authorities are Your Friend and We Got This"...

Reek of Post-War Propaganda Platitudes to Placate and Control the Masses, it is a Wonder that Anyone at the Time didn't Barf on Their Britches at such Jingoism.

But Apparently Not, and it was a Common Opening to make Audiences Feel Safe and Sound in America.

In this one it is one of Miami's Senators.

Moving On...The Film is Slightly Above Average for its Type with some Stylish Blood-Letting and the Movie is Draped with Shadows.

Barry Sullivan is His Manly Self Punching and Assaulting Everyone in Sight, even Women, to Establish His Force as He Infiltrates Organized Crime in Miami.

B-Babe Beverly Garland, Plays a "Good Girl" in an Early Role and is Expressionistic Introduced to Sullivan with Face in Complete Shadow.

A Couple of Scenes Later Her Face is Beaten to a Pulp by Gangsters because..."She Clammed Up"...

Not Tolerated by the Mob even though this is Seaside.

"The Miami Story" (1954) was one of a whole wave of crime thrillers inspired by the Kefauver Senate hearings on organized crime that focused on individual cities and purported to tell the "story" of the crime wave that overwhelmed the city in question and how it was broken. They usually had some elected official come out on camera at the film's beginning to give the stamp of legitimacy and tell us something about "the story you're about to see" that has absolutely nothing to do with the story we're about to see. In the case of "The Miami Story," that official is Senator George Smathers of Florida, who assures us with a straight face that crime has been virtually wiped out in Miami. Right. (Did anyone inform Santos Trafficante?)

Like all the other films in this cycle, "The Miami Story" takes a stock gangster plot that had been beaten to death in the 1930s and updates it to contemporary Florida. A committee of five Miami civic leaders seeks a way to bring down crime boss Tony Brill and his R&L Industries, the front for gambling and all sorts of vice rackets in Miami, so they call in ex-gangster Mick Flagg, who'd once been framed for murder by Brill and now lives incognito on an Indiana farm. Flagg is given a free hand and in no time at all is going through the motions of setting up a rival operation with Cuban backing, all to intimidate Brill, and ordering the police chief around as if he were Eliot Ness: "Give me some Cubans!" "I want the Biscayne Club closed town tonight!"

The police in this film do all kinds of things on Flagg's orders that they could easily have done on their own. At one point, Flagg has the cops install a TV camera in Brill's office at the Biscayne Club, all to capture private, incriminating conversations. However, TV cameras back then were huge bulky affairs so they can only stick one in an air conditioning shaft with a grill in front of it. As if the gangsters won't bother to investigate why no cool air will be forthcoming that night in the Miami heat. And when the cops watch the proceedings on little TV monitors outside the club, we see Brill and his men on the tiny screens exactly as they're shot in the film, in medium shots complete with pans and zooms. No high angle, no wide angle, nothing blurry, and no AC grill blocking the view! And they hear everything clearly even though no mike was seen installed.

Yes, the film is pretty far-fetched on all counts, never mind that they never even mention the mafia. Fortunately, the film is short (75 min.) and fast-paced and the cast is topped with four actors who really know how to sell this stuff. Tall, rugged western star Barry Sullivan plays Flagg and he's quite forceful and convincing, never one to hold back when a punch or a pistol-whipping are called for. Luther Adler, an old hand at film noir bad guys ("D.O.A.," "Kiss Tomorrow Goodbye"), plays Brill with old school charm and an indeterminate, vaguely Eastern European accent. Beverly Garland, also a veteran of "D.O.A." and later to shine in late '50s monster romps like "It Conquered the World" and "Curucu, Beast of the Amazon," plays Holly, an innocent girl caught up in the intrigue who takes sides with Flagg. Brassy blonde Adele Jergens, an underrated '50s B-movie queen, plays Gwen, Brill's all-knowing girlfriend and a cool customer in her own right.

The director is Fred F. Sears, who knew how to craft these things so that they never slowed long enough to give an audience a chance to question it. He and this film's producer, Sam Katzman, and writer, Robert E. Kent, re-teamed two years later for the similarly-themed "Miami Exposé," also reviewed on this site, which suffers from considerably weaker casting and even more ludicrous plotting.