Meutres à responsabilité limitée

There's little in the late noir Chicago Syndicate that hadn't already been done, and more memorably, in the cycle, but, given the limitations of its director and cast, it does its job. When a renegade syndicate bookkeeper is gunned down on a crowded street in broad daylight (incidentally triggering his wife's suicide), federal agents enlist Dennis O'Keefe, a forensic accountant working for the police, to infiltrate the underworld. In no time he's won the trust of boss Paul Stewart (whose start in movies was in Citizen Kane, as Raymond the sinister butler). Stewart idolizes his mother, who refuses to budge from his tough old neighborhood. But apparently she's the exception that tests his misogynistic rule (`Everything gets better with age, except women,' he observes).

He's right to be wary, because women hold the tools to destroy him. His current trophy (Abbe Lane), who sings with bandleader Xavier Cugat in mob night spots, drinks too much and endures humiliation and beatings at his hands. But even an attempt to `scare the girdle off her' fails, as she holds incriminating microfilm, stashed away as her insurance policy. Her rival for his attentions (Allison Hayes) has a secret agenda: she's the orphaned daughter of the slain bookkeeper, nursing a vendetta. When she thinks O'Keefe can grease her way to the top, she throws herself at him (`Now you're romancing me like I was Liberace,' he puzzlingly tells her.) She becomes his helpmate – and decoy.

In the style of the syndicate movies of the 1950s, in the wake of the Kefauver hearings on organized crime, there's an emphasis on the complex corporate structure of Stewart's illegal business operations. Too much exposition, however, is left to voice-over narration. And while the movie doesn't shy away from ugly incident, it's quite devoid of the atmospheric dread that distinguished, for instance, Fritz Lang's The Big Heat. O'Keefe, too, seems to have aged more than the eight years separating this movie from his similar role in Anthony Mann's T-Men, making it less of a surprise that his first movie role was in 1930. Chicago Syndicate holds interest less for its own sake than as evidence of how the noir cycle was running down, if not quite out; the same year offered Joseph H. Lewis' brilliant take on much the same territory, The Big Combo.

Because this film starred Dennis O'Keefe (who was wonderful in his Film Noir appearances), I was sure to see it. And fortunately, the overall effort was exciting and engaging--making it a decent later example of the genre. While not as bloody and earthy as many Noir films, due to the head of the mob priding himself on being a well-spoken gentleman, nevertheless is a decent film of this type.

The film begins with a contract killing so stop an accountant from spilling his guts about organized crime. A citizen's group decides that they need to try a new way to infiltrate the mob--send in a freelance agent who isn't a cop or part of the Treasury or Justice Departments. So Dennis O'Keefe is recruited and he is able to eventually rise very high in the ranks--and leading to a wonderful showdown.

I think the reason I like O'Keefe in these films is because he's so ugly--or at best ordinary looking. For Noir, this is great, as pretty boys and the like are NOT something you'd expect. So, when Edmund O'Brien isn't available, O'Keefe is a good substitute.

Full of excellent intrigue, an interesting and unusual plot and sure to please fans of the genre, CHICAGO SYNDICATE nearly earns an 8--it's that good.

FYI--It is interesting that in one scene where they are standing outside a movie theater, the picture listed on the marquee is ON THE WATERFRONT--another film about mobsters which came out at about the same time as CHICAGO SYNDICATE.

A Good Production and a Decent Cast Can't Raise this Functionary, Pedestrian Picture from the Prolific 1950's Police Procedurals.

Film-Noir had All but Given Up the Ghost with the Eisenhower Era Emphasis on Big-Brother Watchdog Law Enforcement Forever "Looking Out For You".

Noir's Grit was Increasingly Being Scrubbed by the Booming Decade's Affluence.

The Odd Thing in this one is that Female Firebrands Abbe Lane and Allison Hayes are at the Core of Anything that Makes it Special.

Both Broads are in Fine Form with Clinging Dresses and Firecracker Personalities.

Some Scenes Stand Out, like the Climax Chase, and Abbe Lane Taking a Beating.

Of Minor Interest is Bandleader Xavier Cugat in a Speaking Part.

But the Film Struggles to have an Edge and Succumbs to Sedentary Situations Concerning Book-Keeping and other Mundane Aspects, like Paul Stewart and His Ma.

Slightly Above Average because of Lane, Hayes, and Stewart.

But Dennis O' Keefe seems Worn-Out and Past His Prime.

Good Street Scenes with Bigger than Big Cars and Chicago Locations also Help

Worth a Watch.

The best part of "Chicago Syndicate" for me was seeing Abbe Lane and Xavier Cugat! I remember them from television and their chihuahuas. In fact, I think they fought over them in the divorce.

Dennis O'Keefe is Barry Amsterdam who goes undercover to get dirt on organized crime. An accountant has just been murdered as he was about to tell what he knew. A citizen's group sends in O'Keefe, with the promise of a $60,000 fee.

Amsterdam wins the trust of the main man (Paul Stewart), and he sets out to find his secret ledger and anything else that will serve as evidence. He meets lovely Sue Morton, who turns out to be the sister of the accountant who was killed. She joins Barry in bringing down the criminals.

In the late '40s and '50s, many films were made with a narration, as this one was. Usually they are pretty dry. This one wasn't, with some good scenes and a nice performance by O'Keefe. Abbe Lane plays the mobster's girlfriend, and she sings with. Benny Chico's (Cugat's) band. She was a knockout.

Nothing happens in this rather bleak and sordid noir about Chicago gangsters, until Alison Hayes pulls the gun in the middle of the film, and then the action starts, amounting to rather interesting proportions. Dennis O'Keefe is no William Holden, who would have been the right actor for this role - Dennis is too fidgety. Paul Stewart on the other hand is perfect for his character, and the other ladies are good as well, Abbe Lane as the night club primadonna in decline with a catch on the boss, and his mother. The best scenes are with these women, while it is Alison Hayes who runs the show from half way on. The finale approaches the depths of "The Third Man".

So although you yawn and look for something else to do meanwhile during the first half of the film, the second half must have all your attention. The dialog is riveting and splendid all the way, even Xavier Cugat gets a role to play and not only instruments, so it's after all a film well worth seeing.