Avis des utilisateurs

In Hell on Frisco Bay Alan Ladd who also produced this film plays an ex-cop who's served five years on a manslaughter rap for which he was wrongly convicted. Of course as in the case of noir films he's on a mission to find the real killer and clear himself.

It doesn't take him long to sniff out a trail that leads to San Francisco underworld boss Edward G. Robinson. Robinson is easily the best in the cast. He's as malevolent as he was in Little Caesar or at least in Key Largo.

It's not that Hell on Frisco Bay is a bad film, but it's all so routine for Alan Ladd. He would not transition into character roles as he hit his forties. His legion fans which were gradually dwindling by this time still wanted their guy in action hero parts.

He's not terribly animated here. I wouldn't have been surprised if he was ill during the making of this. In a way that might have helped the believability factor. Five years in jail would have given him a certain prison pallor to his complexion.

Alan Ladd liked having friends around and the cast here is filled with players who were close personal friends and/or co-workers from his Paramount days. They include, Anthony Caruso, George J. Lewis, Peter Hansen, Perry Lopez, William Demarest. Look for young Rod Taylor as a contract killer and Jayne Mansfield in her screen debut as a bimbo.

Joanne Dru plays the estranged Mrs. Ladd and was probably grateful to be in a modern setting. Paul Stewart gives a memorable performance as Robinson's chief henchman along with his lady love Fay Wray who played a former movie star who was keeping company with Stewart. Their relationship with Robinson is the key to the story.

Cinemascope and noir usually don't mix, but in this case with the final scene being a police chase and fight with speedboats across San Francisco bay, cinemascope helped greatly.

Fans of both Alan Ladd and Edward G. Robinson will enjoy this film.

While most of the territory covered in this film has been covered before in countless movies, still this story of organized crime is very watchable and packed with great dialog and lots of action. In fact, this is very much a Film Noir piece, despite its having been filmed in color. Ladd is great as the angry guy seeking out justice (yes, I know it isn't very much of a stretch) and Edward G. Robinson turns in exactly the type of performance that made him famous (once again, not much of a stretch I know). And, overall, the film is very gritty, entertaining as well as great fun to watch. It does lose a couple points for the lack of originality, but considering how well it is put together, it certainly makes up for much of this.

Edward G Robinson dismissed this one with a passing comment in his autobiography and it's not hard to see why. He exudes menace in the classic 'Little Caesar' manner and his interplay with the underrated Paul Stewart does have a touch of real quality. However, Cinemascope is not a process designed for urban thrillers and the wide open spaces rob the film of any sense of tension or claustrophobia. The greatest weakness, however, lies in Ladd's robotic performance. His boredom is evident throughout and the lacklustre supporting cast do little to help. In the end Robinson is left out on his own, gat in hand, the true professional giving it all he's got.

... this film features Alan Ladd as a bitter ex-cop just released from prison for a killing he didn't commit out to find those behind the murder. A Jaguar Production (Ladd's own company) released through Warner Bros.,

While the story is nothing special and the final resolution quite conventional, this film can be regarded as a well crafted programmer, noteworthy for a superior cast. As Vic Amato, the underworld king who rules the Frisco waterfront, Edward G. Robinson dominates every scene he is in. This film was made at a time when Robinson was having difficulty getting employment in major features due to the blacklisting scare taking place in Hollywood at the time. It's great to see that the actor had lost none of his force as a performer when given a good role.

Paul Stewart gives a sympathetic performance as Amato's gunsel underling, constantly dealing with abuse from his boss who derives sadistic pleasure from riding him about his scarred face and time in the "big house," to which he frequently threatens to return him.

Also in the cast are Joanne Dru, looking quite lovely as Ladd's wife, still in love with him but towards whom he is bitter since she had a brief dalliance due to loneliness during his five year prison confinement, Fay Wray as a retired film star dating Stewart, and William Demarest as a cop who is still a friend of Ladd's. Rod Taylor (billed as Rodney) appears as a hood, as well as, both unbilled, one star from the past, Mae Marsh (once a D. W. Griffith heroine) and one of the very near future (Jayne Mansfield).

This film was a reunion for Ladd with director Frank Tuttle, the man who had been behind the camera for This Gun for Hire, the film that had made the blonde actor a star 13 years before.

Many of the outdoor shots were clearly done on location in San Francisco. It's nice to see those hilly roads, with the bay glistening in the background, adding authenticity to the film. Max Steiner also provides the film with one of his typically strong scores, music that can make an ordinary film somehow seem better than it really is.

I've always had a soft spot for Hell on Frisco Bay. There's a comforting familiarity to this kind of tough guy action drama which, combined with Robinson's outstanding performance as an old time ruthless gang boss, makes this film definitely worth a view. It's nice that the film has finally become available on DVD via the Warner Archive.

This film offers a lot of potential. The cast features Robinson and Ladd, the city in the background is a great one and the plot offers us murder, conspiracy, betrayal, infidelity and revenge. So why is it so very pedestrian from start to finish? I'm not totally sure as to the why but I have little doubt this is the case since the film really crawled across my screen, offering very little to make me sit up and take notice at any point. The problems for me are several but they are mostly intertwined to create one central problem which is that the film really lacks atmosphere and tension.

The most obvious cause of this is the setting and the delivery. San Francisco is a beautiful city and one filled with coolness; it isn't the best backdrop for a tough noir-esque film. The film delivers the city in full color with lots of space and vibrancy and this doesn't help the tone of the film. This isn't to say that such a film can't be set in such a place, but if it does then it needs to create an atmosphere another way – setting it in gritty urban decay would have helped but it isn't necessary if ou deliver with plot, performances and other ways to make atmosphere. Sadly this film doesn't. In terms of characters they are flat and the performances match this. Ladd is supposed to be bitter and driven by rage but never looks more annoyed than someone who has misplaced their car keys. He really sleeps through this and even in the "dramatic" conclusion, his face is more emotionless than Steven Seagal. Robinson does his thing but without anything much to work with, so he is only his usual style, nothing special. The rest of the cast have some good turns but generally the pace is set by the leads – and the pace is slow.

This really hurts the atmosphere and I never felt anything other than a general plod through a plot which didn't have anything to it. The bright color and space of the film doesn't help, but the lackluster performances and lack of general tension or atmosphere do more damage again.

A film noir shot in colour, in cinemascope, with scenes set mostly outdoors during daylight hours, and making ample use of San Francisco's picturesque landscape, starts out with several counts against it.

But contravention of most if not all of the conventions of the noir genre is the least of this movie's problems.

The biggest drag on the story is its star. Alan Ladd strolls through the plot like a Californian Redwood on legs. If it weren't a clash of materials, it would not be unfair to characterise his woodenness as robotic. There's not an ounce of enthusiasm or conviction in his performance as Steve Rollins, an ex-cop wrongly convicted of manslaughter, who leaves jail vowing vengeance on the gangsters who framed him.

Ridiculously attired in a linen suit that never creases or stains despite several bare knuckle dust ups, he fearlessly provokes corrupt waterfront boss Victor Amato (Edward G Robinson) into a showdown that can only result in death or victory.

Along the way, just to demonstrate what a straight-up, honorable guy he is, Rollins rebuffs his wife (Joanne Dru) for a moment of weakness while he was in jail (but only after he'd refused to let her visit him for three years) and comes to the aid of a nightclub singer (Fay Wray) whose life Amato is threatening. All of which Ladd achieves without once moving a facial muscle.

So thank god for Edward G.Robinson! He singlehandedly saves HELL ON FRISCO BAY with a performance that is considerably better than the film deserves. Robinson's career was in a slump in 1955, mostly as a result of the anti-communist blacklist, and he was no longer getting A-list parts, but he never stopped giving his best to whatever work came his way. He's as great here as he was in 'Little Caesar' and 'Key Largo.' His Victor Amato is a fully-rounded, believable and disturbing character, a psychopath who can charm the parish priest one moment and order the murder of his own nephew the next. When Robinson's on screen it's almost possible to forget he's inhabiting the same story as dreary lifeless Alan Ladd.

Credit is also due to Paul Stewart who makes the most of his underwritten part as Amato's put-upon right hand man, and watch out for an uncredited but instantly recognisable Jayne Mansfield in her last bit part before exploding into America's consciousness with 'The Girl Can't Help It' a few months later.

HELL ON FRISCO BAY is a decidedly mediocre tale but a fine example of an actor proving himself better than the material he's given to work with. Watch this and you may well be put off Alan Ladd for life but you'll definitely want another serving of the wonderful Edward G Robinson.

Read more of my reviews at http://thefilmivejustseen.blogspot.com/

The original title for "Hell on Frisco Bay" was "Hell on the Docks." Apparently, either Warner Bros. or Alan Ladd, whose company, Jaguar, produced the film, thought the title wasn't colorful enough or specific enough about its location, so "Frisco Bay" was substituted just prior to the film's release. I have a few stills with the original title printed on them.

This film, like others produced by Ladd in the 1950s, including Delmer Daves' Western, "Drum Beat," has not appeared on DVD because, according to a Warner Bros Archives Edition executive, the Ladd estate has not permitted its release.

"Drum Beat" just appeared on Turner Classic Movies in its original CinemaScope format, but it was shorter than its published length of 111 minutes by at least four minutes. No US DVD release is imminent.

The quietly Alan Ladd this time played a bittered former Cop wrongly sentenced for a five years in prison by a murder that he actually wasn't guilty, back at San Francisco streets he tries hard clean his name and promising kill Victor Amato (Edward G. Robinson) a mobster that lead San Francisco's harbor on fishing boats's union, worst his wife had an affair meanwhile he stayed at prison, due it he refuses be back at house.

Who stolen the picture quite sure is Robinson as usually, he often mocking his scar-face body-guard (Paul Stewart) by he had often praying on death row until Vic arranged he get out of there, also he used to taunt his love affair with a former movie-star (Fay Wray), oddly enough Vic is married with a true believer blessing woman (Renata Vanni) in fact even of Italian heritage Vic hates whatever persons tied by church.

In other hand the wooden face Alan Ladd tracks down a hint aiming for bind Vic that was the mastermind of his misfortune, in the meantime he used to going to a nightclub where his beauty wife (Joanne Dru) works as singer (I see), nothing stunning or so, however let see it easily, aside the far-fetched outcome at San Francisco bay.

Thanks for reading

Resume:

First watch: 2024 / How many: 1 / Source: DVD / Rating: 7.5.

As is the case with so many f these films rom the 40's and 50's, the sub plots involving love trysts/issues bring down the movie. I suspect they were added to get a female in the film.

Too bad.

Alan Ladd, who is the star is actually a weak link. Robinson is good as the gangster.

Over all tho, despite some glaring plot holes (like a guy tells you he's gonna kill you when YOU have the gun and you let him go?) it's a pretty good flick.

William McGivern wrote 20 books and many were made into films of note and this one is tops like the others. Alan Ladd stars as a cop set up for a murder five years before the film begins. He is getting out as the film starts from San Quentin. His wife and father, also a cop, meet him. The wife is given the brush off, because she cheated during the five years. Ladd is interested is finding the real killer. Edward G. Robinson is the crime boss in San Francisco who has side kicks. He owns a corrupt cop. Both Ladd and Robinson are always worth watching. Robinson's nephew is killed and made to look like suicide. Robinson's wife finds out he was murdered by her husband and then tells the cops where to find him. There is a magnificent boat scene at the end which is astounding and could never be replicated. San Francisco scenes are incredible. The Golden Gate looks freshly painted through the rear of the bus from San Quentin.

Although I have liked a couple of Alan Ladd films, he isn't a star that usually draws me to the movies. However, I am very glad I took a chance on Hell on Frisco Bay. It was excellent! The story was very exciting, and the characters were so intriguing that I would have been just as engrossed if the running time were an hour longer. I'm anxious to get my hands on the original novel to read more character development and gritty plot points.

Allan Ladd starts the film coming out of prison, having lost his job on the police force, his wife Joanne Dru, and five years of his life on a manslaughter charge. He wants to discover the true story and who really committed the murder, and it sends him down quite the rabbit hole. Edward G. Robinson plays a role that was his audition for Vito Corleone. I've never seen him more cold hearted or mean, and I've seen him in over fifty of his films. He's calculating, menacing, interrogate the men closest to him, and completely commands fear and respect asked the head of the San Francisco mafia. Also, he's Italian. What does it take?

Paul Stewart, a solid character actor, is wonderful in this picture. He plays Eddie G's top henchman; his back story is interesting enough to have its own movie. He was on death row when Eddie G rescued him, so he feels he owes him his life. He has a terribly disfigured face, but he has recently found love with Fay Wray and believes he has a chance at a new life. Eddie G needles him constantly, but he doesn't feel like he has the right to stand up for himself.

In addition to the San Francisco scenery, visually, this movie is worth a watch. Director Frank Tuttle has great attention to detail with the interior design and the gritty slums Alan Ladd explores. There's a common theme of green in the costumes and set designs, which was an interesting choice that I'm sure had meaning. I would definitely recommend this movie for those who like the grittier pictures of the golden age.

I had seen Hell On Frisco Bay many years ago, but I forgot most of it, I finally got to see it again, This movie is a classic with good guy Steve Rollins ( Alan Ladd) versus Mob boss Victor Amato ( Edward G. Robinson). One thing that is great is the print. You can tell it was remastered by Warner Bros and you see San Francisco in full color. I know that it took years to get the Ladd Jaguar Production films to get a wide distribution because the Ladd estate refused to allow them to be put on DVD. Here, Ladd plays a framed ex police officer who was released from prison who is out to clear his name, and Robinson is the mob boss behind it all. It is a great matchup although they are in only two scenes together; Robinson in one of his nastiest roles and Ladd making his life miserable at every turn. Care to guess who wins? As for Ladd, disagree ( as I usually do) with those who think Ladd is wooden ( same criticism I read about Gary Cooper) As always he plays a great tough guy who needs few words his fists do the talking, and of course Robinson is his equal. Which should be no shock because of short in size actors the only one who plays a better tough guy then Ladd or Robinson is of course, James Cagney. As a fan of Robinson and especially Ladd I really enjoyed Hell On Frisco Bay:,Easy 10/10 stars.

Steve Rollins (Ladd) is both ex-cop and ex-con, recently sprung from the stir. Spurning both love (Joanne Dru, as a songstress spouse who strayed) and friendship (William Demarest as his ex-police partner), Steve has one singular quest: Kill whoever set him up for murder, or die trying.

Number one on the suspect list is the utterly repulsive and remorseless Vic Amato, who owns the Bay with an iron fist. He doesn't like Rollins investigating, so first offers him a job and when Rollins declines - he warns him that he will be six feet under if he doesn't back off.

Does Rollins listen? No!

Basking in colorful CinemaScope, which contrasts greatly with the dark criminal world, this noir thriller has plenty of bite thanks to Edward G Robinson who plays his stock in trade types - a gangster. Typically he owns the screen with his acerbic tongue and nastiness. He really wounds up his goons, especially Joe ( Paul Stewart), and that's because he thinks he's powerful. He actually tells Joe that he should worship him. He needles the poor guy about his scars, about him praying and him dating a faded actress. And later he makes a pass at her. She rejects him and he gets nasty. Alan Ladd holds his own against Robinson with his steely quiet resolve. One's intense and the other is brooding.

It's an excellent picture which injects the right dose of melodrama into the crime thriller. There's a thrilling chase between Ladd and the speedboat at the end. Rounds up things neatly. Definitely one of Ladd's best film of the fifties.

I nearly forgot this crime film that I have in my library since forty years now, taped off from a French TV channel. It is a great powerful crime flick, pulled by two stars of the gangster film genre. Both were legends the previous decade(s) especially Edward G Robinson, who was a legend even before Alan Ladd. So this Warner film reunites them for the first and only time. That's a pretty good reason not to miss it. The plot is of course overused, predictable at the most, but adapted from a William McGivern's novel. And as an Alan Ladd's vehicle, only William Bendix is missing, he was a long time Alan Ladd's buddy on screen and maybe not only on screen.