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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

The Mob is directed by Robert Parish and adapted to screenplay by William Bowers from the novel written by Ferguson Findley. It stars Broderick Crawford, Betty Buehler, Richard Kiley, Otto Hulett, Matt Crowley, Neville Brand, Ernest Borgnine and Jean Alexander. Music is by George Duning and cinematography by Joseph Walker.

Cop Johnny Damico (Crawford) is fooled by a mob killer during the slaying of a witness and is chastised by his superiors. Sent undercover to infiltrate the waterfront organisation to flush out the killer, Damico faces danger at every turn.

He's a cop who is hell bent on atoning for what could basically be a career ruining error. It's this core essence that really oils the pistons of this tough and under seen slice of crime cinema. Awash with characters so shifty it's hard to locate a moral compass in the mix, director Robert Parrish (Cry Danger) takes a standard under cover plot and elevates it to a riveting tale of corruption, paranoia and the search for redemption at any cost.

William Bowers' script positively pings with the sort of dialogue you could cut a joint of beef with, with most of it spat from the mouth of the excellent Crawford. No matter what the situation, what the danger, Damico has a quip or a put down to always exude a calm and carefree menace, he literally is a sardonic miserablist who is unflappable. It's a wonderful characterisation that's helped enormously by a screenplay that contains some surprises, with a nifty plot line standing out that sees Damico hired by the mob to enact a hit on himself! Wonderful.

Parrish keeps the atmosphere side of things on the boil, always ensuring that Damico could be snuffed out at any moment, while Walker's (The Velvet Touch) photography is tight to the plotting. Around Crawford are a raft of familiar faces from film noir, with the villain roll call considerably boosted by Borgine and Brand. From the quite excellent opening murder played out in the nighttime rain, story unfolds in a whirl of sarcasm, set-ups, machismo, stand-offs and mobster machinations. The Mob, under seen and under valued, add it to your "to see lists", especially if you be a fan of Brod Crawford. 8/10

Off duty police detective Johnny Damico (Broderick Crawford) lets a killer slip through his hands after witnessing a mob hit. Damico is given a chance to redeem himself by going undercover to break up a waterfront crime racket and find the kingpin that ordered the hit. Damico under the assumed identity of small time New Orleans hoodlum Johnny Flynn, infiltrates the docks to find the 'big guy' known only as Blackie Clegg. Along the way Damico comes across an assortment of characters played by, at the time, relatively unknown actors like Ernest Borgnine, Neville Brand, Richard Kiley, and John Marley. Look for Charles Bronson in one of his earliest screen appearances in an uncredited role as a dock hand.

Director Robert Parrish works what might have been routine police procedural crime drama into an edge of the seat mystery. A lot of the credit has to be given to writer William Bowers who Parrish teamed up with on his previous movie Cry Danger starring Dick Powell. Both enjoy a fast paced script with tongue in cheek banter, hinting of the same style that Bowers would use almost twenty years later when he wrote the script for Support Your Local Sheriff! While an actor like Powell would seem better suited for this type role, Crawford just off an Oscar win for All the Kings Men two years before, comes off surprisingly natural as a wise cracking undercover cop.

The Mob though listed as film noir really isn't noir in the classic sense though it does have some of the elements. The Mob is an enjoyable 1950's style mystery crime drama. The run time of 87 minutes breezes by and keeps you guessing. Fans of the genre will enjoy this one.

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.

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 in this excellent crime drama. (I wouldn't call it a film noir but I'd say it got to the location of "On the Waterfront" first. And, in my very humble opinion, pulled together a better story.) The dialogue has a snappy edge that isn't found much in gangster movies of this period. The guys -- and it's mostly all guys here -- have a sarcastic way of communicating. They talk like athletes or construction workers. I've been both and I know. A lot of calling each other cheerleaders and other ways of joking about their masculinity. But it's done in a good-natured, blue collar. There is no hint of anti-gay sentiment.

Broderick Crawford generally seems so different from his mother it's hard to imagine they were related in that way. But here we pick up his casually comic timing.

Crawford is excellent as a policeman who goes undercover on the docks. Richard Kiley shines as one of the guys -- giving nothing away, here -- he deals with. And Matt Crowley is fine as another. (I checked on him and he played Walter Burns in a TV version of "The Front Page in 1945. Wow! I didn't know there WAS TV in 1945.) The actress playing Crawford's girlfriend isn't bad. She plays a nurse and she seems wholesome. Wholesome and dull. She seems to have few film credits.

This has an authentic feel. And it's different, too. It's definitely a keeper.

The title of this review says it all. In 1951, who knew who Ernest Borgnine, Richard Kiley and Charles Buchinsky were? But in this Columbia noir, made after Broderick Crawford became an unlikely star because of ALL THE KING'S MEN has the lead going undercover to investigate racketeering on the docks, we see how good actors can overcome a basically decent script overloaded with 'snappy' dialog, cheap sets and unexceptional directing. The actors are, frankly, amazing and this is as good as a movie can get with a major flaw like this -- ace DP Joseph Walker can't do much with the studio sets and back projection, but he makes a good effort with a highly mobile camera.

I saw The Mob at Cinevent in 2013 and it was the best film of the weekend. This tight noir is filled with great one-liners and unexpected twists.

Broderick Crawford plays a cop who goes undercover as a hoodlum to try to take down a crime ring. We constantly question whether he is totally legit because his mouth is just as tough as the criminals' he's working to put in jail. The story keeps moving and if you blink you might miss something, but the plot never quite gets away from the viewer. This is realism done with panache. It is unfortunate that this movie has had no formal release because it is certainly worth seeing.

Having previously edited 'All the King's Men' which elevated Broderick Crawford from 'B' to 'A' status, Robert Parrish makes his directorial debut here with Mr. Crawford again in the lead.

Although classed as 'Film Noir' this is essentially a gangster film featuring the sociopaths, psychopaths, sadists and assorted low-lifes that audiences seem to find eternally fascinating. There are only so many plots and here we have a variation on the theme of the cop going underground to expose organised crime. This is very much a man's world in which the dockland setting provides ample opportunity for a lot of tough talking and mucho macho posturing which after a while becomes rather monotonous.

As one would expect the film is technically proficient in terms of editing and musical score but there are alas too many mediocre actors on display. Notable exceptions of course are Ernest Borgnine who was himself soon to be promoted to class 'A' in 'Marty' and one of Hollywood's best 'heavies' Neville Brand. This marks the film debut of actor/singer Richard Kiley whose best work by far was in the theatre where he was able to utilise his excellent baritone. If you blink you are likely to miss an uncredited Charles Bronson as a longshoreman. What can one possibly say of Broderick Crawford? One of cinema's genuine characters (and heaviest drinkers) he excelled within the limitations set by his looks and physique and was fortunate enough to be gifted some fine roles.

Mr. Parrish went on to better things(mostly) and does well here with the material at his disposal.

Rarely has a movie had as many impersonations as "The Mob." Let's see...it starts out when a cop shoots a hood but it turns out that the cop wasn't a real policeman, just a gunzel with a stolen badge. And the hood was actually an undercover detective. So Broderick Crawford is sent to the waterfront to investigate, disguised as a longshoreman from New Orleans. That brings him together with Richard Kiley who isn't the dock worker he pretends to be, a bartender known as Smoothie who's leading a double life and even a local cop with an alternate identity. The odd thing is that despite the impostures, it's a very entertaining movie with a tough, brash performance by Crawford and first-rate support from Richard Kiley, Neville Brand and Ernest Borgnine.

Detective Johnny Damico (Broderick Crawford) in search of a gift for his future wife comes across a murder scene. The killer dupes Damico into thinking he's a cop and skips. Humiliated and in danger of losing his badge he agrees to go undercover along the waterfront and work to break up a corrupt racket more than likely tied in with the murder of a cop.

There's an excess of close-ups in The Mob and when you are dealing with mugs the likes of Brod Crawford, Ernie Borgnine and Neville Brand, a thuggish expressionism evoking Georges Grosz evolves within scenes. The lummox like Crawford depending more on sarcasm than wit looks very much at home as a dock walloper managing to handle a forklift and downing drinks while alienating co-workers and Mr.Big. Not exactly the most deft undercover agent scenes devolve into screaming matches as Johnny looks for new ways to irritate instead of gathering evidence.

Robert Parrish direction is indistinctive outside of the opening table setter scenes and the expressionistic portraiture. It becomes static after that, leaving you rooting for hapless Brod as Johnny while on the look out for sightings of Charles Bronson and John Marley at the very start of their careers along with Ernie.

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!!

Broderick Crawford is D'Amico, the cop who agrees to go undercover to track down the leader of the dockworker syndicate. they have the local muscle guys, who enforce a pay to play system if they want to work that day. there are some twists and turns in here, but it pretty much goes off without a hitch. Ernest Borgnine in one of his first film roles. it's good. we follow D'Amico around as he fights and blusters his way into everyone's office. one of the first films directed by Robert Parrish, who had worked his way up the various jobs in film making. Book by Ferguson Findley. it's pretty good. a snapshot of the times.

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...

After Broderick Crawford won his Oscar for All the King's Men, Columbia Pictures put him into a potboiler called Cargo to Capetown. AFter that he did the second role that is identified with him on screen in Born Yesterday. After that one, Harry Cohn once again gave him a potboiler noir about a police lieutenant going undercover to clean up the docks.

In the beginning of the film Crawford happens to be on the scene of a murder and when the actual killer flashes a badge at him, Crawford lets him go. Turns out the deceased was a key witness in a mob investigation.

Instead of hanging him out to dry with Internal Affairs which would be what really would happen as all devoted watchers of NYPD Blue know, Crawford is assigned to go undercover to ferret out the mysterious boss of the rackets plaguing the docks.

Call me picky, but I would think the last guy they would send undercover would be another material witness to a homicide. Yet that's what happens here.

The premise is so dumb, I can't give this film a higher rating. But in fact The Mob is blessed with an incredible cast of name players just starting out. Neville Brand, Richard Kiley, Ernest Borgnine, even an easily recognizable Charles Bronson who has only one line of dialog are all in this film. Fifteen years later this cast would have cost Columbia Pictures a small fortune and wouldn't be wasted on a black and white B film, souped up for Broderick Crawford.

If you're expecting On the Waterfront, don't be looking at this film.

One rainy night, police detective Johnny Damico (Broderick Crawford) is on his way home when a man claiming to be a police detective shots and kills Tony Rogers. The man walks away unnoticed. Tony Rogers turns out to be a witness for a gang related case. Damico is officially suspended. In reality, he is the only one who has seen the unknown murderer and his bosses send him undercover to investigate. He is given a fake identity to infiltrate the underworld.

I love the start and the general premise is pretty good. In general, I like the plotting. Crawford is fine as a cop. The fake identity is supposed to be working at the docks. I'm glad that he shaved the moustache and used his uncle's picture. He does transform himself into a rougher character and that's very commendable. Maybe if he could get more scruff. His face is a little soft. Otherwise, it has the violence and grim to give a sense of the docks and the criminal world. It's a compelling noir in tone, style, and performances.

When an high-profile murder investigation goes awry, the lead detective "Damico" (Broderick Crawford) is ostensibly thrown under the bus. In reality, though, he is charged by his boss with using his supposed disgrace to infiltrate a gang of hoodlums working the waterfront. This mob is headed up by the slick and ruthless "Castro" (Ernest Borgnine) but he has always been very good at getting his henchmen to do his dirty work for him, and thereby ensuring his continuing Teflon status when it comes to the cops and the courts. "Damico" has his work cut out trying to convince the man that he has genuinely turned his coat. Crawford is quite effective in this film. He carries off the role of big and burly cop turned crook quite well. Neville Brand is also not bad as the muscle "Gunner" but Borgnine is actually quite weak. He doesn't exude any menace and that robs the plot of much potency as we head towards the ever-predictable ending. It's an efficient movie, nothing more - I doubt you will recall it because it gives you very little to want to recall.