Rackets à New York

When John Drew Barrymore was making films in the 50s he opted for a more modern style than his father John Barrymore ever tried. The elder Barrymore's classical style of acting was quite passé and would never have been accepted. Sad to say that young Barrymore tried and failed to be a James Dean type rebel. For Never Love A Stranger that's especially interesting because supporting Barrymore was an actor who would become the ideal image of cool.

With elements taken from Manhattan Melodrama and Little Caesar, Never Love A Stranger is an old fashioned type film that probably was an anachronism in the 50s let alone now. Young Barrymore plays a slum kid who suffers an identity crisis when he discovers his Jewish roots after having been raised in a Catholic orphanage.

He goes away but comes back one mean and tough punk who becomes kingpin of the rackets, taking over from Robert Bray who gave him his start. And as it turns out his childhood friend, Steve McQueen becomes the special prosecutor with the mission of bringing Barrymore down.

Steve McQueen might have made this film slightly better had he been cast in the lead. But frankly this film was a turgid mess and I doubt that would have helped.

I came to own and watch this film because the score was written by musician and inventor Raymond Scott. The acting is very wooden. but fans of Steve McQueen might get a kick out of seeing him in an early role, not to mention the Buddy Holly glasses!

It's a Harold Robbins story and production, and it's a very interesting story. A mother gives birth to an orphan and dies, the orphan is taken to a catholic orphanage and brought up a catholic. 16 years later he runs away for personal reasons. Before that he has made friends with Steve McQueen and his sister, who becomes his love, but his employer is a gangster, which brings complications and ultimately turns him into a hard knuckles gangster too. Of course it doesn't pay in the long run, but what about his relationships with his best friends, Steve McQueen who turns into his chief prosecutor and his sister, who never let him down? It's a great and fascinating set-up and story, and although it is not quite convincing as a noir, the interesting story remains a lasting curiosity, as the catholic-jewish orphan actually goes through all the worst dregs of life to finally reach - what? That is the question.

I can understand those who award this film full ten points, and those who discard it with a 1. But John Drew Barrymore makes a good job, and Steve McQueen in his first full length movie is already here the reliable character he always was. Even one of the gangsters turn human in the end, but it's too late to stop the tragedy... Raymond Scott's music also contributes to the effort of making it a convincing noir, and almost succeeds...John Drew Barrymore's charming smile doesn't help him much, but he makes the best of it, in this bitter story of a bitter destiny......

Co.produced from his first novel by Harold Robbins, plainly patterned after 'The Public Enemy' and 'Angels with Dirty Faces' and ambitious enough to hire top cameraman Lee Garmes and commission a romantic musical score from Raymond Scott (with a moralising commentary of the sort later parodied by Russ Meyer). It's failure obviously decided Robbins to stick thereafter to glossy trash (a decision that swiftly made his fortune).

As a leading man John Drew Barrymore as a Jewish gangster proves a chip off the old block, while fourth-billed Steve McQueen as a Jewish lawyer (described by the late David Shipman as resembling "a Botticelli angel crossed with a chimp") already demonstrates the star quality that soon took him to the top and kept him there until his untimely death.

As Barrymore's mother Dolores Vitina is unrecognisable as the sexy green alien (billed as 'Vitina Marcus') she later played in 'Lost in Space', while R.G.Armstrong is allowed more nuance than one initially anticipates as a hired gun.

I found "Never Love a Stranger" on YouTube and decided to watch it as it is the first credited movie appearance by Steve McQueen. He doesn't star in the film, but he is an important character in the story.

When the movie begins, a woman dies in a rooming house...leaving a brand new baby behind. With no other options, the boy is sent to be raised in a Catholic orphanage. While he's there, Frankie (John Drew Barrymore) makes friends with a Jewish teen, Marty (McQueen), and his family. He also makes friends with the local mob boss...a guy who likes what he sees in Frankie.

Some time later, the folks at the orphanage discover that Frankie's dead mother was Jewish...and they make arrangements to send him to a Jewish orphanage. Frankie doesn't want to go and disappears for seven years.

In the interim, Marty goes to law school and obtains a job with the District Attorney's office. When Frankie returns, he goes back into business with the mob boss...and soon is able to wrangle his way to the top of the mob empire! As a result, Marty is given a new job by the DA....to get Frankie and make sure he goes to prison! This is made all the tougher as they were friends AND Marty's sister, Julie, is in love with Frankie. What's next? See the film.

While this is generally a very good film, I think all the narration could have been removed and the film could have been a bit better. It's just too schmaltzy and unnecessary. Apart from that, it was an entertaining crime film....not noir, as it lacked the camerawork, glib dialog and violence you'd expect in noir.