Traquenard

Crippled Lawyer Thomas Farrell (Robert Taylor) has made a career defending crooks in trials, so much so he's now the front line defender for the Chicago mob. But into his life comes dancer Vicki Gayle (Cyd Charisse), who as he starts to fall in love with her, makes him see that his life is worth so much more than that. However, mob king Rico Angelo (Lee J. Cobb) is keen to retain Farrell's services, at any price it seems.

There's no getting away from it, Party Girl (a euphemism for a prostitute) features a very standard formulaic plot. It's also a very misleading title in that it doesn't scream out this is a crime picture. Directed by Nicholas Ray for MGM (his last for one of the big hitting studios), it's adapted by George Wells from a story by Leo Katcher. Supporting the three principal actors are John Ireland & Kent Smith. Robert J. Bronner (Jailhouse Rock) provides photography and the film is a CinemaScope/Metrocolor production.

Set as it is in prohibition Chicago, it allows Ray to rise above the simple formula and blend his knack for visual touches with interesting characterisations. If we really are going to cement this in the film noir genre? Then it's more down to the director than anything in the story. Yes there's themes such as alienation, vulnerability and the core essence potential for tragi-love-born out of two characters stuck in differing forms of prostitution. But the script is so weak it needed Ray to put an almost surreal sheen over it. There's exotic dancing featuring prominently, some what a given with the weak Charisse starring (in fairness to her it's one hell of a cliché riddled role), but again Ray crafts in such a way it doesn't let the film feel too sprightly. Which is something that this lush production is in danger of being at times. Yet line those dance numbers alongside scenes such as a portrait of Jean Harlow being shot to pieces, or of Charisse being questioned by a policeman's Silhouette - and you get an oddity. And a very enjoyable one at that.

This was Taylor's last contract film for MGM, and fittingly it's one of his very best performances. Again one tends to think this is probably down to Ray's coaxing, but regardless, Taylor plays Farrell with vulnerable elegance and a steely eyed determination that carries Charisse along with him. Thus the romance is believable, and yes, engaging. Cobb does another in his long line of larger than life characters. Chewing the scenery as much as his Rico character chews on his cigars. While Ireland is a by the numbers thug for hire and Kent Smith a talking prop. There's a fleeting performance from Corey Allen as baby faced psychopath Cookie La Motte, a character that the film could have definitely done with more of. Here's the main problem with Party Girl, it's just not edgy or dangerous enough. Which in a film involving gangsters, murders and crooked court cases, is an issue is it not? But thanks to Ray and Taylor the film overcomes the many flaws to wind up being a very enjoyable crime-love story based picture. Film noir though? Well that's debatable really. But lets not get into that... 7/10

This movie makes more sense if you watch the documentary MGM: When the Lion Roars, about the history of MGM. According to the documentary, 1936-1946 was MGM's Golden Era. However, after the war, tastes in film changed, but MGM refused to change with the times or the tastes of post-war America. By the 1950's MGM was a Lion in Winter. Thus this rather split personality film begins to make sense from the context of its manufacturer. It can't decide what kind of film it wants to be, going back and forth between the big musical spectacles that MGM was famous for since the dawn of sound, to hard-hitting gangster characters and antics in the Warner Brothers tradition, to social commentary on the plight of the disabled in modern times and a beauty and the beast romance. If you know the chaos into which MGM is plunged by 1958, this enables you just to sit back and enjoy the film, which does have a great deal to offer.

The movie is badly mislabeled, since it really is not that centered on party girls at all. Instead it is basically a prohibition era romance between a beautiful showgirl played by Cyd Charisse and a lame mob lawyer played by Robert Taylor. Already dumped by one glamor girl who just wanted his money but was repulsed by his misshaped body, Taylor's character is understandably reluctant to get involved again. However, soon the pair are in love and Taylor's character gains the confidence to want to stop being the mob's mouthpiece. However, leaving the mob is not such a quick and clean business, whether you are an attorney or just a muscle man.

Taylor gives a very good performance in this one, and Lee J. Cobb's performance as a mobster looks like it was the inspiration for Robert De Niro's portrayal of Al Capone in 1987's The Untouchables, in at least one scene anyways. This one is definitely worth your time if it comes your way.

Interesting movie. Very interesting, though the title is inexcuseably misleading. Nicholas Ray directs and, not surprisingly, makes novel use of shadows, bold colors and wild camera angles. There is a bravura montage of an explosion of mob violence which is sudden and startling. Ray, best known as the director of "Rebel Without a Cause", takes a smart, tough script and; unlike many crime movies which contain similar ingredients but fail to resonate, gives the movie a soul. There's something about its tone and feel, some simmering menace and creeping regret that reminds one of another mob movie which would be released 15 years later: "The Godfather". And as in that classic, the Lawyer/Mob Boss relationship is complex and fascinating.

While much of the credit deservedly goes to Ray's maverick methods and genius, the cast is also very good. Robert Taylor never developed the kind of easily identifiable screen persona of a Bogart or Jimmy Stewart, but he was a sturdy leading man who usually served the material and could be depended upon to anchor a film. He pours his heart into this part, his last as an MGM contract player. Cyd Charisse was never known as a great actress but she is capable in her role as a feisty Show Girl, and she gets a good opportunity to show off perhaps the most eye-popping, perfectly sculpted figure in the history of motion pictures. And of course, nobody was better at playing hot-tempered thugs than the great Lee J. Cobb.

Turner Classic Movies is such a goldmine. It's so satisfying to see movies, such as this one, that know how to introduce plot points and convincingly tie them up and bring things full circle. "Party Girl" may not be quite a great film, but it is very, very good.

"Party Girl" is a rarely seen movie directed by Nicholas Ray. This 1958 picture mixes styles, and at times, it achieves an originality that only a director like Mr. Ray could give any movie he directed. Basically, we are given a situation in which a lawyer who defends the criminal element is caught in the way he must deal with a situation where he has to turn against his loyalty to his mobster employer because, at last, he sees the light and the consequence of his actions.

Robert Taylor plays the lawyer, Tommy Farrell. This was his last film that marks the end of his long and successful association with MGM. Robert Taylor makes an appealing Farrell, and even though one realizes he is defending people that are at the margin of the law, his character shows redeeming qualities that make him merit our sympathy. The actor is perfect in the role.

Cyd Charisse playing a dramatic role is a surprise. In fact, she was always seen in musical roles because of her talent as a dancer. In the film she plays a chorus girl that suddenly is elevated to a starring role in front of her former colleagues because of the influence Tommy Farrell had in those circles. Ms. Charisse holds her own against an accomplished actor like Mr. Taylor. This is one of her best opportunities in the movies.

Lee J. Cobb is seen as the criminal boss Rico, who has a tremendous power over Tommy Farrell. Mr. Cobb shows he could do anything in movies as well as on the stage. John Ireland plays the evil Louis Canetto.

This is a film that fans of the work of Nicholas Ray shouldn't miss.

''Party Girl'', Ray's final film for a major Hollywood studio(after this he worked with independent producers) is a highly baroque work. Screechingly mannerist in places, occasional head-first dives into camp but also remarkable instances of poetry and subtlety and a highly charged social portrait. It is a very discordant work which is to say that it deliberately skewers audiences expectations of a genre film by working as a genre film but stylized in a manner that the clichés and conventions look highly abstract, not unlike a film by Douglas Sirk.

''Party Girl'' is shot in CinemaScope and Metrocolor, is produced by Joe Pasternak who was in charge of the second-tier MGM unit. The Leonine studio had by the mid-50's devolved into an organization of penny-pinchers and according to Ray, the only reason this film got made was because it's backers wanted to get rid of it's two stars...Cyd Charisse and Robert Taylor so as to exhaust their run of contracted films as quickly as possible. This explains the fact that more than ''Johnny Guitar''(with it's superlative cast of actors), ''Party Girl'' is the closest Ray came to make a B-Film. The storyline is a standard-issue crime drama and it is by a safe distance the most generic of Ray's major films.

That it's still a major film is for me little doubt. Though lacking the strength of his early crime films and his 50's melodramas, ''Party Girl'' is still a deeply compelling film about the universality of compromises in society. The title ''Party Girl'' is essentially a slang for prostitute or for being under someone else's thumb. It refers to Cyd Charisse's character Vicki Gaye, a showgirl who works part-time as escort to various underworld types alongside other gals who work at the ''Rooster Folliers''(no joke). But it also includes mob lawyer Tommy Farrel(Robert Taylor) and applies to everyone else.

Ray's distaste for plot apparent in all his films is full in abundance here as the generic outline of this story of crooked lawyer turned straight through the power of love takes on several asides. Like the one-scene appearance of a fellow showgirl who's waiting for her man and whose depression, Vicki stifles as a result of habit and accord over the years. The scene where she walks into her roommate's bathroom and finds her swimming literally in a pool of her own blood in a bath-tub is one of Ray's most embedded images even if(in accord with then censorship) the image lasts only a few micro-seconds before a quick fade-away. Much of the secondary section of the film centers on Tommy's relationship with Rico Angelo(Lee J. Cobb in a towering performance) and there's very little plot driving their very powerful scenes. Tension arises from flaming egos by a mob underling played by John Ireland over Tommy's relationship with Vicki.

The film's sense of decor and colour is what we'd call now Fassbinderesque. It's pictorially fascinating and the colours are very eye-catching but the underlying design behind it is a sense of decadence of vulgarity. This reflects perhaps that the underlying subtext of this film is less about gangsters than about Hollywood. With Lee J. Cobb's mix of charisma(like Vito Corleone in ''The Godfather'') and crass vulgarity(like Joe Pesci in his films with Scorsese) stand-in for many studio heads of that period and the two musical interludes(numbers is the wrong word for it) by Cyd Charisse while visually striking is poorly choreographed and seems like a parody of the dying MGM Musicals.

''Party Girl'' is a reflection ultimately of what are the results when a great artist and a few good actors are working with conventional plots can achieve. It's a work that's of it's own kind. Not a gangster film entirely, mostly a Film Noir though in colours, visually creative but mostly functional. The decor of the film makes it's genre trappings apparent and obvious revealing and critiquing it's functions yet the scenes between Taylor and Charisse are very much played straight conveying genuine compassion between two characters who have long lost their innocence and are merely doing their best to survive and find a semblance of happiness, a happiness that's threatened not only by the mob but also by the cops who want to use them to catch the bad guys(which has much benefits for their own political careers).

What may put off most fans of Nicholas Ray is the graphic violence of the film which is quite unexpected and strong for a film of the 50's. Plenty of bloodletting is on display on this film...of course Ray would say "that's not blood...that's red."