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The opium-stocked "S.S. Florentine" docks in New York City with cool blonde K.T. Stevens (as Toni Cardell) and a murder. Distraught, Ms. Stevens goes to drug-smuggling boss Yul Brynner (as Paul Vicola) to ask for more money. Getting no for an answer, and cast aside for sexual relations, Stevens decides to try to sell her naughty knowledge to Federal investigator Richard Rober (as Jim Flannery). Mr. Rober and young partner Scott Brady (as Mickey Waters) track dope to addicted nightclub comic Arthur Blake (as Dolly Carney). Dancer friend Lynne Carter (as Lili Long) tries to help Mr. Blake, who is made to squeal during withdrawal…

Narrated by future news-reader Chet Huntley, "Port of New York" is a surprisingly good feature. The leading man is Rober, who channels William Holden well; if he hadn't met with misfortune, Rober might have had a successful TV crime drama. The fine supporting cast is highlighted by Blake's drug-addicted stand-up comic; he's the one introduced while entertaining patrons with his impersonation of Charles Laughton in "Mutiny on the Bounty" (1935). Noir photographer George E. Diskant excels. Today, the main attraction will by an early look at Mr. Brynner, who plays the villainous drug lord with most of his hair intact, and unshaven.

******* Port of New York (11/28/49) Laslo Benedek ~ Richard Rober, Scott Brady, Yul Brynner, K.T. Stevens

Sporting a head of dark, wavy hair that paradoxically emphasizes his Mongol heritage, Yul Brynner plays a debonair drug runner bringing heroin into the U.S. (We know he's a monster from the 78s of dissonant, avant-garde piano music -- Prokofiev? Shostakovich? -- he's forever playing.) When a bribed purser from a luxury liner surfaces in New York harbor with his throat slit, Brynner's fiancee/accomplice (K.T. Stevens) starts running scared and meets up with a narcotics agent (Scott Brady). Bad mistake, which Brynner swiftly and coldly corrects. The investigation heats up both on shore and on water, taking a creepy, and unexpectedly Bohemian, turn toward a cabaret emcee called Dolly (Arthur Blake) who cracks jokes and does Charles Laughton impressions with a monkey on his back. His mistakes, too, prove unpleasantly fatal. Moving closer to the heart of this particular darkness, Brady poses as someone in the drug racket, and comes close to bringing it off.... Even though, despite Russian-born Brynner's playing the villain, there's not a whisper of Soviet conspiracy in Port of New York, it eerily foreshadows both the black-and-white brutality and the smug self-righteousness of the Red Scare cycle. (In the minds of the public and elected officials, during this springtime of McCarthyism, narcotics and Communism were pretty much the same thing.) Though it lacks the ambiguity of fully developed characterizations, the movie succeeds fairly well on its own, straightforward terms -- especially in turning an over-romanticized New York into the raffish port city it essentially is, or was.

Port of New York finds Scott Brady and Richard Rober, a pair of Treasury agents on the trail of some heroin smugglers in one of the earliest films I know that seriously dealt with that subject. In an early role way before his movie stardom is Yul Brynner as the chief villain of the piece.

This would be a most obscure film if it were not for the fact that it contains Yul Brynner's screen debut. At the time Brynner was 29 years old and working on and off Broadway and it would be another two years before his breakthrough part in Rodgers&Hammerstein's The King and I.

For those who are used to the hyper-masculine Brynner in such films as The King and I, Taras Bulba, and The Ten Commandments, Port of New York is a radical departure from casting. Brynner plays it fey in this one, he's a most epicene, but very deadly crook. I have to say that when he came to Hollywood for good seven years later he never played a part like the one he has in Port of New York ever again in his career.

Brady and Rober make a pair of stalwart government agents and K.T. Stevens is just fine as Brynner's luckless girlfriend. Best performance in the film is that of Arthur Blake who plays a nightclub comedian and another luckless individual who gets in way over his head in the rackets. Blake's performance is similar to the role Zero Mostel had in The Enforcer the following year.

Port of New York was shot in New York and it contains shots of things long gone like an elevated train station at Canal Street. That familiar voice you hear narrating is that Chet Huntley before he teamed with David Brinkley to become NBC's nightly news anchors and rating's leaders in that field for years. You'll also see Neville Brand in a small role as one of Brynner's henchmen.

Port of New York is not a great noir film, but entertaining enough and nothing the cast or crew have anything to be embarrassed about.

Had a chance to sit down and watch PORT OF NEW YORK some time ago and I have to say that this is a terrific little noir/crime/thriller! Told in "documentary style" as in such films as HOUSE ON 92ND STREET, THE NAKED CITY and HE WALKED BY NIGHT, the movie is swiftly paced, violent with a decent amount of suspense and plenty of fisticuffs. Scott Brady and Richard Rober play a couple of federal agents, one a customs agent and the other a treasury agent out to stop the distribution of illegal "contraband", i.e., opium, that came in on a ship but was smuggled off by drug dealers. The leader of the drug operation is Yul Brynner, sporting a head of dark, wavy hair and appearing in his first film role I believe. Brynner is suave and refined and listens to avant-garde piano music but it is clear that he is also quite cold and violent as the bodies start to pile up. Plenty of action to keep one interested and wonderful direction from László Benedek. The real star though is cinematographer George E. Diskant. Filmed entirely on location in New York City, the film bursts to life with magnificent images of the Big Apple and some truly wonderful shots of the NYC maritime scene. This is a rather obscure, "B" noir/crime film that was a pleasant surprise and a movie that all fans of the genre should check out.

Port of New York is directed by Laszlo Benedek and written by Eugene Ling. It stars Scott Brady, Richard Rober, Yul Brynner and K.T. Stevens. Music is by Sol Kaplan and cinematography by George Diskant.

Two federal agents work to crack a gang of murderous drug dealers who are operating out of the Port of New York.

The strengths here are obvious, Diskant's photography provides atmospheric dread, the location shooting of New York is superb, and the smoothly villainous portrayal by Brynner is on the money and sets him on the path to the "A" list. Pic is kinda semi-documentary in style, complete with narration of course, and it's often violent enough to keep one hooked to the end.

Minor film noir but not without merits. 6/10

A so-so Film Noir from Laslo Benedek which is notable only for the screen debuts of Yul Brynner and Neville Brand. A youthful Brynner (whose head was yet to meet the razor to which it would become so accustomed) looks almost effeminate as the cultured villain and shows little of the vigorous energy that would become his trademark. The story drags for the most part, only to gain some good momentum in its last 15 minutes. Arthur Blake stands out as an ill-fated nightclub impressionist.

Hi, Everyone, Scott Brady has an idea how to steal a scene from Yul Brynner. Scott Brady has better hair, but Yul has the voice and facial expressions that show he was destined for a big Hollywood career.

This was 7 years before The King and I would make Yul Brynner a bald box office giant. Much of Yul's pleasant killer personality would be used in future bad guy roles such as Westworld, The Ten Commandments and Magnificent Seven. In this 1949 film, Yul seems to enjoy playing cat and mouse with his intended victims. He being the cat, of course.

Scott Brady did an excellent job as the good guy here. Lots of good action scenes with Scott apparently doing his own falls.

The plot basically is the bad guys want to bring one million dollars worth of narcotics into the U.S. One million dollars worth of narcotics today would be a misdemeanor.

This is a joy to watch just for the history. DeSoto Cabs follow Checker Cabs. Grand Central Station is shown during rush hour. Rush hour was anytime in the 1940s. Men's suits looked smart. Neville Brand is seen here shortly after his World War II service ended. He is the guy who is operating the ship's steering wheel in some scenes.

All of New York looks dressed up for a holiday but that is just what people wore in 1949. Good scenes, good plot, good cast.

The guy who plays Dolly Carney does an excellent job. His name was Arthur Blake. Interestingly, Yul Brynner, Scott Brady and Arthur Blake all died in 1985.

This one is worth watching.

Tom Willett

Yul Brynner (Paul) heads up a drug gang in New York that includes heavies William Challee (Leo) and Neville Brand (Ike). Scott Brady (Mickey) and Richard Rober (Jim) are on his case. Richard Rober should have been cast above Scott Brady, and trust a woman, Lynne Carter (Lili) to mess everything up at the end, eh!

The film starts in that documentary style with a voice-over. It goes on a bit too much and the film gets bogged down and a bit slow with the arrival of entertainer Arthur Blake (Dolly). I lost track of what was going on for a while and then found myself watching people in the dark running about and fighting each other - whoa....what's going on? Who's who? I'm afraid that was the result of my mind wandering because the film got a bit boring.

Anyway, Yul Brynner is the standout in the cast but it all seems to be quite a predictable story with a climax that could have been better. It seems as if some tension is building towards the end of the film, and then it's all over in a sudden. It's not a bad film, but neither is it particularly good.

Yul Brenner makes an impressive debut in this film, despite his full head of curly dark hair. The story line is nicely executed by the hard-working cast. This is noir done right. No special effects, no overbearing hero, and the film is not predictable (at least not too predictable). Cop gets a second chance after getting his first partner killed; so this is an interesting subplot. Good noir.

A sternly-narrated, documentary-style crime film atmospherically filmed on location by George Diskant about a gang of ruthless narcotics smugglers led by a swarthy and creepy young Yul Brynner (billed fourth in his film debut).

Richard Rober (killed a couple of years later in a car accident) makes a personable hero, several people get ruthlessly murdered and the low budget production and rather sordid subject matter complement each other well.

***SPOILERS*** Keeping the ports and borders safe for the exploding epidemic of the post-WWII flow of illegal and dangerous drugs US Custom agents together with the FBI and the NYPD get wind of a big drug shipment that's been brought into New York Harbor on the luxury cruise liner Florntine.

Checking the ships cargo manifest the custom agents Micky Waters and Jim Flannery, Scott Brady & Richard Rober, come across a box of dangerous drugs slated to be used at a local hospital that's missing and has been replaced with 100 pounds of worthless and harmless sand. Later the person responsible for the switch is found floating in the East River murdered by his contacts in order to keep his mouth shut.

The leader of this gang of drug traffickers is the Suave cultured and music loving Paul Vicola, Yul Brynner. Vicola likes to keep things close to his very expensive vest and feels that his woman Toni Cardell, K.T Stevens, is a bit unhinged over what's been going on and has her followed by his hoods to see what she's up to. Toni, as Paul suspected, is about to give him and his gang up to the police and then, with what is expected to be a $25,000.00 reward, leave New York for the West Coast.

Getting Toni alone in her apartment Paul finds that she's about to turn him and is boys in and strangles her to death, this as custom Agent Waters is sitting in the lobby of Toni's apartment building providing her with government protection. Waters and his partner Flannery later, on a tip from the late Toni Cardell, check out the lockers at Penn. Station and find the missing drug shipment, cut and ready to be sold on the streets, and set up a sting to find out who the locker belongs to.

It turns out that the locker's contents are taken out and delivered, by special messenger, to entertainer Dolly Carney, Arthur Blake, who's fronting for Vicola's mob as a delivery boy. Putting Carney under arrest he breaks down and implicates Vicola's middle-man in this operation Leo Strosser, William Challee, who's involved in a ship maintenance business on the New York piers, a perfect place and cover to get drugs into the country.

Risking their lives both Waters and Flannery go under cover to get the goods on both Strasser and his boss Vicola but at, what later turned out to be, the cost of Micky Waters life. Carney who's let out of police custody ends up being kidnapped by Vicola's goons and after telling them what they wanted to know, about this Wyley (Frank Fenton) coming from Canada to buy the stolen drugs, is thrown out a hotel window and made to look like it was suicide.

The authorities take Wyley into custody with Agent Flannery going undercover impersonating him to get to the head of the drug gang Paul Vicola that leads to the movies exciting shoot-out at the Port of New York between Vicola and his hoodlum with the US Coast Guard and Custom agent Flannery.

Yul Brynner with a head of hair steals the movies acting honors with his portrayal of gangster Paul Vicola who's as deadly and murderous when he's in business as a big time drug trafficker as he's sophisticated and debonair as a lover of the world of musics classical symphonies and piano concerto's

A nice thriller in semi-documentary style with Noir elements , action , tense, and really suspenseful . This story is adapted from cases actually happened . A narcotics gang is smuggling large quantities of drugs into New York via the port from the S. S. Florentine and other facilities . Then a female narcotics smuggler decides to play ball with the police and deliver her former colleagues to them , but things go wrong . Two agents (Scott Brady , Richard Rober) go after a gang of murderous drug dealers who use ships docking at the New York harbor to smuggle in their contraband , then an agent (Rober) poses as a band member in order to inflitrate the mob and get the goods on them .No crime too vicious ... no justice too swift for the Merchants of Death who lurk in its shadows !

A semi-documentary flick allied to an intelligent mystery plot and made with the full cooperation of real officers of the law by using advanced techniques that have become slightly old hat . This is one of a number of semidocumentary movies dealing with all levels of vice that filled the screens of post-world war II America , being the main representation : ¨The House on 92nd Street¨ by Henry Hathaway . It is taut , intricate , and intriguing , resulting in a superb climax aboard a boat in which occurs a furious and violent gun battle . It stills works well enough , even though some flaws , gaps and failures . The scenes in this picture were photographed in the localities of the incidents depicted , New York and their vicinities, wherever possible, in the actual place the original incident occurred . The low-key interpretations contribuye effectively to the sense of actuality despite some clumsy mistakes . Actors give uniformly acceptable acting, such as : Scott Brady as the cop eager to make the arrest while protecting his lovely informant , as well as the unknown and early deceased by accident Richard Rober who plays the undercover cop disguising as a delinquent to chase the gang members , in addition brief interpretation by novice Neville Brand and special mention for Yul Brinner - with hair- in his film debut , giving a strange but adequate acting .

The motion picture was well directed by Laslo Benedek , dealing with an usual subject for Benedek to direct . He made important and decent films , such as : ¨Death of a Salesman¨ , ¨The kissing bandit , ¨Daring game¨ , ¨Assault on Agathon¨ , ¨The Night Visitor¨, ¨Bengala Rifles¨, ¨Song of Russia¨ and his biggest hit : ¨The Wild ones¨, along with various TV episodes . Benedek drew out convincing, evocative performances from Kevin McCarthy, Cameron Mitchell , Fredric March , Mildred Dunnock and , of course , Marlon Brando and Rock Hudson . Rating : 6.5/10 . Acceptable and passable film . The flick will appeal to Noir Films fans .

Like so many late '40s police/FBI type films, Port of New York was filmed as a semi-documentary, narrated by none other than Chet Huntley.

Detectives attempt to close in on a huge drug shipment that has come into New York, and find the head man. Lots of location shots.

I had to chuckle a bit in the beginning as the film demonstrated how people smuggled drugs through customs. One way was a small hole hidden underneath a shoe heel. If it was a huge shipment of shoes, okay. But one shoe? A chihuahua couldn't get high on that amount.

It's fairly obvious in the beginning that the girlfriend of the big boss (Yul Brynner in his debut) is not long for this world after she threatens to turn him in.

Brynner is cold, smooth, and dangerous- and so young you can't believe it.

People who saw Scott Brady on TV in the '80s couldn't believe he was ever a hunk with a fan club, but he was - well built and handsome. Here he is one of the detectives on the case.

Routine but not uninteresting.

The Port of New York does offer the viewer some nice footage of old New York, which is kind of fun. However, those visuals aren't fully supported by the much of what else the film has to offer. This film is apparently the debut of Yul Brynner, and he certainly does make an impression, and portends his future success in the industry as the 'bad' guy. The remainder of the performances were fine but rather pedestrian. The story itself is fine but the way it unfolds was not particularly interesting for me. They relied too much on the over-narration, which didn't really add much to the proceedings.

This effective noirish crime drama was Yul Brynner's film debut in which he demonstrates star quality as a debonair, brutal crime boss engaged in drug trafficking. Brynner was born in Vladivostok and his oriental features and full head of wavy hair (!) are perfectly suited to this role. In particular, his facial expressions and body language when he gets busted are superbly acted and well worth watching.

Scott Brady and Richard Rober deliver generally good performances as federal agents whose goal is to track down a shipment of narcotics. Although they are portrayed as heroes, neither has star quality and their acting is occasionally hammy. The rest of the cast plays a convincing ensemble of feds, thugs, dealers, and dames.

The direction and cinematography are excellent with some beautifully composed classic noir scenes where Brady and Rober explore a dark warehouse. The plot is predictable without major twists or sharp dialog, although the stentorian narrator gives the movie an interesting fascist undertone as war-on-drugs propaganda.

The print (Classic Film Noir, Volume 2) is quite good although the sound track is scratchy. Despite its flaws, this is a well-crafted fast-paced minor film noir worth adding to your collection.

This fine crime drama shows the work Federal agents in Customs, Narcotics and the Coast Guard did to fight the drug trade in 1949's New York City. This is known as Yul Brynner's first movie, but the real star is Scott Brady.

With 59 years having past, I found this movie an unintended heartbreak. Young people might not believe this but in 1949 the narcotics trade was limited to small areas of New York, Chicago and Los Angeles --- not all 50 states, not every town in America. The Federal agents portrayed in this movie might have just cried if they could have seen 14 years into the future when narcotics swept across the USA like a hurricane and infected our lives, our streets, our schools.

All this was done with the Federal government opening the door wide. When LBJ appointed crime-friendly Ramsey Clark as Attorney-General and appointed crime-friendly judges to the Supreme Court, this and other corrosive steps were applauded by Newsweek, Time, CBS and others. New York City lost 20% of its population and literally went bankrupt in the late '70's --- primarily because of unchecked crime. The 1966 movie "Death Wish" portrays this era well. This was your parents and grandparents era. It could not have happened without them. When you have time, search for their stash and tell them off.