Party Girl

"Party girl" is a peculiar movie, starting with its title. In fact, the title recalls a light comedy in the style of the 1930/1940s. On the contrary, we deal with a drama/gangster-story of rare toughness (for the standards of the 1950s). The violence of some scenes is really scary. We recognize the hand of director Nicholas Ray. We even have an excellent action sequence which anticipates a famous sequence of "The Godfather". The story is interesting, the cinematography is good and accurate.

Unfortunately, this is an unbalanced movie. Vicky, very well played by beautiful Cyd Charisse, is a rather innovative character. But her dance numbers, so patently instrumental to show Cyd's legendary legs and phenomenal dancing skills, are just stuck to the film. A thorough and interesting psychological study of Thomas Farrell (Robert Taylor) is made. But the film is nearly marred by a huge flaw. The badly crippled Farrell has a miracle-surgery in Europe (?) and returns perfectly healed! (alas! that's not yet possible in the 2000s, let alone in the 1930s). And then the formerly crooked corrupt lawyer Farrell turns into the noblest possible person. Come on! At any rate, Taylor gives one of the best performance of his career. John Ireland is a great thug. Lee J. Cobb (as usual looking twenty years older than his actual age) makes an outstanding job as the suave, cruel gangster Rico. The action scenes, though well-filmed, are too scarce for a gangster movie. Besides the magical surgery, other twists of the plot are unlikely.

You see, "Party girl" has remarkable merits and flaws, as well. All in all, not a bad movie.

Of course we have all seen this type of story line a few times, especially if you enjoy the film 'noire of the 1940s and 1950s era. What sets this crime/film 'noire/romance apart from others is the first class performances of the four main characters. The gorgeous gams of professional dancer Cyd Charisse are on full display in her role as Vicki Gaye and she is the love interest of the smartest criminal defence attorney Thomas Farrell played to perfection by Robert Taylor who unfortunately died in the prime of his life and in his career as a first rate Hollywood star.

Thomas Farrel is the lead counsel for mob boss Rico Angelo played by Academy Award best actor nominee Lee J. Cobb who rules his crime empire and the streets below him by fear of death or serious injury to anyone who would even consider double crossing him. Now lawyer Thomas Farrell does have a close working relationship with the mob boss Rico Angelo who pays him top dollar for keeping him and his cronies out of jail even when they are up on murder charges. Such is the case with Louis Canetto played by John Ireland who is charged with murder but gets off due to the masterful defence strategy used by his lawyer, Thomas Farrel.

Louis Canetto has his eyes set on the pretty party girl Vicki Gaye but so does defence lead counsel Thomas Farrel. It does not take the gorgeous Cyd Charisse who plays Vicki Gaye long to assess that she will have a much more loving relationship with lawyer Thomas Farrel than she would with the mob underling Louis Canetto.

So you can see that this film 'noire has the typical seedy criminal element who require a smart lawyer to continuously defend them, and it has the party girl turned love interest of the brilliant lawyer who is used by the mob boss to get what he wants out of his top notch lawyer Thomas Farrell. Where I see this film excels and where other similar pictures of the era falter is with the high caliber acting of these four main characters such that the film has ended when the audience wants to see more.

I give the film a pretty good 7 out of 10 rating.

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.

This is a late 50's gangsters movie in the line of the classical film "noires" of the 40's. The remarkable aspect here is that "Party Girl" is perhaps one of the most colorful movies ever made in the genre and perhaps out of it too. Right from the start and as a background for the titles there's an all color dancing sequence and from them on color is all around including bright red dresses Cyd Charisse wears throughout the entire film.

But beautiful color aside, Nicholas Ray ("King of Kings", "55 Days in Peking") delivers an interesting and entertaining gangsters movie about a crippled "Mafia" lawyer (Robert Taylor) -a sort of predecessor of "The Godfather"'s Tom Hagen- gets involved with a cabaret dancer (Cyd Charisse) and they try to start a new life together far from the man's dangerous clients; but the big man (Lee J. Cobb) is not willing to set Taylor free because he is a genius in his work that can keep him away from the electric chair and also because the lawyer "knows too much".

There's a fine performance by Taylor as the bitter-ed attorney and also by beautiful and "classy" Charisse who also has the chance of exhibiting her undeniable dancing skills (and her famous legs too). Cobb is perfect in a role with no secrets for him pretty much like the one he played before in the classic "On the Waterfront" and a year later in "The Trap". John Ireland and Kent Smith complete the main cast.

Though not perhaps a great film -not much action sequences for the genre- "Party Girl" stands as a good one in its line worth watching no doubt.

Quite possibly Nicholas Ray's most visually eloquent film, the poorly- named Party Girl focuses not on the Cyd Charisse titular character but her romantic interest, mob lawyer Tom Farrell, played with great intensity and dedication by Robert Taylor.

Charisse is even more luminous than usual thanks in part to the mesmerizing lighting and camera work utilized by Ray in two major dance numbers obviously included to showcase MGM's most talented dancer. However, Ray was also able to elicit a rather touching albeit somewhat unrealistic performance from Charisse in playing a lonely showgirl drawn to Taylor's disfigured lawyer trapped in the world of defending known criminals.

Such a story had been done before many different ways, yet under Ray's direction the film achieves a certain sense of nobility and appreciation. It is not flashy, but not boring either. It is, as much of Ray's work was at the time, workman-like and beautifully crafted. Compared to much of the other features released at the time, Ray's films stand out today as rising above the material he was given to work with.