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Violenza

Titolo originale: The Gangster
  • 1947
  • Approved
  • 1h 24min
VALUTAZIONE IMDb
6,5/10
1308
LA TUA VALUTAZIONE
Belita and Barry Sullivan in Violenza (1947)
Film noirCrimineDrammaRomanticismo

Aggiungi una trama nella tua linguaShubunka (Barry Sulivan) is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner. The police are in his pocket and the local ... Leggi tuttoShubunka (Barry Sulivan) is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner. The police are in his pocket and the local hoods are on his payroll.Shubunka (Barry Sulivan) is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner. The police are in his pocket and the local hoods are on his payroll.

  • Regia
    • Gordon Wiles
  • Sceneggiatura
    • Daniel Fuchs
    • Dalton Trumbo
  • Star
    • Barry Sullivan
    • Belita
    • Joan Lorring
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,5/10
    1308
    LA TUA VALUTAZIONE
    • Regia
      • Gordon Wiles
    • Sceneggiatura
      • Daniel Fuchs
      • Dalton Trumbo
    • Star
      • Barry Sullivan
      • Belita
      • Joan Lorring
    • 31Recensioni degli utenti
    • 11Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto6

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    Interpreti principali65

    Modifica
    Barry Sullivan
    Barry Sullivan
    • Shubunka
    Belita
    Belita
    • Nancy
    Joan Lorring
    Joan Lorring
    • Dorothy
    Akim Tamiroff
    Akim Tamiroff
    • Nick Jammey
    Harry Morgan
    Harry Morgan
    • Shorty
    • (as Henry Morgan)
    John Ireland
    John Ireland
    • Karty
    Sheldon Leonard
    Sheldon Leonard
    • Cornell
    Fifi D'Orsay
    Fifi D'Orsay
    • Mrs. Ostroleng
    Virginia Christine
    Virginia Christine
    • Mrs. Karty
    Elisha Cook Jr.
    Elisha Cook Jr.
    • Oval
    Ted Hecht
    Ted Hecht
    • Swain
    • (as Theodore Hecht)
    Leif Erickson
    Leif Erickson
    • Beaumont
    Charles McGraw
    Charles McGraw
    • Dugas
    John Kellogg
    John Kellogg
    • Sterling
    Helen Alexander
    • Minor Role
    • (non citato nei titoli originali)
    Ruth Allen
    • Girl Singer
    • (non citato nei titoli originali)
    Murray Alper
    Murray Alper
    • Eddie
    • (non citato nei titoli originali)
    Andy Andrews
    • Minor Role
    • (non citato nei titoli originali)
    • Regia
      • Gordon Wiles
    • Sceneggiatura
      • Daniel Fuchs
      • Dalton Trumbo
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti31

    6,51.3K
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    Recensioni in evidenza

    8robfollower

    Film noir soap opera .

    The Gangster, a raw, bitter portrait of a racketeer. Shubunka is the self-made head of the rackets in the sleazy boardwalk community of Neptune City, a low-rent version of Coney Island. He has become infatuated with a sultry nightclub chanteuse and lavishes her with gifts and attention, spending money on her that might better go to maintaining his hold on his operation. His obsession with her, as well as his pride, clouds his judgment as Cornell, a much more ruthless hoodlum, moves in on Shubunka's territory, bribes and threatens his associates, and compromises his operation. As if in a Greek tragedy, the petty gangster's weaknesses conspire to cause his downfall.

    This film is offbeat, with a psychological focus that's full of glorious theatrical melodrama it's certainly compelling. It's also certainly a film noir, with its seamy portrayal of doomed underworld characters and a fine supporting cast of noir stalwarts including Akim Tamiroff, Henry Morgan, Charles McGraw, and Elisha Cook, Jr. (Keep a lookout for Shelley Winters as a cashier.)

    The actress known as Belita (birth name: Maria Belita Jepson-Turner) was a professional ice skater brought to Hollywood to try and replicate the success of another European skater, Sonja Henie. While Belita did make a few ice skating films such as Ice-Capades (1941) and Silver Skates (1943), she wound up perhaps better remembered by movie fans for her acting roles in her low-budget noirs (though in Suspense, she also skates!).

    With the The effective musical score , heavy dramatic and sharp gritty script , first class cinematography that crates a dreamlike atmosphere; A downbeat ending for the books in this movie that is like a pulp novel come to life. It all jives and really works in the film's favor. Excellent offbeat film noir 8/10
    dougdoepke

    Arty but Interesting

    Smalltime gangster feels heat of competition, while romancing showgirl.

    The most interesting thing about this crime drama are the visuals. Director Wiles goes all out with the stylized sets—the beachfront, the elevated train, the complex interiors, et al. I guess that's not surprising given his background as an art director. Apparently the King Brothers let him do pretty much what he wanted even on the small budget. The result is arty, but interesting. Then too, maybe you can take those stylized sets as mirroring Shubunka's inner state since he seems not too far from the nuthouse to begin with.

    Sullivan certainly looks the gangster part. With his high cheekbones and gimlet eyes, he's scary even without the big scar. Plus, he's about as cold and animated as a block of ice. Sullivan's a fine actor so that is no accident, but the characterization seems too extreme to involve us in his fate. On the other hand, Loring's semi-pretty working girl comes across well, as does Belita's glamour girl with her odd facial resemblance to noir icon Gloria Grahame.

    Like another reviewer, I'm a bit stumped by the seemingly unnecessary subplot with Morgan and D'Orsay. At first I thought the producers probably owed D'Orsay something so she got a tacked-on part. But then I noticed a parallel between Morgan's narcissistic Lothario and Sullivan's narcissistic gangster. Each appears imprisoned by his own limitations. Notice too that Morgan appears trapped by a jail-like fence following D'Orsay' rejection, a possible foreshadowing of Sullivan's downfall. Anyway, it's a thought.

    But what I really like about the script is how Sullivan's indifference toward Ireland's desperate gambler brings about his own end— a nicely ironic touch. Also, note how the entrepreneurial criminal operations are tied in with corruption at higher levels of politics and big money. That seems unsurprising since both screenwriter Fuchs and the uncredited Trumbo were later blacklisted. In fact, noir appears the favorite genre of many leftist screenwriters, perhaps because of the potential for unhappy endings in a capitalist society.

    Nonetheless, the movie as a whole comes across more as an object of contemplation than of audience immersion, but certainly continues to have its points of interest.
    7ccthemovieman-1

    An Odd "Gangster' Film

    Here's a film I wish I could see again, even though it's a little too slow and talky for my tastes. It still was very interesting in spots.

    Barry Sullivan and Belita both provide some great film-noir lines and the photography is pure film noir. Henry Morgan has interesting part although his role is minor and Sheldon Leonard (with hair) is notable. The only character who became annoying was Akim Tamiroff, as the scared soda shop owner.

    The story, though, centers around Sullivan, who plays a man who doesn't trust anyone but would really like to find a woman he could trust. His outlook on humanity is brutal. It's so bad, it's almost funny. He reminded me of Lawrence Tierney in "Born To Kill."

    This movie is an odd combination of film noir, melodrama and character study and is worth checking out, if you can find it.
    8ptb-8

    A- AA 'thriller'

    After the 1946 success of their million dollar musical noir SUSPENSE Monogram and their A grade production name ALLIED ARTISTS repeated their Barry Sullivan and Belita pairing plus many excellent sets and camera angles in a truly strange crime drama THE GANGSTER. Typical of their urban style and effort to make socially arresting films (BLACK GOLD, HIGH TIDE, and later PHENIX CITY STORY)I find I am quite haunted by this grim and emotional portrayal of a doomed big shot draining mentally and emotionally in his seaside square mile of crummy crim competition. It is almost as if everyone in this film acts as though he is sure they are trying to cause him to have a mental breakdown. Sullivan is a career criminal on the very edge of insanity brought on by just a plain lousy life of struggle, arguing and ratty behavior. His affair with the incredibly gorgeous Belita (of skating fame) is racked with his paranoia and melancholy at best. It is as if his falling in love with her is causing his mind to unravel and local thugs know it. THE GANGSTER is a very well made film and genuinely emotionally interesting. It is NOT as the title suggests, a 'gangster film' however it is quite a sad and tortured tale depicting the tragic shattering in slow motion of a big man's heart and mind as he realizes (or just thinks that) his world is crumbling. The scenes at the beach promenade with Belita dressed all in white offer the viewer genuine beauty. She is sublimely dressed and photographed all through this handsome film. In fact she reminded me of a young Gertrude Lawrence: Belita was British and a champion skater at a young age throughout the UK before coming to Monogram when only about 19 years old. She just died, in 2006 at about 82 years old. Barry Sullivan is a revelation. THE GANGSTER is one of the most interesting psychological dramas made, given that it is set within his mind, hence the fake looking world he inhabits (stylised sets etc). He has fallen in love and knows he doesn't deserve it or control it, thus causing emotional fright and mental collapse. What a topic! Good movie, this!
    8MartinTeller

    The Gangster (1947)

    A big fish in a small pond finds his little world crumbling around him when a bigger fish swims into town. Opening with a monologue so misanthropic it could have been penned by Travis Bickle, this is a brutal and cynical film. Allied Artists reunited the stars of Suspense, Barry Sullivan and Belita, and the results are an improvement. Sullivan is cold and paranoid as the titular character, completely without trust or sympathy in anyone around him. Belita doesn't get to do any ice-skating this time around, but she is very good as his long-suffering gal, her devotion and sincerity eventually beaten down by his suspicions. I said earlier that I was looking forward to more of Joan Lorring, and I was glad to see her here. She doesn't get a whole lot of screen time, but she has a wonderful part to play in the end. There's a couple of subplots to consider. John Ireland is a desperate gambler whose story hooks into Sullivan's at a crucial point. The part with Harry Morgan as a self-imagined Romeo is a bit more superfluous but provide some nice character moments. Also some fine supporting bits by noir regulars Elisha Cook, Charles McGraw and Sheldon Leonard (and a blink-and-you'll-miss-it appearance by Shelley Winters). The Louis Gruenberg score is occasionally overwhelming but mostly superb. And Paul Ivano's cinematography makes the most of the often cheap-looking sets, a lot of beautiful stylization, especially in the rain-soaked opening and closing sequences. Perhaps a little too self-conscious and stagy at times, but a very well-done, gloomy and sometimes poetic film.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      A surprise hit for lower-rank "B" studio Monogram Pictures (as an Allied Artists Pictures release), this made a big profit for the company and was one of Hollywood's most profitable films of 1947.
    • Blooper
      (at around 15 mins) When people are going up and down the stairs to the elevated train platform, a shadow of the camera and crew member falls across them.
    • Citazioni

      Shubunka: [to Dorothy] You understood nothing. You're sweet, lovely, and good. You're also very young. Pay for my sins? You know what my sins were? I'll tell you. That I wasn't rotten enough. I wasn't mean and low and dirty enough. That's right, I should have smashed Cornell first. I should have hounded Jammy, kept after him, killed him myself. I should have trusted no one, never had a friend. I should have never loved a woman. That's the way the world is. Wait, live, find out yourself that's the way you have to be... the only way!

    • Connessioni
      Featured in Noir Alley: The Gangster (2018)
    • Colonne sonore
      Paradise
      Written by Gordon Clifford and Nacio Herb Brown

      Sung by Belita (dubbed)

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    Dettagli

    Modifica
    • Data di uscita
      • 25 novembre 1947 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • El gangster
    • Luoghi delle riprese
      • Monogram/Allied Artists Studios - 1725 Fleming Street, Los Angeles, California, Stati Uniti(Studio)
    • Aziende produttrici
      • Allied Artists Pictures
      • King Brothers Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 1h 24min(84 min)
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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