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Anthony Quinn stars in "The Naked Street," a 1955 film with Farley Granger, Anne Bancroft, and Peter Graves.

Quinn plays a gangster, Phil Regal, whose sister Rosalie (Bancroft) is pregnant and unmarried. Nowadays, this would be a cause for celebration. Back then, it was a scandal. The father is Nicky Bradna (Granger) who is at the moment on death row for killing a liquor store owner while he was stealing his money.

Regal is a wonderful son to his mother (Else Baeck) and a protective brother, but he's basically involved in lots of illegal activities.

Phil wants Nicky to marry Rosalie, so he drops bundles of cash in the right places. Suddenly the witnesses have second thoughts about what they saw and the DA is willing to give him another trial. Soon he's out, married to Rosalie, and driving a truck, which is not what he wanted to do. But big brother insisted.

It doesn't take Nicky long to start acting up - he and Rosalie suffer a tragedy, he doesn't like his job, and Regal wants him out of the way.

Pretty good noir, and Anthony Quinn does a wonderful job showing us the human being beneath the tough gangster. Anne Bancroft is very young, but excellent in her part, and Farley Granger does well as the loser husband.

"The Naked Street" is a derivative story, so it's not particularly special, but it is worth a look.

For such a low-budget, unknown film, "The Naked Street" has an abundance of riches in the casting department. Ok, so maybe Anne Bancroft wasn't well known, but Farley Granger certainly was. And Anthony Quinn had already won an Oscar, for pete's sake!

Quinn is the best thing about this movie, playing a gangster who manipulates the system to spring a death-row inmate out of prison. Why? Because he knocked up Quinn's sister (that would be Bancroft) and Quinn doesn't want his nephew being born out of wedlock. Whew, racy stuff for 1955. So Granger and Bancroft marry, he makes a lousy husband (no surprise there), and the baby dies in childbirth. Now there's no conceivable reason for Granger and Bancroft to stay married, so Quinn frames Granger for murder so that he'll be put back on death row, since he never liked the punk in the first place.

This is pretty hilarious on paper, and could have made for a juicy movie. But it mostly falls flat. It's mildly diverting, but it doesn't come near its potential given the out-there premise.

Peter Graves also stars as a journalist who has it in for Quinn and the hots for Bancroft.

Grade: B.

The Naked Street (1955)

A hidden gem. It's too straight forward to be some kind of memorable classic, and it has too many of the earmarks of many movies that came earlier to be original in any way. But this is a really well made, slightly lower budget, crime and romance film with a great cast. Anthony Quinn in particular shows several sides to his personality as a nice big brother who is also controlling and blind to his little sister, a full grown Ann Bancroft, who is radiant in the working class apartment she lives in with her mother. And Farley Granger is a good echo of the slightly idealistic but misled innocent he played in "Strangers on a Train," though here he is not so innocent.

Expect a fast progression, some good solid filming, and acting that holds its own. The director, Maxwell Shane, is really more of a screenwriter, and so it figures the writing here is pretty good (he co-wrote, too). He has only a handful of other films he directed in this period, all reasonably good (the first, "Fear in the Night," the most forgettable, and the best, "The Glass Wall" stars Gloria Grahame), and all fairly formula stuff. This one rises up because of its tight construction and good, very good, acting. Give it a chance.

A rather silly, though not exactly unentertaining, noir. Anthony Quinn stars as a big-time gangster who discovers his sister (Anne Bancroft) is pregnant. The catch? The guy who did it (Farley Granger) is now on death row. Quinn won't let his sister's kid be born a bastard, so he's goes about intimidating the witnesses to Granger's crime and gets him a retrial. It works (the justice system was even more screwed up back then than it is now, apparently), but, even though he's now married to Bancroft and should be uber-grateful to Quinn for springing him, Granger is still kind of a douchebag, treating poor Bancroft like crap, smacking her around and cheating on her and stuff. This, of course, does not please Quinn whatsoever. Peter Graves also co-stars as a newspaper man who also has a thing for Bancroft. Quinn is really good in the film, but it's not one that plays to Granger's strengths. He's best as a nervous type, like in Rope, Strangers on a Train and Edge of Doom. He's not a good tough guy. This can also be found on Netflix Instant.

The acting makes the movie, especially gang boss Regal (Quinn) and his naive sister Rosalie (Bancroft). Regal may be a ruthless racketeer outside his family, but inside, he's a protective pussycat. That is, until cheap Lothario Bradna (Granger) first knocks-up Rosalie and then philanders after Regal forces him to marry her. And that's after Regal gets him off a murder-one rap so the irresponsible kid can do the right thing. Now, feeling betrayed, Regal's really angry, so we know Bradna's in for even worse trouble.

The movie's got some twists and turns, not all being very plausible. But that's okay because Quinn delivers a scary and riveting performance. The actor's just back from Italy where he starred in the powerful classic La Strada (1954). So maybe he was trying to show Hollywood a thing or two since he delivers a lot more than the role requires. Then there's Bancroft, already a magnetic personality, and on her way to an Oscar-studded career. Looks to me like the producers spent their money on the cast and not on the visuals that are pretty bland and bare-bones. But then the supporting cast is full of familiar faces, especially up-and-comers like Van Cleef and Graves, along with great vets like Bissell and Flavin.

Five-years earlier and I expect the film would have been straight noir, without the moralizing voice-over. But this is the McCarthy Cold War period, so there can't be any lingering ambiguity. Still, it's a fairly gritty little film with a compelling central performance that deserves better than near- total Hollywood obscurity, despite the titillating title.