Chiamate Nord 777

"Call Northside 777" is a well made crime drama shot in semi-documentary style. It benefits from a solid script, and tight direction (by Henry Hathaway). It also features a naturalistic James Stewart as a sharp investigative reporter; much of the success of the film is due to his thoroughly convincing performance. A fine support cast includes Richard Conte, Lee J. Cobb and Helen Walker. What ages the film a bit is the now somewhat dated technology featured (a lengthy episode in which the lie detector is treated in detail, along with certain photographic reproduction and transference techniques). Yet, one can view these aspects as historically accurate representations, and enjoy the total production, which is on a commendably high level.

According to the narration and prologue, this was based on a true story. The film depicts the 1932 murder of a police officer in a speakeasy in Chicago. In 1933, two men were given life sentences for the murder. The action of Call Northside 777 starts out eleven years later, in 1944. Lee J. Cobb, editor of the Chicago Times, comes across a small ad in the classifieds offering $5,000 to whomever can offer information regarding the murderer of the police officer in 1932. Anyone with information is urged to call Northside 777. Cobb is intrigued that someone would be offering so much money for an eleven year old, solved murder, and why it is in such an inconspicuous ad? He has a hunch that there is a story in there and he assigns lead reporter, James Stewart, to the case.

Stewart is at first uninterested but as he thinks out loud and asks questions, Cobb urges him to investigate and see what he can come up with. Stewart starts with meeting the owner of the classifieds ad, who turns out to be the mother of one of the men put in prison for the murder. She is adamant that her son is innocent, and has scrubbed floors since his imprisonment to save up the reward money and pay for the ad.

As Stewart interviews more people investigated in the case, and reviews more news stories and documents related to the case, he realizes that the man in jail for this crime may really be innocent. Noir mainstay Richard Conte stars as the (allegedly) wrong-fully convicted man. Helen Walker has a small but effective role as Stewart's devoted wife whom he confides in when he's trying to figure out the case. They also work on a jigsaw puzzle together throughout the film, which very skillfully acts as a metaphor for what Stewart is trying to do in his work life.

Betty Garde plays the eyewitness whose inconsistent ability to pick out the murderer in the lineup comes into question by Stewart. She is very bitter and uncooperative towards Stewart, and obviously afraid of something or someone unnamed, so he's forced to undermine her credibility and go without her assistance in clearing the man whom he feels was wrongfully convicted.

I thought Stewart was excellent in his role as the everyday man whose work could affect the lives of many people associated with the case. Lee J. Cobb was authentic in the role of Stewart's boss who urges him to keep going in his investigation. I do get the sense though that Cobb is just trying to increase readership in the newspaper, and that he couldn't care less about Conte's character. But Stewart is the one with a little more humanity who is more about solving the crime than increasing readership of his newspaper.

One thing I thought was interesting about this film was that the man who administers the lie detector test to Conte is the actual inventor of the lie detector test.

When a patrol cop is shot and killed, small time crook Frank Wiecek is tried for the crime and promptly sentenced to life imprisonment. Some 11 years on, tough cookie reporter P.J. McNeal gets involved with the case, the further he delves, the more he believes that Wiecek is innocent, but can he find evidence to back up his belief?

Filmed in semi-documentary style by director Henry Hathaway, this James Stewart led noir thriller oozes realism from start to finish. It's actually the lack of gloss and glamour that is the film's trump card. Based on the real story of the Joe Majczek case in 1933, it's filmed perfectly on location in Chicago {where the actual events happened}, gloriously mood emphasised by Joe MacDonald's superb black & white cinematography, and scored with tonal adroitness by Alfred Newman. As intrepid Chicago Times reporter McNeal {based on real reporter Jim McGuire who was a Pulitzer Prize winner for his investigative efforts on this case}, James Stewart lays down a marker for the more edgier character roles that would follow for him in the 50s. Here he plays it perfect as McNeal shifts from mere cynical newsman to an outright crusader of justice; and it's riding along with McNeal that this human interest piece lifts itself to great crime thriller heights. Along the way we find problems are encountered and police procedural techniques are scrutinised. All may not be as it first seemed, and this mysterious element ices what was already a delightful docu-drama based cake.

There is not much else to say, it's a film I personally highly recommend, a fascinating story that is given top care and attention from all involved, mean, moody and yes, magnificent. 8/10

This is a movie whose type later became familiar as "realistic crime-investigation narrative" primarily on the strength of a handful of films such as "the Lineup", "Kid Glove Killer" and this effort. It was in fact based on an actual 1932 case, we are told by historians, mostly on articles written by reporter James P. Mcguire. The one true thing said about the film by some of its recent reviewers is that the film benefits greatly--even looks modern to the 21st century eye--because it was filmed in the great city of Chicago and not on a Hollywood back lot. Solid director Henry Hathawy made use of unusual on-site lighting, locations and buildings to establish the milieu of the story-line in time and place. The plot line has one flaw, I suggest; I have seen it done as a TV one-hour drama and as this 111 minute feature, and it worked both ways for me because it features a straightforward "investigation" motif--a reporter trying to find out if a sentenced cop-killer is guilty or actually innocent. The flaw for me is the incredulity of the reporter before, during and long into his diligent and professional search for the facts in the case; anyone who knew anything about the police of the United States, Chicago especially, as they operated in 1932 and still operate today, would know two facts--that eyewitness identifications can, notoriously, be erroneously made; and that the justice system in the United States was then lacking in forensic sciences, politically corrupted and often set against minority-group defendants and suspects--conditions which have worsened in some respects since that time. Having said this, I add that the rest of the film is well-photographed, a good black-and-white, adventure, painstakingly presented. The script was adapted from the original articles as fictionalized biography by Leonard Hoffman and Quentin Reynolds, with screenplay by Jerome Cady and Jay Dratler. Cinematography by Joe Macdonald, music by Alfred Newman and consistent art direction by Lyle Wheeler and Mark-Lee Kirk, costumes by Kay Nelson and period set decorations by Walter M. Scott and Thomas Little all aid the realistic feel of this film very professionally. The body of the work comprises reports and arguments between a reporter, played ably by Jimmy Stewart, his editor --the powerful Lee. J. Cobb, and his wife, the attractive and capable Helen Walker, relative to his assignment-- finding out of Frank Wiecek was guilty of the crime for which he has served years in prison already. The case becomes an assignment for the ace reporter when he is assigned to investigate an offer of a reward for information leading to the man's exoneration; he finds out the offer of payment came from the man's aged mother who is scrubbing floors to feed herself and get money for this purpose. The case then turns on Stewart's ability to locate a missing witness, his growing belief in Wiecek's innocence and the use of a wire-photo, then a new and unusual technology, to prove that this star witness for the prosecution had been shown the accused--standard illegal police procedure--before she had made her original identification. In the cast besides Stewart who is charismatic, and very good though not ideal in the role, and Cobb and Walker, are many good actors. Kasia Orzazewski plays the mother, Richard Conte is good as Wiecek, Betty Garde is the elusive witness and Joanne de Bergh the wife who divorced the imprisoned Wiecek at his insistence. Among others in the cast are Moroni Olsen, George Tyne, Thelma Ritter, E.G. Marshall, Walter Greaza, Howard K. Smith, Samuel S. Hinds and Percy Helton. This is a deliberately paced and very realistic movie; it could have been done differently, but as noted above, my only reservation about its merits lies in the attempt to make the central character perhaps too annoyed at his assignment to be believable as a hard-boiled 1930s reporter a corrupt nation, city and legal environment. This is still a powerful and personal account of an injustice and how difficult it is in a bureaucratic country to right even the most obvious wrong. The film is memorable and often engrossing by my standards even today.

In 1932 December, in Chicago, the Polish Wanda Skutnik (Betty Garde) runs a speakeasy during the Prohibition. When the policeman Bundy is murdered inside the illegal bar, Frank W. Wiecek (Richard Conte) and his friend Tomek Zaleska are arrested and sentenced to serve 99 years each in the Illinois State Penitentiary.

Eleven years later, the Chicago Times' editor Brian Kelly (Lee J. Cobb) is curious with an advertisement offering a US$ 5,000.00 reward for information about the identity of the killers of the policeman eleven years ago. He assigns the efficient reporter P.J. McNeal (James Stewart) to interview the person responsible for the ad. McNeal discovers that Frank's mother Tillie Wiecek (Kasia Orzazewski), who is a janitor, has saved her salary for eleven years to prove the innocence of her beloved son and now is offering the reward for additional information. McNeal is skeptical and believes that Frank is a cop killer, but his matter is successful and Kelly asks him to investigate further. Soon he changes his mind and realizes that Frank is a victim of the corrupt system.

"Call Northside 777" is an engaging movie about injustice and redemption based on a true story. The names were changed but most of the location is real. Movies of trial are usually attractive and James Stewart is one of the best actors of the cinema history. The result is a great movie directed by the also excellent Henry Hathaway. The only remark is the awful line of McNeal in the end of the movie: "Aw, look, Frank, it's a big thing when a sovereign state admits an error. But remember this: there aren't many governments in the world that would do it." Terrible way to admit an error that has cost eleven years of a man's life and made him lose his beloved wife and son. My vote is eight.

Title (Brazil): "Sublime Devoção" ("Sublime Devotion")