La città nuda

That's just what the producer, Mark Hellinger does. He tries to make it clear from the introduction that this is not your average movie. It is not. This entire production tries to accomplish one thing - authenticity. And for the most part, it succeeds.

Before I get to what's right about this movie, let me mention a few of the things that are wrong. Ted DeCorsia overacts. He always overacts. Howard Duff's character, Frankie Niles, is supposed to be a streetwise grifter. How the hell could he be dumb enough to get himself in as many pickles as he did. Anybody who has ever been around the block would know better than to lie to the cops about everything. Just lie about the important things and tell the truth when it won't hurt you. If this guy is a sociopath, he's the dumbest one in town. Although most of the accents are on the money, the incidental dialogue injected into some of the scenes sounds forced and phony. In fact, it sounds like Hollywood trying to sound like New York. Mark Hellinger's narration, by comparison, is not only authentic, it's practically Damon Runyonesque.

Now - what's right. Practically everything else. The location photography is the New York I remember as a kid. While I was watching some of the hot summer scenes downtown, I could practically smell the asphalt, melting tar, and garbage. Don Taylor's brick duplex in Queens was just the kind of house that every struggling family on the wrong side of Brooklyn aspired to.

I won't comment on the story except to say, it's an entirely believable crime story. I seem to remember Barry Fitzgerald playing a similar role in Union Station. Reminds one of the old days when most of the cops were Irish - and New York was really New York.

...New York! This film is presented as a quasi-documentary (it is not). Though the story is fictional, the setting is entirely real - 1948 New York City. And that is the biggest appeal of the picture (I was born and raised there so I may be biased). Some interior shots appear to have been filmed on a sound stage, but the bulk of it is on location. For example, there is a scene filmed in lower Manhattan near Rivington and Norfolk streets. It show's a bustling, thriving "family" neighborhood with well dressed folks and kids playing in the neighborhood. It looks nothing like that now - just a place to pass through to get to somewhere else (though there is a school there now - check google maps and find the intersection - you can see the same building in the opening shot for that scene).

Story-wise, it's a pretty solid film especially considering how dated movies from this period can be. There appears to be a real attempt to make the movie as accurate as possible and goes out of its way to include the methods used in solving modern crimes such as forensics - probably a novelty at the time. The acting is solid throughout. I'm not sure how comfortable I am with the idea of a narrator - on the one hand, it lends authenticity to the documentary feel, but on the other, it can take you "out" of the picture at times. Overall, very worth watching. I give it a thumbs up (can I do that here?)

There are two styles of Film Noir. Fueled by writers like James M. Cain, Dashiell Hammett, and Raymond Chandler, the first style emerged in the 1940s and was characterized by a cynical, often witty tone; anti-heroes, dangerous women, and assorted criminal elements; and complex plots that emphasized betrayal and moral ambiguity. It was also photographed in a remarkable visual style that combined glossy production values with atmospheric emphasis on light and shadow--and films like THE MALTESE FALCON, THIS GUN FOR HIRE, MILDRED PIERCE, THE BLUE DAHLIA, and DOUBLE INDEMNITY remain great classics of their kind.

But after World War II public taste began to change. Things that could only be hinted at in earlier films could now be more directly stated, and as audiences clamored for a more gritty realism the glossy sophistication of 1940s Noir fell out of fashion. The result was a new style of Noir--photographed in a grainier way, more direct, more brutal, and even less sympathetic to its characters. And the 1948 THE NAKED CITY was among the first to turn the tide. The sophisticated gumshoe, slinky gun moll, and glossy production values were gone; this film felt more like something you might read in a particularly lurid "true detective" tabloid.

In an era when most films were shot on Hollywood backlots, THE NAKED CITY was actually filmed in New York--and while filmmakers could film with hidden cameras sound technology of the day posed a problem. But producer Mark Hellinger turned the problem into an asset: the film would be narrated, adding to the documentary-like style of the cinematography and story. (Hellinger performed the narrative himself, and his sharp delivery is extremely effective.) The story itself reads very much like a police report, following NYPD detectives as they seek to solve a dress model's murder.

For 1948 it was innovative stuff-but like many innovative films it falters a bit in comparison to later films that improved upon the idea. The direct nature of the plot feels slightly too direct, slightly too simple. The same is true of the performances, which have a slightly flat feel, and although Barry Fitzgerald gives a sterling performance he is very much a Hollywood actor whose style seems slightly out of step alongside the deadpan style of the overall cast. Even so, the pace and drive of the film have tremendous interest, and while you might find yourself criticizing certain aspects you'll still be locked into the movie right to the very end. Particularly recommended for Film Noir addicts, who will be fascinated to see the turning point in the style.

Gary F. Taylor, aka GFT, Amazon Reviewer

In New York, the model Jean Dexter is found dead in the bathtub of her apartment apparently after committing suicide. However, the coroner concludes that she was actually murdered with a simulation of suicide. The experienced Homicide Lieutenant Detective Dan Muldoon (Barry Fitzgerald) initiates his investigations with Detective Jimmy Halloran (Don Taylor) and his team, and the prime suspect becomes Jean's friend Frank Niles (Howard Duff), who he an alibi but tells many lies in his statement.

The director Jules Dassin from the masterpiece "Du Rififi Chez Les Hommes" and "Night and the City" presents "The Naked City" totally filmed in locations of New York City and with actors interacting with common people on the streets like in the Italian Neo-Realism. The introduction is unique, with the credits narrated by the producer Mark Hellinger like in a documentary, and I do not recall any other movie with this characteristic. The screenplay discloses a great detective story, very well acted with Barry Fitzgerald playing a cynical and smart lieutenant and Don Taylor an inexperienced and family man detective. In the conclusion, the narrator tells that this is one of the 8,000,000 stories of the naked city, in a time where New York City had only this population (against more than 20 million inhabitants of the present days). My vote is eight.

Title (Brazil): "Cidade Nua" ("Naked City")

Note: On 27 May 2016, I saw this film again.

An unrealized project of Alfred Hitchcock's was to make a movie about 24 hours in the life of a great city, probably New York. Producer Mark Hellinger enlisted director Jules Dassin to attempt a similar stunt. The result was The Naked City, a slice-of-life police procedural that served as template for the popular television series a decade later. And while the movie is nowhere near the ground-breaking cinematic enterprise that Hellinger promises in his introduction and ceaseless voice-over narration, it's not negligible. With its huge cast (many of them recognizable, even in mute or walk-on roles) and pioneering location shooting on the sidewalks of New York during the sweltering summer of 1947, it nonetheless continues to satisfy. Its documentary aspect outlives its suspense plot.

It opens with two men chloroforming and then drowning a high-profile model in her city apartment (shades of I Wake Up Screaming and Laura). When her cleaning lady finds her next morning, it falls to Detective Lieutenant Barry Fitzgerald, with his heather-honey lilt, and his principal investigator, Don Taylor, to fit the pieces together. Soon into their web flits Howard Duff, an affable, educated loafer with no visible means of support who lies even when the truth would do him no harm. It seems he was on cozy terms with the deceased, even though he's engaged to one of her co-workers (Dorothy Hart). But although Duff's a poor excuse for a human being, nothing seems to stick to him, either. So the police slog on through the broiling day and soupy night, knocking on doors and flashing pictures of the dead girl. Their sleuthing takes them, and us, up and down the hierarchy of the city's eight million souls, from society dames and society doctors to street vendors and street crazies.

While the plot never rises out of the routine, these urban excursions give the movie its raffish texture – and remain one of its chief pleasures. This was New York in the dawn of its post-war effloresence, a city where it was still common practice to live comfortably on modest – average – wages. The gap between East Side apartments and Lower East Side walkups, with the bathtub in the kitchen, doesn't yet seem impossible to cross. And its inhabitants burst on camera with a welter of accents and attitudes. Hellinger and Dassin must have enlisted the services of every character-actor and bit-player in the Tri-State area, and film buffs will have a trivia tournament in trying to pick them out.

The Naked City ends with a chase over hot pavements and a stand-off high up on one of the bridges spanning the East River. It's a great set-piece, of the sort that action movies are all but required to include, but the movie's strength proves more subtle – it lies in its collection of sharply drawn vignettes (some of them, to be sure, little more than sentimental shtik). The Naked City is a rarity – a major production where the day players outshine the stars.