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Fox was so encouraged by the success of films like THE HOUSE ON 92ND STREET, BOOMERANG and KISS OF DEATH, that it seemed only natural they would pursue this genre for many years during the '40s. The outcome of this pursuit is a film like THE STREET WITH NO NAME.

New hot property RICHARD WIDMARK is given another chance to shine as a sneering villain who runs a gang the police are anxious to put out of business. They send a mole (MARK STEVENS) to infiltrate the mob and get the goods on Widmark--not unlike the situation in Cagney's WHITE HEAT.

While this one doesn't approach the finesse of Raoul Walsh's WHITE HEAT, it's a solidly entertaining piece of crime melodrama given punch by some good overall performances. Aside from Widmark and Stevens, the cast includes reliable Fox contract players BARBARA LAWRENCE, ED BEGLEY, DONALD BUKA, and JOHN McINTIRE.

Based on an actual FBI case, there's some narration in the manner of other Fox films in this genre. Upcoming MARK STEVENS has the most interesting role and does well with it. Stevens is a young actor who never got his full due at Fox, although he appeared in a number of strong films.

Summing up: Well worth seeing if you're a fan of film noir.

At first, the docu-drama approach feels like kind of a safety net that prevents the viewer from losing himself completely in this striking noir universe, but the intricacies of the police work were interesting to watch unfold and this is still a strong film. Particularly memorable are the taut, virtually noiseless chase scenes that take place in suitably dark, nightmarish settings, like the one where crook Widmark sniffs out undercover cop Stevens at the hideout. I also liked the colorful low life lingo such as when one of the thugs tells Stevens to "pick yourself a boom-boom" as they suit up for their big score.

Great to see Richard Widmark doing what he does best - playing villains, of course. Few actors could match Widmark when it came to that staple of screen heavies: losing their temper. This guy slaps people's faces with a karate-like precision that's remarkable. And just the way he tells some flunkie henchman he doesn't want around to "blow" is pure heaven. In a role like this, he owns the screen; he's like a well dressed rat always scavenging for his next meal.

I was reading a Cornell Woolrich story about a year ago and one of the characters used a Mark Stevens' picture as an alibi for where they had been at a certain time. Never having heard of Stevens I assumed it was just a made up movie star name and movie title ("I Wonder Who's Kissing Her Now".) Imagine my surprise when shortly thereafter I looked up his name and found out that there certainly was such an actor, a borderline leading man who apparently enjoyed some level of stardom during a 30 or so film career. Judging by his appearance here, he's a good, functional actor, though he has the sort of face it's easy to forget. Which is probably why he was selected for this part, as he isn't asked to carry the film (he's off screen for about half the running time) and as an undercover agent he's naturally required to blend in with his new environment. He does that quite well.

Inspector Briggs : Lloyd Nolan enlists in the state organization to rookie FBI agent Gene Cordell : Mark Stevens, as he is assigned to a dangerous mission : to infiltrate himself into a nasty band led by an evil mobster named Styles : Richard Widmark . Things go awry when a corrupt mole at the police station is delivering information to the gangsters. The FBI Goes Undercover To Nab A Cold-Hearted Killer in This All-Star Crime Thriller With A Unique Storytelling Twist!. Counter Attack! A New Era Of Violence In The Making... A New Kind Of Gangster On The Loose! Here's The Real-Life Drama Of The FBI Counter-Attack Where Law And Order Break Down!

Classy Noir with thrills, supenseful , tension, plot twists and shady characters . Including a semi-documentary style at times , in fact the film's opening prologue states: ''The motion picture you are about to see was adapted from the files of the Federal Bureau of Investigation. Wherever possible, it was photographed in the original locale and played by the actual F. B. I. Personnel involved¨. Stars Mark Stevens providing a good acting as the new FBI agent, along with Loyd Nolan as a tough chief who leads the investigations against the ominous criminal organization. But the best acting goes to the great Richard Widmark, giving an extraordinary show as a ruthless gangster with sadistic tendency by killing , hitting enemies and mistreating his girlfriend, the beautiful Barbara Lawrence. The Street with No Name(1948) is one of three consecutive Richard Widmark Noir films where he performed an evil gangster along with Kiss Of Death and Road House. They're well acccompanied by a remaining and effective support cast , such as : John McIntire, Ed Begley, Howard Smith, Donald Buka, Lane Chandler , Howard Smith , and Joseph Pevney , subsequently a notorious filmmaker .

It contains an atmospheric cinematography in black and white with plenty of lights and shades by Joseph MacDonald , who along with Nicolas Musuruca , John Alton and John Seitz are the best cameramen that worked in the Noir Film genre . The picture was competently directed by William Keighley. This filmmaker was expert on Noir as proved in Each dawn I die, Ladies they talk about, G Men, Bullets and ballots and The Street with no name . Rating : 7/10 . Better than average.

Gene (Mark Stevens) infiltrates a gang led by Alec (Richard Widmark) with the intention of discovering who is responsible for a series of recent shootings and robberies. Gene makes his reports to Inspector Briggs (Lloyd Nolan) and has an undercover contact to help him, Cy (John McIntire). However, Alec suspects that one of his gang is betraying him and he then gets a phone call which confirms things to him....

This is a boys film about gangsters. The only woman with any kind of role - Judy (Barbara Lawrence) appears briefly and gets slapped about - I'm not sure her role has any relevance. The story is good and both the main characters, Mark Stevens and Richard Widmark, play their roles convincingly. A slight irritation is the narrator at the beginning - I wished he would just shut up and let the film take its course. Similarly, there are a few overlong sequences of police checking but overall it's a good film. However, it would have all ended differently were it not for an unsung hero, a cab driver (Charles Tannen).

J. Edgar Hoover, it now seems, was a mediocre crimefighter but a master orchestrator of his own publicity (and only secondarily that of the FBI). The Street With No Name stands as one of the better films dedicated to kissing his assiduously cultivated legend. Most directors assigned these tasks in the noir cycle wrote off such idolatry as a cost of doing business, clearing it away quickly so as to get on with their moviemaking; William Keighley follows this sensible agenda.

FBI agent Mark Stevens goes undercover to infiltrate the mob in that cesspool of crime, Center City, USA. In the boxing ring, he attracts the attention, slightly open to inference, of boss Richard Widmark, a dapper ("I like my boys to look sharp") cutthroat with a morbid fear of drafts and sneezes. With the aid of confederate John McIntyre, Stevens reports the gang's plans back to the FBI. Alas, a high-placed informant in the police department reports the FBI's plans back to Widmark.

So the movie boils down to the agent-in-peril story. Keighley tells it cleanly and briskly, eschewing the complexities (both visual and moral) of Anthony Mann's T-Men, released just a few months earlier. It's strongest in the feel for Center City's raffish tenderloin, with its fleabag hotels, pool halls and walk-up gyms. Stevens, McIntyre and Lloyd Nolan (as Stevens' superior) give workmanlike jobs with the rather staid roles scriptwriter Harry Kleiner supplies. His few-frills approach reins in Widmark, too, who's always better when he's unfettered and shooting over the top.

The Street With No Name suffers a bit from staying so resolutely all-guy; thus Barbara Lawrence suffers, too, in an underwritten and inconsequential part as Widmark's abused moll. A little more cool yin might have balanced out all that hot, hard yang.

NOTE: In 1955, Samuel Fuller remade -- and rethought -- this movie, using the same screenwriter and cinematographer (Joe MacDonald, now working in color) as House of Bamboo, set in postwar Tokyo.