La legge del silenzio

Plot--As a youngster Johnny Columbo vows to crack the criminal organization in New York's Little Italy, the Black Hand, after they've murdered his father. As an adult he seeks to carry out his pledge among the teeming streets, where people are mostly too intimidated to help out. Eventually, he allies with the fearless Louis Lorelli. But will that be enough.

It's a well-produced crime drama from MGM. I suspect the film was approved under the general aegis of Dore Schary who was replacing Louis B. Mayer as studio head. Under Mayer the studio typically turned out sunny escapism that came to define Hollywood as the Dream Factory. But the sunny themes of Andy Hardy were out of synch with a traumatized post-war audience, so studio adjustments such as Schary's darker vision was needed. Black Hand typifies the noirish themes that came to dominate the period that Schary's former studio RKO specialized in.

Looks like actor Kelly was also hoping to expand his range into the new period. I had some difficulty viewing him as an Italian immigrant, but he manages the lingo smoothly enough even though I kept expecting a soft shoe at any moment. The movie itself creates some suspense even though director Thorpe films in impersonal style. Unfortunately, that minimizes the many dramatic highlights that more close-ups and edgier acting would have underscored. Nonetheless, the shabby settings and shadowy lighting impart an appropriate mood. Columbo's moral predicament at the end is a poignant one, a culmination of the shadowy mood.

Overall, the result fails to give enough bite to the drama implicit in the material. My guess is Schary should have brought some of RKO's crime specialists with him.

After his father is murdered for standing up to the mob Johnny Columbo swears to avenge his death. Well entrenched in Little Italy the Mafia uses violence and intimidation to keep the community in its grip and Columbo finds it difficult at first to get assistance in breaking the code of silence that solidify's their grip. When he enlists the help of detective Louis Lorelli things begin to happen and the mob responds harshly.

Gene Kelly in an off type role as Johnny is a slight stretch (it begs for Richard Conti) but convincing enough. It is J. Carroll Naish as intrepid detective Lorelli though that runs away with the film. It's nice to see J. center stage and noble given his career as a venal and craven weakling in many of his films hanging on the edge of scenes, ready to pounce on someone's misfortune.

Workman like director Richard Thorpe more than once allows his scenes to drag in spots but cinematographer Paul Vogels excellent camera work fills the suspense lapses with excellently lit exteriors and some nice subtle tracking work. There are Lang like moments as well with Thorpe eschewing suspense music in favor of silence and ambient noise to heighten scenes but his poor pacing and moments of incredulity prevent the film from reaching full potential.

There is certainly more ugly truth to be found in the film Black Hand that deals with the same topic of the Mafia as the more sophisticated violently romantic Godfather films. Pale in comparison to the production values, vaunted cast and and directing styles of the saga it still delivers moments that rival.

When I think of Gene Kelly, I think of "Singing in the Rain" or "An American in Paris," as I imagine most would. I would never expect to see him playing an Italian who comes back from the old country to avenge the death of his father. Casting him as an Italian was way off base. They couldn't find an Italian to play an Italian? This miscasting affects the whole movie.

You should not look for something that resembles "The Godfather" here as there is a similar revenge story. This was done in 1950 and people were obviously more gullible. Imagine that he was able to pick up a lit cigarette with his feet and use it to light a fuse. Imagine that he could do that, without even imagining the fact that he did it in a room full of people. Incredible! The one redeeming part of the movie was the part played by J. Carrol Naish, as a police detective who figures out a way to beat the mob.

Of interest as the predecessor to the films that we all love today about the Mafia.

Although basically an Irishman with Irish parents, Gene Kelly succeeds very well in making a convincing Italian character. It is a great story in which Kelly gets plenty of opportunities to excel in his acrobatics (bur no dancing here!) as he generally insisted on doing his own stunts. Little Italy in New York, in which more Italians lived than in Rome around 1900, is very well recreated with excellent cinematography and photography and comes alive, in all its primitive conditions and circumstances but with the mob no less vicious and insidious than in later Godfather days; and the thriller created is as good a match as any to later New York gangster films. Teresa Celli is even more convincing as the Italian lady of the film, and all other characters are also absolutely right, especially J. Carrol Laish as the intrepid policeman ending up a martyr for not being too careful. The music by Alberto Colombo is also perfect, but I think the prize goes to Paul Vogel for the almost expressive photography.

Remarkable only for the presence of Gene Kelly, this decidedly no-dancing 1949 drama purports to tell how a New York Mafia protection racket was smashed in the early 1900s. Kelly appears to have made it in between On the Town and Summer Stock, and possibly welcomed the chance to do some serious acting, though this never was his forte, and there are moments when you half expect him to start hoofing and warbling!

Kelly plays the part of a young man whose Italian father has been killed by the Black Hand gang years before, and is seeking revenge, initially by direct action with a knife, but later by legal means, though at the end of the day he has to use the knife any way. The film as a whole is variable, with some plausible dramatic scenes, but with others straight out of a Keystone Kops comedy, including some set in Naples. J Carrol Naish has a major role as an Italian-American detective, and a little romantic interest for Kelly is provided by Teresa Celli.