Il porto di New York

Sporting a head of dark, wavy hair that paradoxically emphasizes his Mongol heritage, Yul Brynner plays a debonair drug runner bringing heroin into the U.S. (We know he's a monster from the 78s of dissonant, avant-garde piano music -- Prokofiev? Shostakovich? -- he's forever playing.) When a bribed purser from a luxury liner surfaces in New York harbor with his throat slit, Brynner's fiancee/accomplice (K.T. Stevens) starts running scared and meets up with a narcotics agent (Scott Brady). Bad mistake, which Brynner swiftly and coldly corrects. The investigation heats up both on shore and on water, taking a creepy, and unexpectedly Bohemian, turn toward a cabaret emcee called Dolly (Arthur Blake) who cracks jokes and does Charles Laughton impressions with a monkey on his back. His mistakes, too, prove unpleasantly fatal. Moving closer to the heart of this particular darkness, Brady poses as someone in the drug racket, and comes close to bringing it off.... Even though, despite Russian-born Brynner's playing the villain, there's not a whisper of Soviet conspiracy in Port of New York, it eerily foreshadows both the black-and-white brutality and the smug self-righteousness of the Red Scare cycle. (In the minds of the public and elected officials, during this springtime of McCarthyism, narcotics and Communism were pretty much the same thing.) Though it lacks the ambiguity of fully developed characterizations, the movie succeeds fairly well on its own, straightforward terms -- especially in turning an over-romanticized New York into the raffish port city it essentially is, or was.

This effective noirish crime drama was Yul Brynner's film debut in which he demonstrates star quality as a debonair, brutal crime boss engaged in drug trafficking. Brynner was born in Vladivostok and his oriental features and full head of wavy hair (!) are perfectly suited to this role. In particular, his facial expressions and body language when he gets busted are superbly acted and well worth watching.

Scott Brady and Richard Rober deliver generally good performances as federal agents whose goal is to track down a shipment of narcotics. Although they are portrayed as heroes, neither has star quality and their acting is occasionally hammy. The rest of the cast plays a convincing ensemble of feds, thugs, dealers, and dames.

The direction and cinematography are excellent with some beautifully composed classic noir scenes where Brady and Rober explore a dark warehouse. The plot is predictable without major twists or sharp dialog, although the stentorian narrator gives the movie an interesting fascist undertone as war-on-drugs propaganda.

The print (Classic Film Noir, Volume 2) is quite good although the sound track is scratchy. Despite its flaws, this is a well-crafted fast-paced minor film noir worth adding to your collection.

Hi, Everyone, Scott Brady has an idea how to steal a scene from Yul Brynner. Scott Brady has better hair, but Yul has the voice and facial expressions that show he was destined for a big Hollywood career.

This was 7 years before The King and I would make Yul Brynner a bald box office giant. Much of Yul's pleasant killer personality would be used in future bad guy roles such as Westworld, The Ten Commandments and Magnificent Seven. In this 1949 film, Yul seems to enjoy playing cat and mouse with his intended victims. He being the cat, of course.

Scott Brady did an excellent job as the good guy here. Lots of good action scenes with Scott apparently doing his own falls.

The plot basically is the bad guys want to bring one million dollars worth of narcotics into the U.S. One million dollars worth of narcotics today would be a misdemeanor.

This is a joy to watch just for the history. DeSoto Cabs follow Checker Cabs. Grand Central Station is shown during rush hour. Rush hour was anytime in the 1940s. Men's suits looked smart. Neville Brand is seen here shortly after his World War II service ended. He is the guy who is operating the ship's steering wheel in some scenes.

All of New York looks dressed up for a holiday but that is just what people wore in 1949. Good scenes, good plot, good cast.

The guy who plays Dolly Carney does an excellent job. His name was Arthur Blake. Interestingly, Yul Brynner, Scott Brady and Arthur Blake all died in 1985.

This one is worth watching.

Tom Willett

Port of New York is directed by Laszlo Benedek and written by Eugene Ling. It stars Scott Brady, Richard Rober, Yul Brynner and K.T. Stevens. Music is by Sol Kaplan and cinematography by George Diskant.

Two federal agents work to crack a gang of murderous drug dealers who are operating out of the Port of New York.

The strengths here are obvious, Diskant's photography provides atmospheric dread, the location shooting of New York is superb, and the smoothly villainous portrayal by Brynner is on the money and sets him on the path to the "A" list. Pic is kinda semi-documentary in style, complete with narration of course, and it's often violent enough to keep one hooked to the end.

Minor film noir but not without merits. 6/10

Had a chance to sit down and watch PORT OF NEW YORK some time ago and I have to say that this is a terrific little noir/crime/thriller! Told in "documentary style" as in such films as HOUSE ON 92ND STREET, THE NAKED CITY and HE WALKED BY NIGHT, the movie is swiftly paced, violent with a decent amount of suspense and plenty of fisticuffs. Scott Brady and Richard Rober play a couple of federal agents, one a customs agent and the other a treasury agent out to stop the distribution of illegal "contraband", i.e., opium, that came in on a ship but was smuggled off by drug dealers. The leader of the drug operation is Yul Brynner, sporting a head of dark, wavy hair and appearing in his first film role I believe. Brynner is suave and refined and listens to avant-garde piano music but it is clear that he is also quite cold and violent as the bodies start to pile up. Plenty of action to keep one interested and wonderful direction from László Benedek. The real star though is cinematographer George E. Diskant. Filmed entirely on location in New York City, the film bursts to life with magnificent images of the Big Apple and some truly wonderful shots of the NYC maritime scene. This is a rather obscure, "B" noir/crime film that was a pleasant surprise and a movie that all fans of the genre should check out.