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IMDbPro

I ragni della metropoli

Titolo originale: Gambling House
  • 1950
  • Approved
  • 1h 20min
VALUTAZIONE IMDb
6,2/10
591
LA TUA VALUTAZIONE
William Bendix, Victor Mature, and Terry Moore in I ragni della metropoli (1950)
Film noirCrimineDrammaThriller

Aggiungi una trama nella tua linguaIn New York, a small-time hood, who took the rap for a murder committed by his crime-boss in exchange for 50 G's, faces deportation because he doesn't hold American citizenship.In New York, a small-time hood, who took the rap for a murder committed by his crime-boss in exchange for 50 G's, faces deportation because he doesn't hold American citizenship.In New York, a small-time hood, who took the rap for a murder committed by his crime-boss in exchange for 50 G's, faces deportation because he doesn't hold American citizenship.

  • Regia
    • Ted Tetzlaff
  • Sceneggiatura
    • Marvin Borowsky
    • Allen Rivkin
    • Erwin Gelsey
  • Star
    • Victor Mature
    • Terry Moore
    • William Bendix
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,2/10
    591
    LA TUA VALUTAZIONE
    • Regia
      • Ted Tetzlaff
    • Sceneggiatura
      • Marvin Borowsky
      • Allen Rivkin
      • Erwin Gelsey
    • Star
      • Victor Mature
      • Terry Moore
      • William Bendix
    • 18Recensioni degli utenti
    • 8Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto13

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    Interpreti principali61

    Modifica
    Victor Mature
    Victor Mature
    • Marc Fury
    Terry Moore
    Terry Moore
    • Lynn Warren
    William Bendix
    William Bendix
    • Joe Farrow
    Zachary Charles
    • Willie
    • (as Zachary A. Charles)
    Basil Ruysdael
    Basil Ruysdael
    • Judge Ravinek
    Donald Randolph
    Donald Randolph
    • Lloyd Crane
    Damian O'Flynn
    Damian O'Flynn
    • Ralph Douglas
    Cleo Moore
    Cleo Moore
    • Sally
    Ann Doran
    Ann Doran
    • Della
    Eleanor Audley
    Eleanor Audley
    • Mrs. Livingston
    Gloria Winters
    Gloria Winters
    • B. J. Warren
    Don Haggerty
    Don Haggerty
    • Sharky
    Fred Aldrich
    Fred Aldrich
    • Court Bailiff
    • (non citato nei titoli originali)
    Kirk Alyn
    Kirk Alyn
    • FBI Man
    • (non citato nei titoli originali)
    Tol Avery
    Tol Avery
    • Adams
    • (non citato nei titoli originali)
    Frank Baker
    Frank Baker
    • Court Bailiff
    • (non citato nei titoli originali)
    Gregg Barton
    Gregg Barton
    • First Police Officer
    • (non citato nei titoli originali)
    Forest Burns
    Forest Burns
    • Milkman
    • (non citato nei titoli originali)
    • Regia
      • Ted Tetzlaff
    • Sceneggiatura
      • Marvin Borowsky
      • Allen Rivkin
      • Erwin Gelsey
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti18

    6,2591
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    Recensioni in evidenza

    dougdoepke

    Flawed Crime Drama

    The movie's a flawed crime drama that suffers from both miscasting and an unconvincing mixed message. Mature's Marc Fury (what a name!) is a racketeer threatened with deportation because he crossed the head racketeer (Bendix), who has connived effectively behind the scenes. In his efforts to avoid being sent back to a war-ravaged Europe, Marc romances a refugee worker Lynn Warren (Moore) who works with persons displaced by the war.

    Unfortunately the bubbly Moore is only 21 in a part that calls for a much more mature looking actress, while actor Mature is a relatively advanced 37. As a result, the two don't match up well either physically or age-wise, making their pairing a real stretch for the movie.

    But I suspect there's an interesting backstory to this production from RKO. Keep in mind this was about the time womanizer Howard Hughes purchased the studio. Moore, apparently, was one of his many favorites, while she claimed the two had secretly wed in 1950, the same year of this film. So I rather suspect Hughes was trying to boost her career by pairing her with one of Hollywood's biggest hunks, whether their pairing in the movie was credible or not. This is speculation on my part, but remains something to think about when viewing the film.

    Now, crime dramas don't have to exclude political themes if those themes are artfully included. The trouble here is that Marc's sudden change of heart is neither persuasively dramatized nor subtly expressed. His final patriotic speech before the judge is more like a sermon than a confession, and shifts the whole weight of the film onto a last minute contrivance. But again, keep in mind, that Hughes was obsessed with the communist threat in 1950, so the artless message could well have originated in the headman's office.

    In short, I see the movie's crippling compromises as the result of studio boss Hughes' particular preoccupations. Again, I can't claim anything more than conjecture, but at the same time, the points do have a circumstantial basis.

    Where the movie succeeds is in giving the audience an idea of the plight of civilians displaced by the recently concluded war in Europe, and seeking a new life in America. This is now a largely forgotten aspect of the post-war period, but remains a wrenching aspect, movingly portrayed here by the Sobieski family.

    All in all, the movie lacks impact as a crime drama and over-does the courtroom preachments. No wonder that whatever the good intentions, Gambling House has joined the ranks of the largely forgotten.
    7jayraskin1

    Interesting Film with Casting Problems

    This is an interesting film which is part gangster film, part film noir, and part social drama. For those interested in how deportation was used in the 1950s to get rid of undesirables, it is very educational and seems pretty realistic. I think the biggest problem with the film is the casting of the three leads, Victor Mature, Terry Moore, and William Bendix.

    Mature is surprisingly good as a gangster, but he really has a good nature and looks heroic, so it is hard to see him as a thug. Moore was 21 years old at the time of the movie and Mature was 37. This type of age difference is not unusual in Hollywood movies of this time, but unfortunately, Moore looks 18 years and talks like she is 16, and Mature looks in his 40s, so the blossoming love relationship between them seems misplaced. There were probably 50 actresses from 25-45 who would have been great with Mature, but Moore just seems in the wrong picture. Moore is great in other pictures, like "Mighty Joe Young," but at 21, she lacks the gravity to be a counter-balance to Mature's brooding performance. He is also about a foot taller than her. She looks like his daughter when she is next to him.

    Worse, William Bendix, one of the great comic actors of this time plays the villain. Anybody who has seen him in his "Life of Riley" television series or other comic roles he has played in can only be disappointed that he plays the villain straight without any comic touches. He is not bad as the villain, but it does seem a waste of his talents.

    It does move along fairly well and does generate some suspense in the key scenes. Don't go in with high expectations and you'll enjoy it.
    6bmacv

    Confused storyline subverts atmospheric direction

    The opening and closing images of this movie, directed by Ted Tetzlaff, fall firmly in the tradition of evocative noir staging and shooting. Too bad the bulk of the movie falls far short of that promise. Victor Mature, an operative in a gambling syndicate bossed by duplicitous William Bendix, eludes a rap but finds himself about to be deported. Squeakily wholesome Terry Moore, who works expediting such cases, falls for Mature (she's the primary female presence in the film, which cries out for a darker, more ambiguous woman). For long stretches it's unclear whether the script is about the inequalities of the immigration laws or about the dangers of organized gambling. A much grittier treatment of the same subject, from the same era, is The Lady Gambles, starring the First Lady of Film Noir, Barbara Stanwyck.
    youroldpaljim

    Is this a film noir or a social drama?

    As a previous commentator in this forum pointed out, this film has a very promising opening. One expects a tense and gritty film noir. However, the film soon drifts into a standard social drama about immigration laws and has little to do with crime or gambling until the end. With the excellent opening many people who watched this film were probably expecting something very different and were like me, disappointed.
    7planktonrules

    A strange combination of genres but a decent film.

    "Gambling House" begins with a murder. A mobster like Farrow (William Bendix) did it, but isn't about to take the rap. So, he hatches a plan--Marc Fury (Victor Mature) will claim he killed the man and Farrow will say he witnessed it and it was self-defense. Well, the jury believed it and now Fury is going to be $50,000 richer. However, he's caught by surprise when he's leaving the courtroom--when he's served with a deportation order. Apparently, he came to America as a very, very young boy and didn't realize his family was never naturalized. And, so, because of this loophole, he might be forced to go to live in Italy. Marc isn't at all happy--but not because he's losing his citizenship but because he's a tough guy and doesn't like being told what to do. So, with the help of a social worker (Terry Moore), he's going to fight this order. And, this is a tall order for a guy who is this cynical!

    The film is a very strange combination of genres. It's clearly film noir because of the dialog---Fury talks and acts like a classic noir character, as does Farrow. But, it's also a social commentary film, a HIGHLY patriotic film AND a romance to boot! Strange certainly is the word for this melange! But is it any good? Sure. The film has its shortcomings (it's a bit too heavy-handed when it comes to the American dream and the chemistry with Peters seems forced) but it also is good entertainment and Mature is very entertaining as Fury. In particular, the ending is really, really good--pure noir in style and with a twist.

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    Trama

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    Lo sapevi?

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    • Quiz
      RKO borrowed Victor Mature from 20th Century-Fox for this film - after he had been temporarily suspended for refusing to be loaned out for this picture.
    • Citazioni

      Joe Farrow: You been losing a lot lately. Almost broke, ain't ya?

      Marc Fury: That's your estimate.

      Lloyd Crane: Would 50,000 dollars interest you?

      Marc Fury: Maybe.

      Lloyd Crane: Well, here's your situation. I suggest you let them put you on trial. We'll plead self-defense and keep you off the stand. It'll appear obvious that Blenheim pulled a gun, shot you and you grabbed it. In the scuffle, Blenheim was killed. Farrow will be a good witness. And I'm positive no one can laugh off that hole in you.

      Marc Fury: [turning his head towards Farrow] Have a got your word for this?

      Joe Farrow: Certainly.

      Marc Fury: You guarantee it?

      Lloyd Crane: You know me, Marc...

      Marc Fury: I'm not talking to you. You're Farrow's shyster. You'd pick up his spit if he told you to.

    • Connessioni
      Referenced in Howard Hughes: His Women and His Movies (2000)

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    Dettagli

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    • Data di uscita
      • 20 gennaio 1951 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingue
      • Inglese
      • Italiano
    • Celebre anche come
      • Gambling House
    • Luoghi delle riprese
      • New York, New York, Stati Uniti
    • Azienda produttrice
      • RKO Radio Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 1h 20min(80 min)
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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