Il tatuaggio misterioso

No familiar names at all to movie fans appear in The Tattooed Stranger as this New York based film was shot there with players who more or less made Broadway their beat.

A woman is found dead stripped of all her identity and all they had to go on was a couple of tattoos side by side done at different times.

Forensic detective John Miles is teamed up with beat cop Walter Kinsella to solve this crime, but first they have to find out who before why.. Patricia Barry consulting botanist is on the hunt as well.

The deceased I will say had quite a racket going on and there is someone not happy with it or her.

Nicely done like a CSI episode.

This is a great B film from the 1950's, because it deals with forensics just like the present day CSI Series TV shows. The police take it step by step in the laboratory and look at all the evidence with a fine toothed comb! Howard Hughes produced this film for only $124,000 and most of the filming was done in NYC, the Bronx, and Brooklyn, Queens. John Miles,(Detective Frank Tobin),"Gunfighters",'47 was a ex-marine who was able to get a college education and met up with a gal named Patricia Barry,(Patricia White),"Dear Heart",'64, who was able to assist Frank Tobin in his investigation into a young woman who had a Tattoo and was found in Central Park. If you really like B&W Classic B Films, this is a very worth while to just sit back and enjoy from beginning to END!

Director Edward Montagne does in a little more than one hour what other, more expensive and hyped films fail to do. Mr. Montagne shows us a police story written by Phillip H. Reisman Jr. that while, is not one of the best of the genre, it keeps the viewer involved in all that's going on.

This is clearly a B type movie. In fact, the best thing going for "The Tattooed Stranger" is the opportunity to take a peek at the way New York looked in those years. The crystal clear cinematography by William O. Steiner, either has been kept that way through the years, or has been lovingly restored.

There are great views of New York in the opening sequence. Later we are taken to Brooklyn to the Dumbo section and later on the film travels to the Bronx and the Gun Hill Road area with its many monument stores in the area.

John Miles and Walter Kinsella made a great detective team. Patricia Barry is perfect as the plant expert from the Museum of Natural History. Jack Lord, who went to bigger things in his career, is seen in a non speaking role.

It was great fun to watch a city, as it was, because it doesn't exist any more.

THE TATTOOED STRANGER was made two years after THE NAKED CITY and is obviously strongly influenced by it. Both films start with the murder of a woman and no clues. Both feature a team of a veteran and a neophyte detective. Both emphasize the legwork the young detective has to do, going from store to store throughout the city. In both the young detective tries to catch the killer alone. And both even feature a location with gravestones in the final chase. Yet, still, STRANGER is much more effective in capturing the real, everyday city, and is a memorable film in its own right. THE NAKED CITY rarely looks as though it were filmed with a hidden camera; in that bigger-budget production, the real locations look more like sets, with hired extras, studio camera-work and lighting, etc. (The exception, of course, is the breathtaking finale on the Williamsburg Bridge.) And the foreground action takes precedence; one doesn't get a strong sense of the texture of the city the way one does in STRANGER, where almost the entire film is made on various locations, including The Bowery.

The detection and the crime are quite realistic, and the bit players--including two tattoo experts and various luncheonette owners--seem as though they were pulled off the street. The excellent pacing matches a good script and performances appropriate to the story. The dialogue is sharp: pointing the body out to morgue attendants arriving just after the shootout, "He's over here, just the way you like him." And the young clean-cut cop has a nice sense of what a cop can get away with. In one of those greasy luncheonettes he tells a customer who seems interested in his conversation, "Joe, your ice cream's melting." With its real sense of the seedy atmosphere of the city, its agreeable pacing and crisp dialogue, THE TATTOOED STRANGER is a top notch film in its genre, able to hold its own in comparison to bigger-budgeted films.

Film and camera technology developed during World War Two paved the way for easy, inexpensive location shooting. So, in the late 40s, movies -- in particular, low-budget B-pictures -- started to break away from studio-built sets and to shoot on the mean streets of American cities. These changes also freed production from cumbersome studio systems and put the means of moviemaking into the hands of small, independent producers.

The Tattooed Stranger is a starvation-budget police procedural about the murder of an unknown victim; its cast and crew are all unknowns as well. A woman's body turns up in Central Park; later, in the morgue, police shoot a skid-row veteran hired to carve an identifying tattoo from her corpse. They have to find out first who she was, then who killed her. Their investigation takes them from brownfields in the Bronx to the bars and beaneries of Brooklyn and the Bowery.

This is the ratty old New York, before Robert Moses cleaned everything up by tearing everything down. The characters who inhabit firetrap tenements and patronize grungy tattoo parlors look like shell-shocked urban survivors, not slumming bit-players. The story, sweetened up slightly by a love interest of little interest, gets told flatly, with few frills. The Tattooed Stranger affords a brief, quasi-documentary glimpse into a squalid underside without benefit of sentiment or prettification.