La città è salva

... in a very suspenseful but oddly constructed noir. The first part is centered on prosecutor Martin Ferguson's (Bogart's) attempt to keep star witness Rico alive until the murder trial of Albert Mendoza the next day. Rico arrives in an armored truck with cops armed with rifles surrounding him. The fact that Ferguson spends the rest of the film in flashback, wondering if he possible missed a potential witness who could replace Rico on the stand, will tell you he failed. How he failed I'll let you see for yourself. The flashback is Ferguson thinking back to the beginning of what became the Mendoza case and how everything unfolded, starting with a guy wandering into a police station saying he just killed his girlfriend, and that he was made to do it, yet he cannot lead the police to a body or produce a motive as to why anybody would want this girl dead, if she ever existed in the first place. One investigating cop thinks he is crazy, the other does not. They take this case to Ferguson, and thus the investigation begins.

One interesting thing that is done is that Mendoza is not shown until the very end. He is discussed at length, so you build up an image of this guy in your head. And then they deliver somebody as Mendoza that does not look like what you are probably expecting and who comes up with a horrific idea for a new criminal enterprise with the dispassionate logic of an accountant. This film is relatively unknown among Bogart's filmography, and that is probably because he doesn't get to display any trademark Bogart traits in his performance such as paranoia, cynicism, or bravery. Instead he is a bit of a cog in a police procedural wheel, but he still delivers.

Bretagne Windust was supposed to direct this film, and he did start out doing so but then illness caused Raoul Walsh to direct about 90% of it although he did not take credit.

B Windust and Raoul Walsh's direction is first class, B&W cinematography scintillating, good screenplay, Adelaide Klein's elegance and beauty is timeless, and Bogart in good form, ably supported by Mostel, di Corsia, and the rest of a robust cast.

Very neat ending, too.

Bogart may be the star, but it's De Corsia who supplies the vitality. The opening sequence remains a riveting case study in wild-eyed fear, as Rico (de Corsia) sweats a bucket load even though he's safely behind police walls. He's got good reason to sweat. The real life character that Rico appears based on, Abe "Kid Twist" Reles, ended up dead in police custody, somehow falling from a fifth story window before testifying against Murder Inc. How convenient.

This may not be the Warner Bros. of the 1930's, but it's still fast, tough, and unsentimental. And when killer Digger lets out a yelp knowing his turn has come, I was chilled to the bone and without need of fancy special effects. If the first 15 minutes amounts to paranoia run amok, the last amounts to suspense in spades as a cold-eyed killer stalks an unsuspecting girl along crowded city streets.

What a great cast of character parts-- plug-ugly psycho Jack Lambert all wrapped up in ice and apparently loving it; Fatso Zero Mostel auditioning as an assassin but serving as a kick-me doorstop instead; and a menacing Bob Steele brandishing a revolver instead of his usual six-gun, along with such familiar yet unsung faces as police chief Roy Roberts and detective King Donovan who gets an unscheduled face wash and without a towel. District attorney Bogart's good too, blending in nicely instead of trying to hog the screen as major stars sometimes do.

No romantic clinches here, just a chilling tale about an ambitious guy with a bright idea that can't be advertised in the Yellow Pages. Things get pretty complicated trying to fit the flashbacks into the unfolding events, but it all comes together in the end. Can't say I was impressed, however, by the key that unlocks the puzzle. Seems pretty far-fetched and certainly wouldn't work in these days of colorized contacts. Nonetheless, this is a surprisingly tense and uncompromised look at touchy subject that's since become familiar, but still merits a look-see.

The Enforcer, whose French title is La femme à abattre, plays often to packed houses in Paris. More than one French critic has called the film a gem (un joyau) among film noir classics. Indeed, its popularity in France says lots about pure plot lines and straightforward characterizations which make the film accessible to non-English-speaking audiences. As many readers know, the French are crazy about American film noir, and it's common to see parents bring their children to see movies like The Enforcer. I recently sat next to such a family when the film played in March 2003 at the Grand Action cinéma in Paris. It was almost moving to hear the father explain to his son that they would be seeing a film which, in his words, is a classic with great insights in the American psyche. Hearing them speak made me wonder how many American families use films of decades past to teach their children about the world in which we live.

By the way, the three cinémas in the Action chain in Paris regularly play American films noirs and other classic American movies, many of them in newly restored versions.

Don Ediger

This obviously is not one of Bogart's most famous films, it should be cause it is an entertaining film noir that holds your interest from start to finish. They don't make 'em like this anymore. The plot involves Bogart as a D.A., whose star witness in bringing the head of a murder racket to justice dies before the trial.

In a lengthy flashback, Bogart retraces the case from the beginning, looking for some bit of testimony that might help him nail the killer before he gets set free.

Bogart is good as his usual tough-guy self, and is trying to prosecute the boss man of a Murder Incorporated type of crime organization but keeps running into road blocks with people getting killed. Bogie plays it well although Bogie could play Mary Poppins and make it look good.

At the end Bogie does what Bogie does well. This is a great movie. If you are a Bogart fan, this is a must have.