Crimine silenzioso

Good crime drama with interesting settings and some good action scenes.The movie really showcases San Francisco. Sutro Baths ( now sadly lost in a fire) is the setting for a some excellent scenes. You will also see the Opera House, the Ferry Building, some freeways being built, and other interesting sights. If you want to see how San Francisco looked in 1958 and see some pretty good action and some pretty mean bad guys you will enjoy this one.

I was relaxing in my easy chair when I saw this film pop up on one of the mystery cable channels. I was very surprised and pleased at what I saw. First of all, the comments made about this film having great views of San Francisco are 100% true. I love "noir" films that set a city mood, and this was probably the best film that ever set a "San Francisco mood" with the possible exception of Dirty Harry. A friend of mine lived near the Cliff House and seeing Seal Rock Road and the Sutro Museum (used to be the Sutro Baths) was just incredible. Its just a hole in the ground now. Pier 39, now an over-sized shopping mall, was great to see as well when it was an actual shipping pier. And the movie itself was quite good. Eli Wallach played a sadistic, yet somewhat complex criminal who had no morals and yet showed flashes of compassion. Brian Keith's Father Robert played his mentor with excellence and style. This film was no high budget spectacular but more then made up for it with Siegel's excellent direction and great location scenes. I immediately went online to IMDb to try and buy the VHS or DVD but imagine my surprise when I saw it wasn't available! CMON, LETS SEE THIS ONE COME ONTO DVD!!!!

In San Francisco, two police inspectors (Marshall Reed and Emile Meyer) are on the case when a rogue taxi driver, with the help of a rogue porter, manages to steal the suitcase of an antiques collector before running down a cop, whose dying gesture is to shoot the cabbie dead. The inspectors discover that a statuette in the suitcase contains heroin. Meanwhile, a psychopathic gangster (Eli Wallach), his malignant mentor (Robert Keith) and their dipsomaniac driver (Richard Jaeckel) have the job of picking up the other heroin shipments, hidden in the luggage of unsuspecting travelers. All goes well until they attempt to retrieve the heroin stuffed in a Japanese doll. A little girl and her young mother (Cheryl Callaway and Mary LaRoche) have the doll, but when the crooks take possession of it, they find that the heroin has mysteriously vanished.

Don Siegel, working from a script by Stirling Silliphant, does a bang-up job directing this explosive crime thriller, which is filled with violent action, surprise plot twists, a spectacular murder in an indoor ice rink and a great climactic car chase. The characters of the police inspectors are carried over from the same-titled TV series, but unlike the show, the movie is mainly concerned with the criminals. Wallach is the star, brilliantly portraying a dangerous man who can be calm, even genial, but reveals his true nature when others try to push him around. The cadaverous Keith is properly ghoulish, especially while taking note of the day's victims' dying words. Callaway proves to be a very adept child actress, while her lovely screen mother, LaRoche (who also had trouble with her daughter's doll in a "Twilight Zone" episode), ably performs the difficult task of remaining in a perpetual state of panic.

The plot requires a fairly high suspension of disbelief, especially considering the general air of realism, but few will gripe about plausibility in this exciting action drama.

The late director, Don Siegel, never made a bad film: and many of them were classics of their kind. He directed "Flaming Star", one of Presley's better efforts. He directed Clint Eastwood in "Coogan's Bluff", "Two Mules For Sister Sara", and "The Beguiled". He made one of the best of John Wayne's later films: "The Shootist". He directed the original "Invasion of The Body Snatchers". He also directed now rarely seen films like "Baby Face Nelson", with Mickey Rooney.

"The Lineup" stands out even among this fine body of work. While "The Lineup" is a 'caper' film, it's anything but what passes these days for films of that genre. I was lucky that a film society I belonged to, managed to get hold of a 35mm print of this film, along with prints of "The Hanged Man", Riot In Cell Block 11", "The Verdict", "Baby Face Nelson", and others. Naturally, this and other early Don Siegel films are not on tape. Something I hope will be rectified one day, hopefully now, put out on DVD. Eli Wallach, as 'Dancer', is outstanding, as is Robert Keith as 'Julian'. If it turns up on TV, or cable, cancel everything and watch it. It has one of the best endings ever!

Tightly scripted, excitingly staged, and brilliantly acted by Eli Wallach, this is a real sleeper. It could have been just another slice of thick-ear on the order of the Dragnet movie (1954). But thanks to writer Stirling Silliphant, director Don Siegel, and actor Wallach, The Lineup stands as one of the best crime films of the decade.

Someone in production made a key decision to shoot the film entirely on location in San Francisco, and rarely have locations been used more imaginatively then here, from dockside to Nob Hill to the streets and freeways, plus lively entertainment spots. The producers of 1968's Bullit must have viewed this little back-and-whiter several times over, especially the car chase.

Colorless detectives Warner Anderson and Emile Meyer (standing in for Tom Tully of the TV series of the same name) are chasing down psychopathic hit-man Wallach and mentor Robert Keith, who in turn are chasing down bags of smuggled narcotics. Dancer (Wallach) is simply chilling. You never know when that dead-pan stare will turn homicidal, even with little kids. Good thing his sidekick, the literary-inclined Julian (Keith), is there as a restraining force, otherwise the city might be seriously de-populated.

Cult director Siegel keeps things moving without let-up, and even the forces of law and order are kept from stalling the action. My favorite scene is where Dancer goes slowly bonkers at the uncooperative Japanese doll. Watch his restrained courtship manners with the lonely mother (Mary La Roche) come unraveled as he reverts to psychopathic form, while mother and daughter huddle in mounting panic at the man they so trustingly brought home. It's a riveting scene in a film filled with them.

The Line Up is another of those unheralded, minor gems that has stood the test of time, unlike so many of the big-budget cadavers of that year or any year.