Dama, Valete e Rei

Johnny O'Clock is a film about a man who walks the narrow edge of the fence between the legal and illegal. He's partners with Thomas Gomez in an illegal gambling establishment and they've got a crooked cop in Jim Bannon to do their dirty work insofar as rivals are concerned. Bannon's made several 'legal' killings of rivals which has interested honest cop Inspector Lee J. Cobb who wants very badly to close this particular racket down.

Dick Powell plays the title character who never quite gets involved in the dirty end of the business leaving that to Gomez. Bannon's girl friend is Nina Foch, a nice young woman who runs the cigarette and candy counter at Powell's swank hotel. When Foch turns up a very suspicious suicide and Bannon goes missing, Powell goes into action.

The other factor in the story is that Powell and Gomez's wife Ellen Drew were once involved and she'd like to get involved again. Powell ain't buying that trouble though, especially after Evelyn Keyes who is Foch's sister comes to town and she also suspects foul play.

Powell's character Johnny O'Clock is one of his most cynical, he makes his Philip Marlowe from Murder My Sweet look like Dudley DooRight the Mountie. His cynicism almost costs him because he finds a damning piece of evidence that could lead to the murderer and if would have cooperated with Lee J. Cobb from the gitgo it would have all been solved. But Powell's got other irons in the fire and some conflicting motives. In any event he does a great job in the title role.

Making his screen debut in a small part as one of the gamblers is Jeff Chandler. His hair is dark, but would shortly turn that premature iron gray that he was so identified with. There is also a very good small part for Mabel Paige who plays a nosy neighbor of Foch's who keeps offering her unwanted observations and opinions to Lee J. Cobb.

Robert Rossen was one film away from his career film as a director with All The King's Men. Powell was impressed with his work and personally had Harry Cohn get him as director for Johnny O'Clock. Rossen creates a moody and trenchant atmosphere for his players to work in and gets a near perfect noir film out of this material.

And that's a good reason to not miss Johnny O'Clock when it is broadcast.

A well acted, above average film noir from the late 1940's, "Johnny O'Clock" stars Dick Powell as the title character. His "juvenile" roles in such films as "42nd Street" long behind him, Powell's Johnny is a tough gambling-house operator, who is involved with a mobster named Guido and a crooked cop named Blayden. When Lee J. Cobb as Inspector Koch arrives to investigate the murder of a gambler, the plot thickens. A vulnerable Nina Foch plays a hat-check girl in Johnny's establishment, who is involved with Blayden. However, Blayden disappears, and Foch evidently commits suicide. Convinced of Blayden's involvement, both Koch and Foch's sister, played by Evelyn Keyes, pursue the missing cop. A blood-stained coat fished from the water, an expensive engraved watch, a bright new Mexican coin; the clues surface along with the betrayal and duplicity in Robert Rossen's taut screenplay, which was adapted from a story by Milton Holmes.

The sharp tough dialog is delivered by pros, with Powell, Cobb, and Keyes especially good. However, lovely Ellen Drew is a standout as Nelle, the alcoholic moll, who is Guido's wife, but harbors a history with and a persistent yen for Johnny; watching her expressions, even when silently in the background, is a lesson in film acting. Film buffs will spot a young Jeff Chandler as Turk, one of Guido's boys, in a small uncredited part. Nicely directed by Robert Rossen, the film features shadowy black and white photography by Burnett Guffey and a good score by George Duning. While not film noir of the first caliber, "Johnny O'CLock" is nevertheless an entertaining entry in the genre, and watching Powell during his tough-guy period is always a pleasure.

Eddie Muller on TCM really talked "Johnny O'Clock" up for being both dripping in noir conventions and impossibly hard to follow. I didn't actually find either of those things to be true. It's a solid film for noir fans, but there a bazillion other noirs that I've both liked more and thought had more atmosphere.

I do like Dick Powell and Evelyn Keyes a lot, though, so the film has both of those actors going for it.

Grade: B.

I loved the dialog and the endless stream of wise cracks, many said by Dick Powell, who was great at that sort of thing. After watching a lot of film noirs, I think Powell and Sterling Hayden are my two favorites in that genre. Powell was suave, sophisticated, a quick man with a quip and still a tough guy. Hayden exuded raw manliness, a no-nonsense thug whether he was a good guy or a crook.

That said, the film is only so-so because, like a number of films being viewed today, some 60 years later, they are a bit slow and sometimes too talky. This film begins to bog down halfway through and it gets tough to finish, even if you like the actors in here, which I certainly do.

Besides Powell, Cobb and the tough guys, there are some really good examples of film noir women in here. My favorite was Ellen Drew as "Nelle Marchettis." I only wish her role had been bigger. Those who like Evelyn Keyes will be more pleased, since her role is bigger. She reminds me a bit of another "tough film noir broad:" Marie Windsor. Then there is Nina Foch as the softer "Harriet Hobson," who sadly leaves the movie in the first half hour.

Overall, if you like actors and some snappy lines, check this out. I saw it on TCM. To my knowledge, it's not available on disc. If you are looking for an action-crime film, however, go on to something else.

A bit too jokily entertaining when it should be entertainingly disturbing, this first film from Robert Rossen is a fairly good noir that ultimately disappoints, both with its hopeful if not exactly happy ending (noir, by definition, should be on the bleak side throughout) and by there being a hole in the screen where an interesting relationship between the title character and Nancy Hobson should be. This later flaw is due partly to Evelyn Keyes' limitations as an actress and partly by Rossen's as a screenwriter, namely that the guy cannot write romantic dialogue without its sounding like a parody of itself. Where he is on firmer ground, both as writer and director, is with his supporting players. Lee J Cobb's fatherly cop, Thomas Gomez's vain, self loathing, jealous mob boss, Ellen Drew's venal moll and John Kellog's resentful body man with a homoerotic interest in Johnny all come vividly alive through Rossen's crisp, clever dialogue and the skills of the above actors. As for Dick Powell he shows once again that the farther he got from the song and dance stuff the better his performance. Give it a B minus.