A Morte Ronda o Cais

This is definitive film noir where the hero must prove he isn't guilty of a crime and has to deal with the thugs out to frame him and a woman who gets him into more trouble than he ever expected.

JOHN PAYNE excels as the scowling fighter who has a couple of really well-staged fight scenes with JACK LAMBERT and BRAD DEXTER, outside the ring and in the dark underworld of crime and passion.

The surprise of this low-budget thriller is EVELYN KEYES as an ambitious actress who gets Payne unknowingly involved in her attempt to land a Broadway role wherein she plays a nasty trick on him. Then, to make up for her rash behavior and poor judgment, she sticks by him when he needs a witness to prove he didn't murder his wife, played with relish by PEGGY CASTLE.

Under Phil Karlson's direction, it's all wildly unpredictable with enough sub-plots and twists to make it engrossing from start to finish. Payne was after meatier roles after leaving Fox in all of those pretty boy roles and musicals, establishing a new persona as a tough film noir hero, rugged and ready for the fight. He's excellent and so are the other players.

Keyes reveals raw acting talent of astonishing intensity, especially in the key scene where she plays a theatrical trick on him--and the viewer.

As usual, an actor who once played leading roles at Fox, GLENN LANGAN, is wasted in a minor role. FRANK FAYLEN gives his usual reliable performance as Payne's taxi driver friend.

Well worth watching if you're a film noir fan and don't mind a gritty tale that doesn't pull its punches.

John Payne and Evelyn Keyes head for "99 River Street" in this film noir directed by Phil Karlson, and a very good one it is. Payne plays Ernie Driscoll, a washed up fighter who now drives a cab and has to take insults from his pretty, actress wannabe wife Pauline (Peggy Castle) who coulda been a contender if she hadn't married him. It turns out that she has a crooked boyfriend, Victor Rawlins (Brad Dexter) who is planning to get $50,000 from some diamonds and run away with her. When the fence refuses to deal with Rawlins because there's a woman with him, Rawlins kills Pauline and puts her body in Ernie's cab! Ernie's got to clear himself, and a friend at the cab company (Frank Faylen) and an aspiring actress friend (Evelyn Keyes) are there to help.

There are a very neat twists in this very atmospheric, gritty noir, which doesn't hold back on the violence. John Payne obviously loved this genre, or else he wanted to work against his clean-cut leading man image of the '40s. Here he looks like a fighter who's taken a lot of punches, and he does a great job as a basically good guy who's been dealt some bad cards and is angry about it. You're really pulling for him. Evelyn Keyes is wonderful as his friend, and her seduction act in a bar is one of the best scenes in the film. Frank Faylen, of course, is always likable - this is about six years before he became Dobie Gillis' father. Brad Dexter is excellent as a ruthless gangster.

Recommended, particularly if you like the genre.

Think Kansas City Confidential - and you'll known where this hot potato is a-comin' from.

Terse, twisty, and more than a bit brutal, with performances from both main and secondary characters that are never short of excellent, 99 River Street is a real treat for hard-boiled Noir fans. This 'B' was an unknown quantity to me and gave me a real pleasant-as-cold-beer-on-a-hot-Sunday surprise. The plot turns and twists like a rattlesnake on ketamine, while the host of slimy villains oozing their way through the deitrus of the Dark City - when not force-feeding puppies! - reflect an ocean of corruption and moral decay. Even Payne is a very flawed hero, wrestling with wife-beating rage, and lashing out even at those who try to care for him. Stand-outs include Brad Dexter as a sleaze-ball crook, even more cunning than the homicidal private eye he played in Asphalt Jungle; and Jack Lambert, brilliantly playing the Dum-Dum psycho as always, as in The Killers, TheEnforcer.

99 River Street - 'B' Movie Hell, Pulp Noir Heaven!

This might be Phil Karlson's tightest, most satisfying film.

John Payne and Evelyn Keyes play it in the best pulp tradition, with Keyes especially enjoyable in a couple of marvelous set-pieces, one in an empty theater and the other a greasy-spoon diner where she really vamps it up with Brad Dexter. Too bad Keyes dropped out of pictures in the mid-50s.

I had really only been familiar with John Payne from his role in the Christmas classic "Miracle on 34th Street" and perhaps a forgettable musical or two. Naturally I was amazed at how effective he is in this dazzling, violent noir as a basically decent but brooding and extremely volatile former prize fighter reduced to driving a cab to support his beautiful, cheating wife. His acting is unflinching, unsentimental and completely authentic. He creates nearly as vivid and memorable a hard luck character as Marlon Brando did in "On The Waterfront".

The big city of this film (as presented by the marvelous and criminally under-appreciated director Phil Karlson) is a simultaneous vision of heaven and hell. Frank Faylen, Evelyn Keyes and Eddy Waller are angels, willing to do anything to protect vulnerable Payne (even mislead the police), their faith in his inherent goodness unshakeable despite his tirades and self-destructive tendencies. Brad Dexter, Peggie Castle, Jay Adler and Jack Lambert are devils; selfish, ruthless and evil to the core (although there are shadings to Castle's portrayal of the cheating wife which suggest she does feel some remorse). At one point Payne gets caught in the web of the villainous Adler, who has bigger fish to fry, and explains that he needs to be let go so he can find the man who framed him for murder. "Well, isn't that unfortunate?" Adler coldly responds before having one of his henchman conk Payne on the back of the head.

You'll have a hard time finding a better supporting cast than the one here. One of those rare movies where everyone nails their parts and comes through with a fresh, inspired take. A sly, sturdy, thrilling, consistently surprising picture.