A Cidade que não Dorme

Chicago cop Johnny Kelly wants to run away, from his job with the police force, and from his perceived mundane marriage. Hoping to flee Chicago with his stripper girlfriend Angel Face, he keeps putting it off with bouts of cold feet. Then one night when Johnny is assigned a new partner, Angel finally grows tired of false hopes and promises, just as Johnny is tempted by the dark side to finally realise both their dreams, but other factors are heading their way.....

Directed by John H. Auer and starring Gig Young as Kelly, City That Never Sleeps was brought to us out of the low budget Republic Pictures studio. Oddly fusing film-noir with fantastical elements makes for a most intriguing watch, yet it's very much a slog to get to a point where you feel your time has been worth it. But crucially it is worth the wait, lots of character strands all thread together to give us an exciting, and well executed climax, tho the fantastical finish point is something of a head scratcher to me personally. It's a weird film in many ways, and one that probably needs repeat viewings to fully grasp {and appreciate} what the hell is going on with all these characters. The weird feel is emphasised by John L. Russell's {Psycho & The Cabinet of Caligari} grimly lighted photography, who utilises the sparseness of the actual Chicago locations to great effect.

Known to be a favourite film of Martin Scorsese, City That Never Sleeps is actually a little better than it's B movie tagging. But it remains a film that one feels should have been much better. It's alright to fuse more than a couple of genre's, but you have to make it work convincingly within the structure of the plot{s}, and realistically they only just manage to pull it off, courtesy of a fine, if weird, ending. 6/10 but it could go either way upon a further viewing.

"City That Never Sleeps" is one of the strangest film noir movies I have seen--mostly because there is a real surreal aspect to the story that you just don't find in other noir pictures. I don't want to tell you more about this...suffice to say that one of the characters is VERY unusual and you learn just how unusual at the close of the movie.

Gig Young plays Johnny Kelly, a disaffected cop who is very unhappy in his marriage and is contemplating running off with his mistress, a stripper, and quitting his job on the force. When you see and hear why Johnny is unhappy, you do feel a bit sorry for him, as his evil mother-in-law lives with them and CONSTANTLY harangues him about his wife earning more than him! Instead of belting the old broad in the mouth (definitely a noir way of handling it) he plans on just leaving...for good. But before he does this he has one more night on the job...and a very eventful night it is. While there is MUCH more to the story and a plot involving William Talman who plays an amazingly cold and vicious killer, I think it's best you just see the film for yourself.

The big reveal at the end will determine whether you like this film or not...see the picture and see what I mean. I'd like to say more...but again, just see it for yourself. And, if you want to see it, it's currently up on YouTube.

I can't wait to see the DVD release of this film with the features and commentary because it is one of those rare Noir films that stay with you. Not so much for the average domestic problems that Gig Young's character displays but more for his relationship with Mala Powers and their great quotable lines:

Sally "Angel Face" Connors, dressed in a stripper's costume to Johnny Kelly- "Come here." Kelly's reply: "I've been there."

And Angel Face's great speech explaining her disillusionment: "I'm sick of this town. I'm with you Johnny. When I first came to this town I was gonna be... oh there were a lotta things I was gonna be- become famous. But Chicago's the big melting pot, and I got melted but good".

And there are also the throw-away lines in the bar: Waitress to Bartender: "Two Old Fashions- no ice, no water, no sugar, no grenadine".

"City That Never Sleeps" has a light step and has so many quirky little characters that you might wonder who the story is about. The film does focus on certain characters to make its point, is sometimes great to look at for its night-lit location photography and has some nice noir humor.

Gig Young has the unflappable charm and bon vivant attitude that almost gets in the way of his disillusioned cop Johnny Kelly. Kelly is the ultimate Everyman who has become a cop because his father wanted him to, and whose wife unwittingly emasculates him because she earns more money that he.

All in all, "City That Never Sleeps" is worth catching for its noir look and some good performances.

This film set in Chicago in 1952 starts ponderously with a voice-over of 'the voice of the city', strangely that of actor Chill Wills (whose voice is more that of a cowpoke or a ranch hand, thus highly unsuitable for this purpose), who then appears in the crime story as a ghostly police sergeant representing the spirit of the city. Really, we could have done without those affectations, and Wills's acting attempts to be mysterious are worse. However, setting all that aside, the rest of the film is a pretty straightforward crime drama which is very good. Gig Young plays a disillusioned policeman vacillating between leaving and staying with his wife and quitting and keeping his job. One wants to kick him so that he stops dithering, but the story requires him to be like that. There are some strong performances: Mala Powers is good as a wild love interest of Young's, Edward Arnold is suave and persuasive as a bent criminal lawyer, Marie Windsor as usual is svelte and corrupt, and William Talman is very effective as a bonkers criminal who wants to shoot everybody, and nearly does. It's all good entertainment, if you look the other way when the pontificating is going on. One needs to take it with a pinch of paprika (the director, John Auer, was Hungarian).

A 1953 Republic gem and a great noir find. This sort of small black and white drama was actually what finished off Republic as TV shows took up this sort of storyline and style, and the studio didn't adapt. Cop Gig Young and burlesque floozie Mala Powers go adulterous and the realism of the noir photography created on actual Chicago streets allow the viewer to be completely absorbed into their cheap backstreet world. This is such an interesting film, and the low budget actually works in its favour......like Monogram's startling DECOY of 1947. Chill Wills appears as a very special and strange character and I won't spoil who he is at all. A very clever and ultimately quite emotional film from a fascinating period in American Cop-dom: 1953...as LA CONFIDENTIAL proved for that city. Find this and relish it, and thank the crummy world of Republic for making it. As a bonus for all us noir-ees, the sensational Marie Windsor is here as well, by the narrowest of welcome margins.