Cidade Tenebrosa

It's too bad Andre De Toth didn't contribute more to the noir cycle, because on the evidence he was a natural (plus he was married to early-noir icon Veronica Lake). The Pitfall, made in 1948, looks more and more like one of the best, and most central, movies in the cycle, but (except for the early, more gothic Dark Waters) De Toth only returned to it once, with Crime Wave. Its story is not a fresh one: an ex-con trying to go straight (Gene Nelson) is coerced by circumstances to aid and abet a gang of his former cellmates. The uncomfortable spot he finds himself in lies between them and the law, personified by Sterling Hayden as a tough, unforgiving police detective. There's much more attention to character in the film's hour-and-a-quarter running time than in many full-length features of the era; Jay Novello, as an alcoholic veterinarian who doubles as an underworld sawbones, is especially memorable. By any reckoning Crime Wave is a minor film -- even a minor second feature -- but De Toth lavishes easy expertise on it; it's surprisingly well paced, well shot, as well interestingly cut. Why so many talented directors (many of them refugees from Europe) were relegated, in the 1950s, to "genre" movies -- crime dramas, 3-D schlockfests and westerns -- is a puzzle. In any case, I'd give any three of De Toth's westerns AND his House of Wax for just one more film noir boasting his directorial credit.

Short film that doesn't waste a moment. Life is short and hard in this film. Make one mistake and you're marked for life, at least that seems to be Sterling Hayden's motto. Gene Nelson gives a good performance as a man haunted by his past. Steve Lacey is so scarred by his past that it runs his current life, this eventually leads him into trouble. Andre De Toth keeps most of the film in the shadows and only a few scenes take place during the day. Even the climatic robbery is shot in the dark. The only false note is that Hayden's character doesn't act the same throughout the movie. I found the movie to be pretty brutal for the time and Charles Bronson did a good job portraying most of the brutality. All in all, a worthy entry in the film noir genre.

An American Cinematheque presentation at The Egyptian.

A great little 'second feature' noir. Hayden is brilliant as the tough and cynical cop willing to break any rule to catch a couple of cop killers, and Phyllis Kirk oozes B-movie sex-appeal as the good-girl caught in the middle. With some genuinely funny dialogue, solid performances all round, and wonderful location filming around downtown Los Angeles, Chinatown and Glendale, the movie is a brilliant testament to the quality of so many cheap post-war crime thrillers. Of particular interest is the location filming inside the LAPD offices and dispatch room in City Hall.

Charles Bronson plays a tough-guy killer in an early supporting role. Timothy Carey shows up to chew the scenery as a bizarre, bog-eyed, dope-fiend, rape-o. And there's a great car chase through the Downtown city streets at night.

A minor classic. Entertaining throughout.

Simply one of the best hard boiled noir films I have seen. Sterling Hayden is, as usual, excellent, while a very young Charles Bronson is surprisingly good as a 'punk' hood. Seems to feature nearly all scenes as location, or hand-held camera and it seems at times like a particularly effective episode of a 50s TV cop show - except that the content is much more brutal and sharp. This is a dark, dark film both in storyline and in the quite brilliant photography. I'd really love to see this neglected classic come out on a restored print on DVD. Isn't it time Criterion updated their 'noir' list? This cries out for restoration and a re-release.

Aces all around. Too bad this crime drama came along in the twilight of B b&w because it's in the best tradition—fast, tough, and unsentimental. Director deToth is a perfect shaper with his cynical European style. So why do three city slickers stick-up a penny ante filling station, and kill a cop in the process. Because they're prison escapees, it turns out, and on their way to a big score in LA. But first, they have to conscript an ex-con as their flyboy getaway. Meanwhile, of course, the LAPD takes a dim view of such goings on.

Can't help thinking Kubrick caught this flick since so much of the cast, story and LA locations show up in his classic heister, The Killing (1956). Speaking of not getting their due, Hayden is one of the most unusual presences of the period. With his gaunt features, shambling gait, and world-weary air, he towers over movies of the period. Without saying a word, he's clearly not a cop to fool with. But, oddly, it's really Jay Novello who gets a rare chance to shine. A familiar milk-toast presence from a hundred different shows, he rifles the pockets of the dead here, a slimy character until he lovingly takes care of the sick doggie—too bad it's too late for both.

Then there's that combo out of some movie inferno— the real life lunatic Timothy Carey mugging it up mercilessly, along with real life hard case Charlie Bronson getting some practice in. The real life nightmare, however, is leaving your wife with a drooling nut case like Carey as happens here. Now what sane guy would do that. Speaking of girls, I'm wondering where I can find one like the sweater-wearing cutie, Phyllis Kirk. No wonder Carey is drooling.

Anyhow, it's a heckuva good little crime meller with all kinds of colorful touches. I'm just glad deToth held his ground against the studio. Putting stars like Bogart and Ava Gardner in this would have meant the star treatment and not the gritty little sleeper B-movie fans so treasure.