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.

And we fans of film noir prize nastiness and cold-heartedness. We also like small movies.

Gene Nelson is very affecting as a parolee who is dragged into a crime against his will. Phyllis Kirk is fine as his wife. She doesn't add much flavor but she's believably loyal.

For flavor, we have none other than Timothy Carey! He is one of the bad guys. Charles Bronson, early in his career, is another. Carey adds a great deal of creepiness to the goings-on.

Sterling Hayden is excellent as the cynical cop who's called in. Though the plot tells us nothing about him other than that he's given up smoking and misses it, he is clearly not a warm human being. His eyes squint and shift. He doesn't trust anyone and it's very possible he doesn't like much of anyone, either.

The movie begins with Dub Taylor as an exceptionally goofy gas station attendant. He's like a character from the "Ma and Pa Kettle" series. But our villains knock him out and rob him, which is a jarring contrast.

The characters are very well drawn in "Crime Wave." It has a tough plot but the people are what elevates it to a high status.

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.

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.

I was lucky enough to see this little slice of film crime noir at the LACMA during the weekly Tuesday Matinée, and let me tell you, but for all the old ladies and grandpas in the theater I felt I had been transported back to the golden age of Los Angeles Film Noir. This title ranks up there with White Heat as one of the best crime thrillers using the City of Angels as its locale. After renting Kubrick's The Killing on DVD I jumped at the chance to see another heist film with Sterling Hayden, in my opinion the meanest S.O.B. Noir actor. He is awesome as usual in this movie with his characteristic scowl frozen on his face. Also for a film made half a century ago it has remarkably stood up to the test of time quite well. It's really a lean, mean little crime thriller. Please whoever owns the rights to this gem, release this forgotten classic on DVD!! You still have the chance to release a 50th anniversary edition this year!!