A Vingança do Gangster

I did not expect to see Barry Sullivan and Luther Adler together in a Fred S Sear's crime flick and produced by the terrible Sam Katzman who, for once, doesn't bring us some lousy junk material. That doesn't make it a terrific crime flick however just an acceptable time waster,, with too much off voice, as in an "expose" cime film. Good photography and good directing. Do not confound this Fred Sears' MIAMI STORY with Fred Sears' MIAMI EXPOSE made just a bit later. Same kind of stuff. I prefered CHICAGO SYNDICATE and also INSIDE DETROIT, also from the same Sears- Katzman collaboration, for whom the best result is and will forever remain EARTH VS FLYING SAUCERS.

"The Miami Story" begins with a prologue that really isn't necessary. Then, through the story, the same narrator makes a few comments here and there...which again, aren't needed. If you haven't guessed, I don't like such narration...especially when it really doesn't help the film.

The story itself, however, is quite good. Apparently, a mob has taken hold in Miami and a secret committee decides to call in an ex-mobster to help. Mike Flagg (Barry Sullivan) now lives a normal life and he apparently hates the mobs. Now, he returns to Miami...playing up that he is a mobster and is now working with a Cuban mob. This new mob, according to Flagg, is there to take over from the existing mob...in an attempt to get the mob leader (Luther Adler) to try to wipe them out and incriminate themselves. What's next? See the film.

The film is tough, well acted and enjoyable. Not perfect (mostly due to the narration) but very good.

The Miami Story from 1954 is told in the usual narration style like many of these crime films, a la Dragnet, almost in a semi documentary fashion.

This one is directed by Fred F. Sears and produced by the normally below-average Sam Katzman. It's actually pretty good, with nice performances by Barry Sullivan, Beverly Garland, Luther Adler, Adele Jergens, and John Baer.

The first thing we see is Senator George Smathers announcing that organized crime has been completely eradicated in Miami. This is how you know the movie is 70 years old.

In the film, a multibillion dollar crime syndicate is run by Tony Brill (Luther Adler). A citizens committee meets privately to figure out what to do.

A reformed mob boss, Mike Flagg, is located and brought in to pretend to move in on Brill's territory. He has a young son, whom he sends to live with friends.

Holly Abbott (Garland) has come to Miami to search for her sister Gwen (Jergens). Gwen is employed by Brill. Since Holly has befriended Flagg, Brill's associates beat her for information on his operation and plans.

Flagg has the police close Brill's gambling club. He retaliates by having Flagg's son (David Kasday) kidnapped.

Some interesting cinematography and exciting scenes. Others felt this film was above average. I think the cast certainly contributes to that, though for me it was an average crime story.

A group of Miami's civic leaders and police bring a gangster out of "retirement" to help take down the city's crime syndicate.

Overall, I found The Miami Story very enjoyable. Sure, there are issues with the plot that require a gigantic leap in logic, but if you're willing to look past these issues (and I looked past most - not all, but most), it's a fairly rewarding and entertaining experience. The film is more graphic than most I've seen from the era, with a woman being badly beaten-up, more blood than I expected, and a more explicit inference of prostitution. For 1954, this is about as far as you could go in the depiction of the sleaze and nastiness resulting from crime. The acting is particularly noteworthy. Barry Sullivan (rock solid and believable in the lead), Luther Adler (the perfect baddie), and Adele Jergens (as the tough-as-nails "dame") are all outstanding. But I was happiest to see Beverly Garland's fantastic performance. I've always been a fan regardless of the dreck she sometimes appeared in. The Miami Story also benefits from solid direction. Fred Sears' pacing is perfect. From the opening shootout to the final chase, The Miami Story rarely lets up. And, the film looks fantastic. I especially enjoyed the shots of Miami from the 50s - how things have changed! It's all nicely done.

Finally, I've often seen The Miami Story listed as a film noir. I'd argue that's not exactly accurate. I could cite a number of reasons, but the main one is the film's ending. You don't get that in a typical noir.

6/10

Twenty years ago, Barry Sullivan was a big man in the rackets. Now, with gangster Luther Adler running most of Dade County, some honest citizens are trying to clean things up, and Sullivan is their man. He works up a situation in whih he is running some Cuban gangsters (actually Cuban policemen) to take over Adler's empire, triggering an internal war. Adler is supposed by his protege/hitman John Baer, and by Adele Jurgens, who runs several of Adler's businesses, including his escort service . Miss Jurgens' sister, Beverly Garland, is on hand as the good girl caught up in a bad situation.

The acting, under the prolific Fred Sears, is good, and the story wobbles from the tracks laid down by Sullivan to keep things interesting. And, as the voice-over by William Woodson -- this is the era when every crime drama was influenced by DRAGNET -- Miami has been squeaky clean ever since. Just ask Don Johnson and Philip Michael Thomas.