Fúria Assassina

This is worth watching because Gloria Grahame is in it. But otherwise it is a rather disappointing noir. Gene Barry certainly manages to be very menacing and volatile as the bad guy. Sterling Hayden is rather wooden as the tough cop. But Gloria Grahame, though she is not particularly good at shimmying when she sings, keeps our attention with her pouty lip, her doubtful look, her slumbering voice, her worldly-wise fragility, and all those other qualities too numerous to mention which are irresistible about her. So consider this 'a minor Gloria Grahame picture' and it is at least able to entertain, if not to enthrall.

The title "Naked Alibi" is a very strange one, as back in the day you'd never see naked people in mainstream Hollywood films and there is nothing naked whatsoever in the movie. Don't let that stop you from watching it, as it's an excellent and gritty film noir story.

When the film begins, police captain Joe Conroy (Sterling Hayden) is investigating a case where a lieutenant was brutally murdered. He thinks Al Willis (Gene Barry) is responsible--after all, he's a HUGE hot-head and he had a grudge against this dead cop. Soon, two more cops are brutally murdered and Willis appears to be the likely suspect. But, when Conroy is fired for police brutality, he's determined to follow Willis into Mexico and prove he's a psycho killer. However, he's no longer a cop and has no jurisdiction...and Willis has a gang waiting for him. All Conroy has is a dame (Gloria Graham) and her kid!

The film works well because Sterling Hayden (as usual) is excellent in these sorts of tough-guy roles. Additionally, Barry is very good as a scum-bag and the script keeps you on edge. Not a great film but certainly a good one worth your time.

Sterling Hayden was the image of male masculinity in such films as "The Asphalt Jungle," "The Killing," and "The Godfather." Tall at 6 foot 5 inches, well built, ruggedly handsome in the true sense, Hayden rarely cracked a smile or betrayed a tender emotion. He had screen presence, and that strong image serves him well in 1954's "Naked Alibi." Hayden is Chief of Detectives Joe Conroy, who has been accused of police brutality, an easily believable offense. When Al Willis, a local baker, is pulled in and roughed up by his subordinates, Hayden looks on impassively. Played by Gene Barry, Willis has a devoted wife and a child; his arrest is evidently wrongful, and he is released. When the policeman who roughed up Willis is shot later that night, Hayden immediately hones in on Willis as guilty.

With a screenplay by Laurence Roman from a story by J. Robert Bren and Gladys Atwater, "Naked Alibi" plays with the audience. When the police come to arrest Willis after the fatal shooting, he runs, but is caught and brought in again. However, without evidence and under pressure from above, Hayden is forced to release Willis one more time. When two more officers are killed in a bomb blast, Hayden tails and harasses the sympathetic Willis, who seems intent on managing his bakery, tending his family, and remaining a model citizen. However, when Hayden is caught in a photo assaulting Willis, he is fired from the force. Undaunted and convinced by gut instinct of Willis's guilt, Hayden follows Willis, when he unexpectedly leaves town and goes to sleazy Border Town, where, in El Perico, a local dive, pouty singer Gloria Grahame appears on the scene as Marianna, and, to coin a phrase, the plot thickens and starts to boil.

The action unfolds against the deep shadows and dramatic lighting of Russell Metty's cinematography, which provides some stunning black and white images. Surprisingly produced by Ross Hunter, the man usually behind lush Lana Turner weepies, "Naked Alibi" is well paced by director Jerry Hopper, who went on to become a prolific director on television. However, the film belongs to Sterling Hayden. Tough and brutal, Hayden is central to the film's success, although Gloria Grahame is also excellent, and Gene Barry is appropriately ambiguous in the pivotal role of Willis. As a bonus, fans of "The Rifleman" will be pleased to spot Chuck Connors in a small role as a police captain. While not at the heights of the best Sterling Hayden classics, "Naked Alibi" is nonetheless a crackling police pursuit drama that engages and entertains.

The Naked Alibi wastes some potentially terrific talents by forcing them into last-ditch, half-hearted retreads of characters and situations that had already, by 1954 and halfway down the leeward slope of the noir cycle, been done to death – often, in fact, done by these very same actors.

That Nordic giant Sterling Hayden, never easy to cast, gives a reprise of a role – the angry cop – that suited him so well he encored it several times, taking his final bow in 1972 in The Godfather. (And, as nasty cops go, maybe only Robert Ryan played it nastier.) Gloria Grahame's kittenish victim had become by this time a staple of the cycle, but it's almost always good to watch her anyway. But so hot on the heels of Fritz Lang's The Big Heat, her role in The Naked Alibi looks very much like the larcenous knock-off that it is, right down to the final, poignant fadeout (and it doesn't help when she makes her entrance – as a nightclub canary – using a dubbed voice).

The plot, which loses more credibility every time it takes a new turn, concerns the murder of police officers a smallish California city. Hayden's prime suspect is Gene Barry, but this church-going baker with a submissive wifey fools everybody else. Dogging him relentlessly, Hayden gets thrown off the force and, free-lancing, follows Barry to a wide-open town on the Mexican border where the suspect leads a double life, involving Grahame. Inevitably, Hayden gets involved with her too. Barry finally flashes his true colors and he joins Hayden in pursuing their mutual vendetta. But the working out is perfunctory and predictable, and it goes to show that even marquee stars can't salvage a tired, derivative piece of filmmaking.

I'm not sure how Universal slipped this one past the Bureau of Consumer Protection, but they did. Despite the title's bold claim, this 1954 crime drama features absolutely no nudity or alibis - clothed or unclothed. On the plus side, it does co-star the deliciously sexy Gloria Grahame, but on the minus side it's a very poorly written part which does nothing to showcase her particular talents. She plays Marianna, a saloon singer in a sleazy town on the US side of the Mexican border, who manages to get herself involved with both an ex-cop (Sterling Hayden) and the suspected cop-killer (Gene Barry) he is obsessively pursuing. Even by the often convoluted standards of film noir (which this movie aspires to be) plotting, the story makes little sense, but there's little else to distract the attention. Hayden sleepwalks through his part with the air of an actor focusing on his paycheck rather than the script's obvious flaws, while Barry struggles unsuccessfully to create some sort of plausible whole out of the many inconsistencies in his character. In one scene he's a baker and family man wrongly accused by bullying detectives of murdering an officer, and in the next he's a big shot gangster (without a gang or criminal purpose) on the Mexican border, splashing the cash, roughing up the locals, and inflicting his particularly aggressive brand of lovin' on Miss Grahame. Quite how or why he leads this double life doesn't trouble director Jerry Hopper. In fact, very little seems to bother Mr Hopper. Not the implausible plot, the waste of talent (Grahame and Hayden) or the film's slapped-together-on-a-shoestring feel. NAKED ALIBI was shot in large part on the Universal back-lot and it looks it. The town square will be instantly recognizable from countless other movies made by the studio, while the border town's back alleys and loading docks are littered with those empty wooden crates one only ever sees in such large numbers in low budget movies where they're trying to fill in the space without spending money on props. Production values are so low that NAKED ALIBI plays more like a lackluster 1950s TV drama than a big screen entertainment. If Hopper thought he was contributing to the often stylish and memorable canon of low-budget film noir thrillers which many studios turned out in the early 1950s he was wrong. The confused plot, unimaginative camera-work and cast going through the motions put paid to that. For the Gloria Grahame completists among us this is a must-see, for everyone else there's plenty of other, much more rewarding things, you could be doing with your time. Check out more of my reviews at http://thefilmivejustseen.blogspot.com/