Crime em Chicago

I saw the show on Turner Classic Movies. The plot was entertaining. It kicks off with a murder of a mob accountant who gave inside info to a newspaper man (the "Syndicate" didn't like that.) The newsman then gets some leading Chicago people plus lawmen together to try to "break the Syndicate wide open." They persuade Barry Amsterdam (Dennis O'Keefe), an aspiring accountant dreaming of starting his own business, to infiltrate the mob and get the lowdown on the crooks. He ends up doing an amazing job, for an accountant! But the use of real street scenes is what made this a very interesting movie for a Chicago history buff like me. You can see many downtown locations (theaters, buildings, bridges, rivers, street signs), era shots (men in hats, big cars, 50s trains & buses) and dialog about real places (Halsted, Ohio, The Palmer House, Maxwell Street). Lot's of fun!

There's little in the late noir Chicago Syndicate that hadn't already been done, and more memorably, in the cycle, but, given the limitations of its director and cast, it does its job. When a renegade syndicate bookkeeper is gunned down on a crowded street in broad daylight (incidentally triggering his wife's suicide), federal agents enlist Dennis O'Keefe, a forensic accountant working for the police, to infiltrate the underworld. In no time he's won the trust of boss Paul Stewart (whose start in movies was in Citizen Kane, as Raymond the sinister butler). Stewart idolizes his mother, who refuses to budge from his tough old neighborhood. But apparently she's the exception that tests his misogynistic rule (`Everything gets better with age, except women,' he observes).

He's right to be wary, because women hold the tools to destroy him. His current trophy (Abbe Lane), who sings with bandleader Xavier Cugat in mob night spots, drinks too much and endures humiliation and beatings at his hands. But even an attempt to `scare the girdle off her' fails, as she holds incriminating microfilm, stashed away as her insurance policy. Her rival for his attentions (Allison Hayes) has a secret agenda: she's the orphaned daughter of the slain bookkeeper, nursing a vendetta. When she thinks O'Keefe can grease her way to the top, she throws herself at him (`Now you're romancing me like I was Liberace,' he puzzlingly tells her.) She becomes his helpmate – and decoy.

In the style of the syndicate movies of the 1950s, in the wake of the Kefauver hearings on organized crime, there's an emphasis on the complex corporate structure of Stewart's illegal business operations. Too much exposition, however, is left to voice-over narration. And while the movie doesn't shy away from ugly incident, it's quite devoid of the atmospheric dread that distinguished, for instance, Fritz Lang's The Big Heat. O'Keefe, too, seems to have aged more than the eight years separating this movie from his similar role in Anthony Mann's T-Men, making it less of a surprise that his first movie role was in 1930. Chicago Syndicate holds interest less for its own sake than as evidence of how the noir cycle was running down, if not quite out; the same year offered Joseph H. Lewis' brilliant take on much the same territory, The Big Combo.

Has anyone else noticed that Charles Lane appears with his back to the camera in the scene where Paul Stewart warns his syndicate partners about not cheating him? The voice also seems to be his. He doesn't show up anywhere else in the film. I have not been able to find him associated with it on any credit listings, including the abbreviated IMDb cast list. I thought this was a pretty good genre film. It's always nice to see Paul Stewart in a bigger role. Don't recall ever seeing Abbe Lane in a film before. I really thought she was better than the other female lead, despite having less to do. Although her acting ability cannot really be assessed from this single role, I am surprised she did not have a lengthier career.

A Good Production and a Decent Cast Can't Raise this Functionary, Pedestrian Picture from the Prolific 1950's Police Procedurals.

Film-Noir had All but Given Up the Ghost with the Eisenhower Era Emphasis on Big-Brother Watchdog Law Enforcement Forever "Looking Out For You".

Noir's Grit was Increasingly Being Scrubbed by the Booming Decade's Affluence.

The Odd Thing in this one is that Female Firebrands Abbe Lane and Allison Hayes are at the Core of Anything that Makes it Special.

Both Broads are in Fine Form with Clinging Dresses and Firecracker Personalities.

Some Scenes Stand Out, like the Climax Chase, and Abbe Lane Taking a Beating.

Of Minor Interest is Bandleader Xavier Cugat in a Speaking Part.

But the Film Struggles to have an Edge and Succumbs to Sedentary Situations Concerning Book-Keeping and other Mundane Aspects, like Paul Stewart and His Ma.

Slightly Above Average because of Lane, Hayes, and Stewart.

But Dennis O' Keefe seems Worn-Out and Past His Prime.

Good Street Scenes with Bigger than Big Cars and Chicago Locations also Help

Worth a Watch.

Because this film starred Dennis O'Keefe (who was wonderful in his Film Noir appearances), I was sure to see it. And fortunately, the overall effort was exciting and engaging--making it a decent later example of the genre. While not as bloody and earthy as many Noir films, due to the head of the mob priding himself on being a well-spoken gentleman, nevertheless is a decent film of this type.

The film begins with a contract killing so stop an accountant from spilling his guts about organized crime. A citizen's group decides that they need to try a new way to infiltrate the mob--send in a freelance agent who isn't a cop or part of the Treasury or Justice Departments. So Dennis O'Keefe is recruited and he is able to eventually rise very high in the ranks--and leading to a wonderful showdown.

I think the reason I like O'Keefe in these films is because he's so ugly--or at best ordinary looking. For Noir, this is great, as pretty boys and the like are NOT something you'd expect. So, when Edmund O'Brien isn't available, O'Keefe is a good substitute.

Full of excellent intrigue, an interesting and unusual plot and sure to please fans of the genre, CHICAGO SYNDICATE nearly earns an 8--it's that good.

FYI--It is interesting that in one scene where they are standing outside a movie theater, the picture listed on the marquee is ON THE WATERFRONT--another film about mobsters which came out at about the same time as CHICAGO SYNDICATE.