A Rua Sem Nome

Gene (Mark Stevens) infiltrates a gang led by Alec (Richard Widmark) with the intention of discovering who is responsible for a series of recent shootings and robberies. Gene makes his reports to Inspector Briggs (Lloyd Nolan) and has an undercover contact to help him, Cy (John McIntire). However, Alec suspects that one of his gang is betraying him and he then gets a phone call which confirms things to him....

This is a boys film about gangsters. The only woman with any kind of role - Judy (Barbara Lawrence) appears briefly and gets slapped about - I'm not sure her role has any relevance. The story is good and both the main characters, Mark Stevens and Richard Widmark, play their roles convincingly. A slight irritation is the narrator at the beginning - I wished he would just shut up and let the film take its course. Similarly, there are a few overlong sequences of police checking but overall it's a good film. However, it would have all ended differently were it not for an unsung hero, a cab driver (Charles Tannen).

Inspector Briggs : Lloyd Nolan enlists in the state organization to rookie FBI agent Gene Cordell : Mark Stevens, as he is assigned to a dangerous mission : to infiltrate himself into a nasty band led by an evil mobster named Styles : Richard Widmark . Things go awry when a corrupt mole at the police station is delivering information to the gangsters. The FBI Goes Undercover To Nab A Cold-Hearted Killer in This All-Star Crime Thriller With A Unique Storytelling Twist!. Counter Attack! A New Era Of Violence In The Making... A New Kind Of Gangster On The Loose! Here's The Real-Life Drama Of The FBI Counter-Attack Where Law And Order Break Down!

Classy Noir with thrills, supenseful , tension, plot twists and shady characters . Including a semi-documentary style at times , in fact the film's opening prologue states: ''The motion picture you are about to see was adapted from the files of the Federal Bureau of Investigation. Wherever possible, it was photographed in the original locale and played by the actual F. B. I. Personnel involved¨. Stars Mark Stevens providing a good acting as the new FBI agent, along with Loyd Nolan as a tough chief who leads the investigations against the ominous criminal organization. But the best acting goes to the great Richard Widmark, giving an extraordinary show as a ruthless gangster with sadistic tendency by killing , hitting enemies and mistreating his girlfriend, the beautiful Barbara Lawrence. The Street with No Name(1948) is one of three consecutive Richard Widmark Noir films where he performed an evil gangster along with Kiss Of Death and Road House. They're well acccompanied by a remaining and effective support cast , such as : John McIntire, Ed Begley, Howard Smith, Donald Buka, Lane Chandler , Howard Smith , and Joseph Pevney , subsequently a notorious filmmaker .

It contains an atmospheric cinematography in black and white with plenty of lights and shades by Joseph MacDonald , who along with Nicolas Musuruca , John Alton and John Seitz are the best cameramen that worked in the Noir Film genre . The picture was competently directed by William Keighley. This filmmaker was expert on Noir as proved in Each dawn I die, Ladies they talk about, G Men, Bullets and ballots and The Street with no name . Rating : 7/10 . Better than average.

Street with No Name, The (1948)

*** (out of 4)

A couple gangland killings prompt the FBI to sent agent Gene Cordell (Mark Stevens) into a mob being ran by the hot-tempered Alec Stiles (Richard Widmark). The two strike up a good working relationship but soon informants tip off Stiles and Cordell must try and find a way out before getting killed. This crime/thriller has a lot in common with THE HOUSE ON 92ND STREET, although a lot of issues in that film are corrected here. Thankfully all the introductions and most of the narration is cut out in this film as the screenwriters obviously thought viewers would be smart enough to follow the story without having to have someone tell us what's going on every few minutes. By not having the narration we're greeting with some fine performances as both Stevens and Widmark really nail their characters. Stevens comes off very good as the undercover agent as he perfectly fits the role and comes across smart enough to be able to do everything we see here. It should come as no shock that Widmark steals the film as the snake gangster. There's a scene where he beats up his girlfriend that is so perfectly shot and acted that it really does seem like Widmark is getting a kick out of doing it. He has that certain toughness and coolness that makes his character very cold and he does all of this without a single problem. Ed Begley has a supporting role and does great work with it and we get strong performances by Lloyd Nolan, Donald Buka and Barbara Lawrence. This film has been labeled a "film-noir" but I really didn't see it as this has a lot more in common with the gangster films being released by Warner a decade earlier rather than any of the mysteries or dramas coming from various other studios around this time. The use of shadows will certainly remind folks of noir but that's pretty much it. As a crime film, this here works extremely well because we've got a hero we can care for and a villain that we love to hate. The actual story being told certainly isn't anything too original but it's entertaining enough to work and keep the viewer captivated from start to finish. Keighley's direction is top-notch throughout and he has no problem building up a nice atmosphere that hangs thickly over the film. Fans of Scorsese will also notice a few touches in both GOODFELLAS and THE DEPARTED.

This underrated noir, efficiently handled in all departments, has rather unjustly been overshadowed by its higher-profile color remake – Samuel Fuller’s HOUSE OF BAMBOO (1955), which I’d watched before but will re-acquaint myself with now thanks to the original (scheduled as part of my ongoing Richard Widmark tribute).

The film (whose title is allegorical) deals with F.B.I. rookie Mark Stevens infiltrating a criminal gang headed by Widmark; the Bureau gave Fox (who produced it) their full co-operation: the studio, in fact, had already made THE HOUSE ON 92ND STREET (1945) in a similar vein and, though THE STREET WITH NO NAME is marked by that earlier title’s innovative semi-documentary style, it actually ties in more with the gangster pictures of the 1930s. Incidentally, director Keighley had been responsible for a number of these over at Warners – including BULLETS OR BALLOTS (1936), which I may well check out presently on the strength of my positive response to this one!; Besides, the hero’s undercover activity and the suspense inherent in such a situation anticipates Raoul Walsh’s WHITE HEAT (1949) – while its scenario, also involving the concurrent presence of a ‘rat’ operating within the Bureau itself, would be replicated nearly 60 years later in Martin Scorsese’s THE DEPARTED (2006)!

At first glance, Stevens looks like an unlikely tough guy but, in retrospect, he acquits himself surprisingly well; Widmark – in his second film – has graduated from sadistic thug to unscrupulous gang boss (memorably introduced, with his face half-hidden behind a handkerchief during a night-club ‘job’, spitting a line at the orchestra conductor: “O.K., Stokowski…dry up!”). The film is also blessed with a terrific supporting cast (including Lloyd Nolan, John McIntire and Ed Begley – all of whom play F.B.I. operatives – Donald Buka being especially noteworthy among the criminals as Widmark’s taciturn but ruthless right-hand man, and only one prominent female figure in Barbara Lawrence as the typically-abused gangster’s moll).

As expected, Joe MacDonald’s shadowy lighting emerges to be an indispensable asset here – rendered even more effective (and realistic) by locations carefully-chosen to fit the desired mood of every sequence. A remarkable outburst of violence at the film’s climax (set inside a warehouse) is equivalent, then, to the icing on the cake.

"The Street with No Name" is an effective and very suspenseful noir with semi-documentary techniques that are reminiscent of those by Henry Hathaway. Directed by William Keighley, an able action director ("G-Men", "Each Dawn I Die"), it stars Richard Widmark as the creepily murderous mob boss Stiles and Mark Stevens as the innocent looking FBI agent in peril. The film often feels like a painfully dated propaganda for the FBI and its ingenious ways of infiltrating a crime ring after a murder of two innocent people. But the realistic location shooting and the presence of Widmark & Stevens make it watchable.