Porto de New York

Yul Brenner makes an impressive debut in this film, despite his full head of curly dark hair. The story line is nicely executed by the hard-working cast. This is noir done right. No special effects, no overbearing hero, and the film is not predictable (at least not too predictable). Cop gets a second chance after getting his first partner killed; so this is an interesting subplot. Good noir.

Hi, Everyone, Scott Brady has an idea how to steal a scene from Yul Brynner. Scott Brady has better hair, but Yul has the voice and facial expressions that show he was destined for a big Hollywood career.

This was 7 years before The King and I would make Yul Brynner a bald box office giant. Much of Yul's pleasant killer personality would be used in future bad guy roles such as Westworld, The Ten Commandments and Magnificent Seven. In this 1949 film, Yul seems to enjoy playing cat and mouse with his intended victims. He being the cat, of course.

Scott Brady did an excellent job as the good guy here. Lots of good action scenes with Scott apparently doing his own falls.

The plot basically is the bad guys want to bring one million dollars worth of narcotics into the U.S. One million dollars worth of narcotics today would be a misdemeanor.

This is a joy to watch just for the history. DeSoto Cabs follow Checker Cabs. Grand Central Station is shown during rush hour. Rush hour was anytime in the 1940s. Men's suits looked smart. Neville Brand is seen here shortly after his World War II service ended. He is the guy who is operating the ship's steering wheel in some scenes.

All of New York looks dressed up for a holiday but that is just what people wore in 1949. Good scenes, good plot, good cast.

The guy who plays Dolly Carney does an excellent job. His name was Arthur Blake. Interestingly, Yul Brynner, Scott Brady and Arthur Blake all died in 1985.

This one is worth watching.

Tom Willett

Good gritty docu-drama of the procedural sort made popular by The Naked City (1948). Here we follow a Customs agent (Rober) and a Treasury agent (Brady) as they track down a gang of narcotics smugglers headed by a hirsute Yul Brynner in his first film. Unlike most docu- dramas of the period, this one is not overly diverted by procedure. Instead, the drama plays out in pretty tense fashion. Happily, the rather complex storyline is fashioned smoothly by director Benedek, despite the many segues. Then too, the live shots of New York are especially revealing to a non-New Yorker like myself, even if they are decades old.

The faces in the movie also furnish a boost. There're the three gimlet-eyed hard cases (Challee, Stevens, Kellogg), the exotic looking Brynner, and the two meek-looking fall-guys (Blake, Carter), while Rober and Brady are appropriately clean-cut and strong-jawed. Brynner, of course, is particularly notable for his effortless accent and Euro-Asian appearance. The latter seems appropriate for a time when the Cold War was heating up. Thus Hollywood's lauding law enforcement at a tense time comes as no surprise.

Except for Brynner and a couple jarring scenes as when Brynner turns on the disloyal Stevens, there's nothing particularly memorable here. Just solid entertainment done in highly competent fashion.

Had a chance to sit down and watch PORT OF NEW YORK some time ago and I have to say that this is a terrific little noir/crime/thriller! Told in "documentary style" as in such films as HOUSE ON 92ND STREET, THE NAKED CITY and HE WALKED BY NIGHT, the movie is swiftly paced, violent with a decent amount of suspense and plenty of fisticuffs. Scott Brady and Richard Rober play a couple of federal agents, one a customs agent and the other a treasury agent out to stop the distribution of illegal "contraband", i.e., opium, that came in on a ship but was smuggled off by drug dealers. The leader of the drug operation is Yul Brynner, sporting a head of dark, wavy hair and appearing in his first film role I believe. Brynner is suave and refined and listens to avant-garde piano music but it is clear that he is also quite cold and violent as the bodies start to pile up. Plenty of action to keep one interested and wonderful direction from László Benedek. The real star though is cinematographer George E. Diskant. Filmed entirely on location in New York City, the film bursts to life with magnificent images of the Big Apple and some truly wonderful shots of the NYC maritime scene. This is a rather obscure, "B" noir/crime film that was a pleasant surprise and a movie that all fans of the genre should check out.

Sporting a head of dark, wavy hair that paradoxically emphasizes his Mongol heritage, Yul Brynner plays a debonair drug runner bringing heroin into the U.S. (We know he's a monster from the 78s of dissonant, avant-garde piano music -- Prokofiev? Shostakovich? -- he's forever playing.) When a bribed purser from a luxury liner surfaces in New York harbor with his throat slit, Brynner's fiancee/accomplice (K.T. Stevens) starts running scared and meets up with a narcotics agent (Scott Brady). Bad mistake, which Brynner swiftly and coldly corrects. The investigation heats up both on shore and on water, taking a creepy, and unexpectedly Bohemian, turn toward a cabaret emcee called Dolly (Arthur Blake) who cracks jokes and does Charles Laughton impressions with a monkey on his back. His mistakes, too, prove unpleasantly fatal. Moving closer to the heart of this particular darkness, Brady poses as someone in the drug racket, and comes close to bringing it off.... Even though, despite Russian-born Brynner's playing the villain, there's not a whisper of Soviet conspiracy in Port of New York, it eerily foreshadows both the black-and-white brutality and the smug self-righteousness of the Red Scare cycle. (In the minds of the public and elected officials, during this springtime of McCarthyism, narcotics and Communism were pretty much the same thing.) Though it lacks the ambiguity of fully developed characterizations, the movie succeeds fairly well on its own, straightforward terms -- especially in turning an over-romanticized New York into the raffish port city it essentially is, or was.