Chicago Calling

Prior to viewing Chicago Calling, I saw Dan Duryea in supporting roles in Woman in the Window, Scarlet Street, and Winchester '73 to name a few. Those were all unlikable villains with no redeemable qualities. With him as the star of Chicago Calling, I was skeptical if he could carry a film, particularly as a character I could sympathize with.

Duryea, however, proved he is far more dynamic than I previously thought. The premise is simple: a man who lost everything with only himself to blame needs money to receive a phone call that will tell him the condition of his daughter after a serious car accident. Duryea's character grieves, pities himself, and has periods of self-reflection all with compelling sincerity. Paired with him is the child actor Gordon Gebert, who has good chemistry acting alongside Duryea.

Chicago Calling will probably always remain an obscure film noir, but it is arguably the best of Duryea's career. I expected a typical film of the genre, and it exceeded my expectations. Duryea may not have the star power of Humphrey Bogart or Robert Mitchum, but do yourself a favor and watch a performance that greatly raised my opinion of him.

Dan Duryea gives a chilling performance in John Reinhardt's "Chicago Calling" as a man whose world has come crashing down around him. His desperation reels a number of people into his life as he tries to gather enough money to continue a call with his wife after learning that their daughter has been in a car crash. Among the film noir genre, this is not the most readily available movie, but that doesn't mean that you should blow off trying to see it. This is one of the most impressive movies that I've seen, and one of the most devastating. I don't know of any other movies that Reinhardt did, but if this is indication then he must have been a very good director.

More than anything, "Chicago Calling" shows why film noir was probably the best genre to arise in the post-war years. Gritty with minimal violence, chilling without being corny, and always thought-provoking. I've liked ever film noir that I've seen, and that includes this one. Really good.

The feature CHICAGO CALLING is a great example of two things, first it is a fine independent feature shot on location with a realistic, gritty feel and believable characters.

Secondly, it's a brand new film print made in our film lab on the third floor from the original picture and sound nitrate negatives also stored in this building and an excellent example of what film preservation is all about. Saving the forgotten films, the orphans if you will. These neglected films have good stories and need to be seen on the big screen with an audience.

And tonight, is extra special for another reason: in our audience is one of the stars of this 1952 feature film, Gordon Gebert (pronounced Gee- burt) who played the young boy that befriends the lead actor played by Dan Duryea.

Gordon would you please stand up so these fine folks can give you a hand?

Since we have Gordon Gebert here in person, I'm going to shorten my usual opening remarks so we can spend more time after the film talking with him about his amazing early career and what he is doing now days.

We invite you to stay a few minutes after the film, which is only 75 minutes long, and we'll play a short video showing Gordon with some of his other co-stars including: Loretta Young, Janet Leigh, Robert Mitchum, Burt Lancaster, Ray Milland, Paul Douglas and John Wayne.

Scenes from some of Gordon's 31 film and television appearances including: Come To The Stable; Holiday Affair; The Flame And The Arrow; Night Into Morning; Fourteen Hours; The House On Telegraph Hill; Flying Leathernecks and Narrow Margin.

Then we will chat with this former child star and you'll have a chance to ask him about his life in the movies who is now a professor of architecture at the City College of New York after getting degrees from both Princeton & MIT!

Now let's watch Chicago Calling

This obscure super-low budget sleeper starts like a million b-movies with a small setback and a minor overreaction. However, as noir emeritus Dan Duryea slowly navigates the ensuing fall of dominoes and swirls and eddies of fate and temptation, CHICAGO CALLING gradually, inexorably pulls itself up by its boot gathers to become nothing less than one of the most touching takes on morality and desperation I've ever seen. It's going to be hard to find (not on DVD and rarely on TCM) but this startling, heartbreaking character study is a must see for any noirist. It's that good.

A lot of the credit must go to Dan Duryea. He so convincingly played such a long line of abusive creep boyfriends and irredeemably scummy thugs, one would have been tempted to take a swing at him on the street. In this case, however, Duryea is cast as the protagonist and it is a revelation. Given the chance to emote, Duryea reveals heretofore hidden depth of emotion and angst as he struggles to find his integrity and hope as the world falls down all around him. His performance is subtle and carefully modulated so that we are forced to wait a long time for the powerful payoff, which is his ultimate emotional reveal and Duryea's best moment in forty five years on film. The young boy also deserves a lot of credit... his unlikely friendship with Duryea is believable and powerful precisely because the boy's reactions make it so. There is almost a BICYCLE THIEF quality to their relationship, and Duryea's transformation is beautifully motivated (and tested) by the boy. I defy you not to tear up at the boy's train yard scene at the end.

The Bunker Hill location photography by De Grasse is striking and evocative. The score is effective.

Look for this one, fans. Duryea's touching performance is one for the ages and the movie will handsomely reward your effort to find it.

This was a nice little film. Duryea played the average man here, a bit down on his luck as we first see him, a point emphasized by the stairway that we see him descending in the Bunker Hill section of Los Angeles en route home. His wife is about to leave him since he's chronically unemployed, and says she's going to take their daughter with her.

This happens the next day and then he later gets a telegram stating that his daughter was injured in a car accident and is about to undergo surgery. He'll supposedly get the details the next day via a phone call. But that's just it - his day started out bad, and only got worse as the phone company terminated his service and if that isn't bad enough, his dog is also injured in an accident while he's out trying to scrounge up money to pay the bill so he can get the call the next day.

It reminded me of Loretta Young's "Cause For Alarm" in which we follow the protagonist through an agonizing day, in her case she was trying to retrieve an incriminating letter. It may have been sunny in each film, but the characters are having one very dark day.

"Chicago Calling" may be the title, but what we get is the lower environs of Los Angeles in all of its seediness. But still some helpful characters emerge, such as a counter-woman who must have seen The Grapes of Wrath and has a soft spot for Duryea's woe, and a young boy, the one whose bicycle hits Duryea's dog. The boy's "help" only compounds Duryea's problems, but he meant well.

A very nice job on a low budget, the director John Reinhardt died the next year, but based on this and "Open Secret" - another budget job that had antisemitism in its sights, he had a lot of promise that might have been fulfilled had he gotten the breaks.