Chicago Confidential

I'm really glad that crime movies of the B or lower grades are showing up. Hence the six stars. But this movie felt flat. It never drew me in.

It's one of those in which an unseen narrator tells us about the crime that was sweeping big cities and the police/government officials/fill in the blank who were wiping it out.

Brian Keith could be a fine noir hero but his performance feels uninspired. The movie boasts some great actresses of the tough-girl school. They too seem underused.

The narration is almost a self-parody. It is so stern and humorless it presages the announcer on "Laugh-in" and some later intentional funny movies.

I didn't buy this movie. Not sure why. But thanks for bringing it out of the vault, anyway. And keep 'em coming!

Union corruption serves as the McGuffin for Chicago Confidential, but the movie's really a big-city cops-and-robbers story with some stalwarts and set-ups left over from the noir cycle that had just about run its course by 1957 (and it shows).

A union official about to sing winds up shot and sunk in Lake Michigan; the honest union president (Dick Foran) is framed for the murder, stands trial and is convicted. That's quite a feather in the cap of District Attorney Brian Keith, who has gubernatorial yearnings.

But Foran's girlfriend Beverly Garland, discredited on the witness stand by means of fabricated evidence and suborned perjury, wins over Keith through her persistent loyalty. But as Keith begins to unravel the skein of lies that helped him win his case, the union's ambitious and corrupt vice-president (Douglas Kennedy) grows more desperate, and the body count starts to look like the city's in the roaring ‘20s. Among the victims is a stumblebum called Candymouth (Elisha Cook), used as a cat's paw in incriminating Foran, but even Keith and Garland find themselves in jeopardy....

The plot involves a bigwig lawyer left over from the Capone organization, `B-girls,' an impressionist, and oscilloscopes. But it moves quickly enough that the loose ends don't matter much (Why wasn't the tape recording analyzed before the trial? Why are the B-girls being shipped to Manila?). Director Sidney Salkow gets some of locales right (a sleazy bar called Shanghai Low among them) but doesn't bring much of an eye or an ear to the enterprise. Still, he keeps the movie jumping from one thing to the next, and that's at least something.

A cast of familiar faces appear in Chicago Confidential, a 1957 B movie. The stars are Brian Keith, Beverly Garland, Dick Foran, Elisha Cook Jr., John Hamilton, and Phyllis Coates. The latter two stars were in the TV "Superman" in case you don't recognize their names.

The story is told with a narration, semidocumentary style. This type of film was popular for a time, but to me, it's very dry and too "Dragnet."

A union accountant who has been keeping two sets of books calls DA Jim Fremont (Keith) and announces he is bringing in proof that the mob has infiltrated the union and is stealing from it. As could have been predicted as he starts walking to the DA's house in the dark, briefcase and folders in hand, he doesn't make it.

The bad guys set up one of the good union guys, Artie Blaine (Foran) to take the fall for the murder, and they do a decent job of it, using a drunk (Elisha Cook, Jr.) who finds the murder weapon as a witness to go to the DA once they clean him up. Then they discredit Blaine's fiancée (Garland) on the witness stand. The noose tightens.

Fairly formulaic, with a couple of interesting things - one is an impressionist, and the other is the use of a machine that recognizes speech patterns.

I interviewed Beverly Garland some years ago, so I always try to watch her films. She was a vibrant, funny, wonderful lady with a million stories. It makes me sad that she's no longer with us, but at least we can enjoy her film and TV work. For me she's a bright spot in "Chicago Confidential."

Unlike with the City that Never Sleeps, I didn't recognize a single Chicago location, unless you count still photographs. I think this was made in LA, and I'm bummed because I watched it to see old footage of my city.

It's well acted, and well structured, but the story hinges on a plot point, and some pseudoscience, that are so loopy they would be camp, if it were not for how straight everyone plays it, like a police procedural. If you get a kick of how old science plays out in old movies, or dated, or incredibly fictional science, that might be fun for you.

Plus, the State's Attorney re-examines something on the flimsiest possible basis. We're all used to that, every time someone says they have a hunch in movies, sure. But this is more like "someone who is biased yelled at me," and "leave no stone unturned to the point of being ridiculous."

So, this is a well acted, well structured movie that hinges on a couple of incredibly goofy plot points.

However, it's a blast to see Jack Lambert in this. I always think of him as the Lee Marvin who never made it big. He's similarly born to play toughs.

One of several late-noirs about Union corruption, for a basic seventy-five-minute programmer, CHICAGO CONFIDENTIAL has just about everything, from murderous thugs to their sophisticated bosses to courtroom drama involving a wrong man to all heavies eventually being hunted down, Brian Keith stars as a lawyer fighting to get wrongly-accused union boss Dick Foran off the hook from an ON THE WATERFRONT style rudimentary stool-pigeon murder (care-of usual Noir torpedo Jack Lambert) that happens right off the bat...

Giving CONFIDENTIAL a tight, edgy and at the same time breezily entertaining pulse where the best sequences take place beyond expository offices and into the shadowy streets or else inside a smoky nightclub that harbors sultry and experienced b-girls led by an equally vulnerable Beverly Tyler (along with alcoholic Linda Brent), stealing scenes not only from Keith's picture-pretty housewife and lead ingenue (Foran's secretary) Beverly Garland, but the men as well.