Teringer An Exercise In Nonsense

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

mark.waltz He got in early in his life, so now the only way out is a barrage of bullets in the back. He's Barry Sullivan, as tough a mob boss as you could ever find, and there's no Don Corleone politeness or Long Island mansion to hide in with the facade of legitimacy. There's nothing polite about the characters in this poetic but ultra gritty film noir that shows each of the main characters at their most vile, recreating New York City locations including an elevated train running, the Astor Place stop and an abandoned wharf where the violence gets pretty deadly. The fictional Neptune City is a unique replacement for similar beach communities like Coney Island and Atlantic City where corruption like this doesn't seem too far fetched. There really isn't a linear plot, but a series of events where the shadows of the city seems to emulate the darkness of the character's minds. This takes every film noir cliché and triples them, even more gritty than the classics made up until that time. This seems to be the kind of film that I could watch over and over and pick up new things each time. It's a living nightmare for Sullivan as he slips further and further into despair. While Joan Lorring and Belita are fine as the hard-boiled female characters, it's Harry Morgan, Sheldon Leonard and Akim Tamiroff in male supporting roles who get the raves. But the real stars are the script and the photography, perfect and moody in every way. In fact, just thinking about those technical aspects made me up my rating just by thinking about it.

Martin Teller A big fish in a small pond finds his little world crumbling around him when a bigger fish swims into town. Opening with a monologue so misanthropic it could have been penned by Travis Bickle, this is a brutal and cynical film. Allied Artists reunited the stars of Suspense, Barry Sullivan and Belita, and the results are an improvement. Sullivan is cold and paranoid as the titular character, completely without trust or sympathy in anyone around him. Belita doesn't get to do any ice-skating this time around, but she is very good as his long-suffering gal, her devotion and sincerity eventually beaten down by his suspicions. I said earlier that I was looking forward to more of Joan Lorring, and I was glad to see her here. She doesn't get a whole lot of screen time, but she has a wonderful part to play in the end. There's a couple of subplots to consider. John Ireland is a desperate gambler whose story hooks into Sullivan's at a crucial point. The part with Harry Morgan as a self-imagined Romeo is a bit more superfluous but provide some nice character moments. Also some fine supporting bits by noir regulars Elisha Cook, Charles McGraw and Sheldon Leonard (and a blink-and-you'll-miss-it appearance by Shelley Winters). The Louis Gruenberg score is occasionally overwhelming but mostly superb. And Paul Ivano's cinematography makes the most of the often cheap-looking sets, a lot of beautiful stylization, especially in the rain-soaked opening and closing sequences. Perhaps a little too self-conscious and stagy at times, but a very well-done, gloomy and sometimes poetic film.

ptb-8 After the 1946 success of their million dollar musical noir SUSPENSE Monogram and their A grade production name ALLIED ARTISTS repeated their Barry Sullivan and Belita pairing plus many excellent sets and camera angles in a truly strange crime drama THE GANGSTER. Typical of their urban style and effort to make socially arresting films (BLACK GOLD, HIGH TIDE, and later PHENIX CITY STORY)I find I am quite haunted by this grim and emotional portrayal of a doomed big shot draining mentally and emotionally in his seaside square mile of crummy crim competition. It is almost as if everyone in this film acts as though he is sure they are trying to cause him to have a mental breakdown. Sullivan is a career criminal on the very edge of insanity brought on by just a plain lousy life of struggle, arguing and ratty behavior. His affair with the incredibly gorgeous Belita (of skating fame) is racked with his paranoia and melancholy at best. It is as if his falling in love with her is causing his mind to unravel and local thugs know it. THE GANGSTER is a very well made film and genuinely emotionally interesting. It is NOT as the title suggests, a 'gangster film' however it is quite a sad and tortured tale depicting the tragic shattering in slow motion of a big man's heart and mind as he realizes (or just thinks that) his world is crumbling. The scenes at the beach promenade with Belita dressed all in white offer the viewer genuine beauty. She is sublimely dressed and photographed all through this handsome film. In fact she reminded me of a young Gertrude Lawrence: Belita was British and a champion skater at a young age throughout the UK before coming to Monogram when only about 19 years old. She just died, in 2006 at about 82 years old. Barry Sullivan is a revelation. THE GANGSTER is one of the most interesting psychological dramas made, given that it is set within his mind, hence the fake looking world he inhabits (stylised sets etc). He has fallen in love and knows he doesn't deserve it or control it, thus causing emotional fright and mental collapse. What a topic! Good movie, this!

John Braun (kartrabo) Occasionally Allied Artists was able to produce a first rate serious film unrelated to their usual formularized output.'The Gangster' is an unconventional crime picture that concentrates on the latter end of a racketeer's career,the effects rather than the causes of his persona,his neighborhood of operations,and the people who have been corrupted by his contact. As the protagonist Barry Sullivan essays a suitably morose,hardened individual driven by desperation to hold onto his rapidly crumbling kingdom.Desperate too are the pathetic bystanders who will be effected if this petty prince of rackets should fall to the machinations of a rival mob.Belita is a fashion socialite whom Sullivan uses but cannot love.Akim Tamiroff is terrific as the owner of a seemingly innocuous ice-cream parlor where Sullivan's influence has set in motion the tragic events that follow.Also well-cast are Joan Lorring as an adoring counter girl,John Ireland as a hooked gambler,Harry Morgan as an amusing soda-jerk,and every film buff's "favorite" New York thug,Sheldon Leonard as the leader of the new mob organization.