A compelling noir centred on a cop and a criminal who share a childhood background but have taken very different paths. Robert Siodmak directs with assurance, creating a moody, atmospheric piece full of tension. Victor Mature gives a more nuanced performance than usual, while Richard Conte strikes a perfect balance between charisma and menace. Shelley Winters makes a memorable mid-film appearance, stealing her scene with ease. The final speech from Mature feels slightly contrived, but that’s a small flaw in an otherwise well-crafted and gripping crime drama. Cry of the City is a fine example of the genre.
Excellent B&W drama.Good story ,well photographed in B&W.Good performances from Mature & the under-rated Conte.
Not the best of Robert Siodmak's run of classic '40s noirs, but still a quality update of the old gangster set up about the cop and the crook who grew up on the same mean streets, destined to obsessively confront their alternative potential. This is the best role of Victor Mature's career as the dedicated Italian detective.
Though he's still matched by Richard Conte as the sociopathic cop killer. And womaniser. The mafia boss escapes from prison hospital to find his idealised other, his virtuous madonna- startlingly played by 14 year old Debra Paget. And then he searches the city at night for suckers to set them free.
The most potent of these encounters is with Hope Emerson, as a butch abortionist with a stake in a jewel robbery. The location photography of New York is striking, with the noir atmospherics reserved for the interiors. It was made by Fox, so Alfred Newman's music from Street Scene is again recycled, which is fine, but familiar.
It's a brutal portrayal of big city crime. Mature has to be willing to destroy himself to take down the narcissistic murderer. Aside from the resilient cop, everyone is malign, or indifferent. Censorship demands a moral perspective, but there is a tolerant, reformist agenda. This is a gangster noir classic and hugely influential.