23 May 2012

99 River Street

This review is from: 99 River Street (MGM Limited Edition Collection) (DVD) This one was a real surprise for me. Tight story line plus excellent acting by Payne and Keyes. A great noir and worth the price.

brocksilvey

22 May 2012

You Gotta Love a Noir with a Sense of Humor

A superb noir from 1953 that stars an appealing John Payne as anex-boxer who's maybe a little bit nuts and who gets framed for themurder of his wife. The bulk of the movie consists of him trying toexpose the real killer before the police nab him, and he's ably abettedby Evelyn Keyes, who brings a sense of zaniness to the film as anactress friend of Payne who walks into this most outrageous andghoulish scenario and acts like similarly outrageous and ghoulishthings happen to her every day.Director Phil Karlson, who was most known to me for directing a morefamous and much grittier noir called "The Phenix City Story," guidesthis story along with a firm hand. The screenplay is prettypreposterous and requires its audience to suspend a great deal ofdisbelief. But that's part of its fun and charm, and the fact that thefilm has a really good sense of humor about itself helps tremendously.This is one noir I had never heard of but am no immensely glad I'veseen.Grade: A

rpvanderlinden

19 May 2012

Extra! Extra! Hard-Nosed Crime Thriller K.O.s the Competition!

Wow! Here's a nifty little noir that doesn't pull its punches. Frank,nasty and brutal, it's the story of an ex-boxer with a bad temper who'sstill boiling over the defeat that ended his career four years earlier.Now he's driving cab and dreaming of better times ahead when he findsout his wife is fooling around on him. He does another dishy dame afavour only to be played for a sucker. And it's still early in theevening. By the middle of the night he's mixed up with murder and anest of scumbags. I've had bad days - and nights - but nothing likethis.This movie has energy to spare, and conviction, and characters who getunder your skin one way or another. The hero, Ernie (John Payne), is aseething cauldron, and that's okay because he's up for a good fight,not so okay for his wife (Peggie Castle) who wants out. You'd want himon your side, though - even if he's down for the count he'll always getup to fight another round. The dish (Evelyn Keyes) turns out to havewhat it takes, and her acting and seducing skills make for a dynamitescene near the end. For once the writers know what to do with a backstory, with the boxing theme skillfully played throughout the movie andorchestrated into a white-knuckle climax and satisfying conclusion. Asfor Keyes and that scene - the movie could have been called "CashmereBecomes Her" - it's hot, hot, hot! When she lights her cigarette fromsleazoid Brad Dexter's smoldering fag tip, the tendrils of smokecaressing both their faces, I had to pinch myself to see if I washaving a wet dream. Sex and violence are the key ingredients here - andcinematic exuberance. You couldn't ask for more. Just have yourNicorettes handy.

jimmccool

19 May 2012

A Must-See For Noir Fans

Think Kansas City Confidential - and you'll known where this hot potatois a-comin' from. Terse, twisty, and more than a bit brutal, with performances from bothmain and secondary characters that are never short of excellent, 99River Street is a real treat for hard-boiled Noir fans. This 'B' was anunknown quantity to me and gave me a realpleasant-as-cold-beer-on-a-hot-Sunday surprise. The plot turns andtwists like a rattlesnake on ketamine, while the host of slimy villainsoozing their way through the deitrus of the Dark City - when notforce-feeding puppies! - reflect an ocean of corruption and moraldecay. Even Payne is a very flawed hero, wrestling with wife-beatingrage, and lashing out even at those who try to care for him. Stand-outsinclude Brad Dexter as a sleaze-ball crook, even more cunning than thehomicidal private eye he played in Asphalt Jungle; and Jack Lambert,brilliantly playing the Dum-Dum psycho as always, as in The Killers,TheEnforcer. 99 River Street - 'B' Movie Hell, Pulp Noir Heaven!

KEITH-LANCASTER

17 May 2012

A bit different and worth watching.

Ernie Driscoll (John Payne) loses his heavyweight boxing crown andhas to endure the nagging tirades of his wife. She realizesthatErnie`s defeat and his deteriorating fighting abilities willmeanno more big paychecks. She gets involved with Brad Dexter ( asmall time hood) hoping that Dexter`s big time ambitions willhelpto elevate her social and financial status. However whenDexterdoes hit it big, her demands and threats incur his ire and hekillsher. Driscoll is blamed and now has to find out who did kill hiswife.From here on in the action is fast and furious. Evelyn Keyes andFrank Faylen are his allies (Keyes, a budding actress and Faylen abuddy working with Driscoll as a cab driver) who ably assist inthe dangerous quest to find the killer. Earlier in the filmKeyeshad tricked Payne (Driscoll) into believing that she had killed aman during an argument. Payne follows her to the scene ofthe"crime" which appears to have occurred on the stage of anemptytheatre. She becomes hysterical as she looks at the body,Paynecomforts her and tries to calm her. The murder is a hoax.Keyesis on trial to display her acting skills. The lights go on andseveral people appear, all applauding the performance given byKeyes.Driscoll is furious and attacks them knocking the nearest mandown.His anger is short lived and he befriends her realizing that hisviolent attack had probably lost her the role for which she wasauditioning. A series of encounters with other hoods (alsolookingfor Dexter and whatever he has) eventually leads to thelocationof Dexter. The final scene takes place on the deck of a shipwhereDexter is planning to make his escape. A fight between him and Payne results in a confession and the subsequent exoneration ofPayne. One thing I find very realistic in movies starring JohnPayne,and that is that his fights all seem to underline his obviousskillat being able to throw punches that any boxer would be proudof.Watch his fistic display during a fight he has with JackLambert.This happens midway through the film when Payne cornersLambertin a sleazy hotel room and "persuades" him to reveal thewhereaboutsof Dexter. A film full of action and tension, see it I think you`llagree.

17 May 2012

Very Good Twisty Film Noir - Nice Warners image too.

Good reproduction of an unrestored film from Warner Bros. archive. Very crisp and clear, only minor flaws and good sound. I had not seen this film before and was surprised as to how good it is.The well writen story has some great twists and turns that had me fooled me a number of times.A down on is luck boxer who is hunted by the police for allegedly killing a woman - must clear his name by finding the real psychopathic killer - before its to late. 99 River Street has usual classic film noir touches that we all love: A confused and hunted-by-the-law anit-hero, at least one or maybe one and half fem fatales, an assortment of ugly underworld characters, foggy water fronts, sweaty boxing arenas, seedy cafes, dark alleys and an assortment of red herings.The acting by the entire cast is very good even if at times there appears to some overacting - but as it turns out the overacting is deliberate and part of the story. Pretty clever on the part of the film makers. I also noticed some very aggressive and beautifully rendered, atmospheric mat-shots scattered here and there in the film. The only thing the film lacks is the ultra cool dead-pan dialogue found in the very top film noirs - Double Indemnity for example - and I found the ending for 99 River Street to be just a bit too nicey nice "they lived happily ever after" for an otherwise pretty dark film noir. All that said - I think 99 River Street should be in top twenty-five film noirs - it's great find.

planktonrules

15 May 2012

A gritty John Payne...thats quite an improvement over his old persona.

In the 1930s and 40s, John Payne played a handsome but relatively blandguy in many top films. He was eye candy and mostly played supportingcharacters. However, in 1950's Payne was no longer the handsome matinéeidol and instead often took parts in tough westerns or film noir (suchas "Kansas City Confidential"--as well as "99 River Street".Payne plays a washed up boxer who is married to a cheating no-goodtramp. She loved him well enough when he was on top in the fight gamebut now that he's no longer able to box, she is stepping out on himwith a crook. He offers more excitement and all the fancy stuff thatPayne cannot afford. Payne discovers them and storms off. In themeantime, the boyfriend and Payne's wife walk into a bad deal and Payneis set up with a very, very unfunny practical joke. Considering thatfollowing these events Payne is very publicly angry, he is the mostlikely suspect when his wife is killed--especially since the killermade sure to make it look like Payne's doing. So, it's up to Payne anda lady friend to clear himself and find the real killer before the copsfind him. The only problem is that there are some REALLY dangerouscharacters out to kill the killer--and anyone else that gets in theirway.This is a very tough film--and one that is perfect for Payne's newimage. The boxing scenes were brutal(with lots of atypical 1950sblood), the dialog snappy and the plot quite engaging. I alsoappreciated the wonderful vamp scene that Evelyn Keyes did near theend--you gotta see this one! An excellent noir thriller--and highlyrecommended.

15 May 2012

Very Nice Looking Transfer to DVD-R

This review is from: 99 River Street (MGM Limited Edition Collection) (DVD) These MGM Limited Edition titles have been really hit or miss. Here's a good one. A very rich looking image with excellent contrast and detail. I wish they all looked this good. Recommended!

muddlyjames

13 May 2012

Clearly Karlsons best film

- Not the meandering KANSAS CITY CONFIDENTIAL. This one has all his bestelements: terse, supremely functional scenes, casual brutality, a visualstyle emphasizing the coarse, glaring surface of things, a view of theworldas one big "con" (with actors (!) featured as moral shysters in thiscase),and a plot that barrels along like a freight train. It also features asurprisingly sympathetic lead character (great job of low-key acting fromPayne)and believable interchanges between him and the good and bad womeninthe film. The ending is a marvel of staging, lighting, and cameramovement.This film is the main basis of Karlson's genuine (if minor) film legacy.

blanche-2

13 May 2012

very good noir

John Payne and Evelyn Keyes head for "99 River Street" in this filmnoir directed by Phil Karlson, and a very good one it is. Payne playsErnie Driscoll, a washed up fighter who now drives a cab and has totake insults from his pretty, actress wannabe wife Pauline (PeggyCastle) who coulda been a contender if she hadn't married him. It turnsout that she has a crooked boyfriend, Victor Rawlins (Brad Dexter) whois planning to get $50,000 from some diamonds and run away with her.When the fence refuses to deal with Rawlins because there's a womanwith him, Rawlins kills Pauline and puts her body in Ernie's cab!Ernie's got to clear himself, and a friend at the cab company (FrankFaylen) and an aspiring actress friend (Evelyn Keyes) are there tohelp.There are a very neat twists in this very atmospheric, gritty noir,which doesn't hold back on the violence. John Payne obviously lovedthis genre, or else he wanted to work against his clean-cut leading manimage of the '40s. Here he looks like a fighter who's taken a lot ofpunches, and he does a great job as a basically good guy who's beendealt some bad cards and is angry about it. You're really pulling forhim. Evelyn Keyes is wonderful as his friend, and her seduction act ina bar is one of the best scenes in the film. Frank Faylen, of course,is always likable - this is about six years before he became DobieGillis' father. Brad Dexter is excellent as a ruthless gangster.Recommended, particularly if you like the genre.

13 May 2012

Competent DVD--Good Image

Many of us film noir fans have waited a long time for an offiicial studio release of 99 RIver Street starring John Payne. And while the film was not restored or remastered, it is certainly very watchable, The package erroneously indicates that this movie is in "widescreen". It's not---the movie was filmed in 4:3 aspect ratio and that is what you see on the DVD. I was fearful that they would crop the top and bottom of the image for a "widescreen" effect. Don't worry they didn't. There are no extras--but who cares?

telegonus

12 May 2012

Payne Against the World

As in the the previous year's Kansas City Confidential, John Payne is a mostput-upon protagonist. Directed by KC Confidential's Phil Karlson, andphotographed in gorgeous black and white, alternately harsh and painterly,by Franz Planer, this one has Payne as a washed up prizefighter who mustavenge his worthless wife's murder, not because he cared particularly forher but because he is (falsely) implicated in it. Payne has to take on agood number of unsavory characters, and proves himself if nothing else stilla most able man with his fists. There's a nice feeling for fifties urbannight life in this one, of a less than high class style. Karlson shows analmost Fritz Langian feeling for the traps people fall into, personal andcriminal, and like Lang doesn't go much for self-pity. In the Karlson schemeof things guys get framed for things they didn't do every day, affluentcrooks wear expensive overcoats and take cruises fairly regularly, whileworking stiffs get the wrong end of the stick every time. It takes a toughman to survive in this universe. Payne is not only tough he's so resoluteand bad tempered as to make the real bad guys look like the respectablebusinessmen they claim to be. It's Payne Against the World in this one. OrPain Against the World, as the character Payne plays seems to suffer as muchfrom internal anguish as anything the villains of the piece cook up forhim.

12 May 2012

Terse example of rough tumble 50s noir

This might be Phil Karlson's tightest, most satisfying film.John Payne and Evelyn Keyes play it in the best pulp tradition,with Keyes especially enjoyable in a couple of marvelousset-pieces, one in an empty theater and the other a greasy-spoondiner where she really vamps it up with Brad Dexter. Too badKeyes dropped out of pictures in the mid-50s.

CatTales

11 May 2012

Unpredictable, clever, engaging fast-paced noir.

I've seen many film noirs and this one still had some wild, unexpected plottwists. Plot was clever but never too confusing(in spite of the wonderfultwists), and employed believable film noir ambience (sexy betraying blonde,hard-up disillusioned hero, & good girl sidekick, heist, etc). Film doesn'temote too much sentiment with the characters, you sympathize alittle withthe "hero" and a gangster. VERY FUN to watch. Definitely underrated, esp.compared with ANYTHING made after 1970. My only problem with it: did theyreally make closet doors with bolt locks in the 1950's?(our hero locks abadguy in a closet).

secondtake

10 May 2012

A great confluence of talent make this B movie an A movie knockout

99 River Street (1953)While it starts off as a boxing movie, it soon segues into a kind oflow budget crime film, filled with all kinds of impressive details andrealistic nuances of the time. It's a pretty great story, too, almostsomething that could happen to you if you weren't paying attention.It's a film noir, certainly, with the lead male, the washed up boxer,played with regular-guy restraint by John Payne. He holds up his endquite well (and his boxing comes in handy more than once). Better still is his love interest (not his wife), played by EvelynKeyes. She does grow more important as the plot goes on, to the pointthat her acting career starts to take over the crime narrative. Butthis is so smartly done, and tied in so well (the play she wants to actin is "They Call It Murder"), it makes the movie that much moreinteresting. And makes our lead man all the more confused and isolated.Along with all the good plot and decent acting that make any crime filmin the 1950s fly, there is something else that is a characteristic Bmovie advantage--the sets and the little details in the background arenot slicked up and over-stylized. It feels like we're in the real deal,so the ice cream shop and the streets and the docks all strike us asauthentic. It's not a cheaply filmed movie. In fact, it feels likeA-list movie in most ways, except that it lacks that patina ofperfection that contemporary movies with bigger budgets have (fromWyler's films of the period, to Wilders, as a starting point). The director is known mostly for "Kansas City Confidential," anotherB-noir. Payne is a second tier actor, making a lucky and oddly perfectappearance as the leading man in "Miracle on 34th Street." And Keyeshad a long career with many roles such as this, though her moment inthe sun was as Scarlett O'Hara's sister in "Gone with the Wind."Finally, cinematographer Franz (often credited as Frank) Planer was aconsummate pro, doing a slew of great films including "Breakfast atTiffany's" and four other Hepburn movies.So if this was a surprise for me, it shouldn't have been. Sometimestalent pulls together just so, and here's a nice example.

Neil Doyle

10 May 2012

Very gripping, brutal film noir with John Payne as bad-tempered ex-boxer...

This is definitive film noir where the hero must prove he isn't guiltyof a crime and has to deal with the thugs out to frame him and a womanwho gets him into more trouble than he ever expected.JOHN PAYNE excels as the scowling fighter who has a couple of reallywell-staged fight scenes with JACK LAMBERT and BRAD DEXTER, outside thering and in the dark underworld of crime and passion.The surprise of this low-budget thriller is EVELYN KEYES as anambitious actress who gets Payne unknowingly involved in her attempt toland a Broadway role wherein she plays a nasty trick on him. Then, tomake up for her rash behavior and poor judgment, she sticks by him whenhe needs a witness to prove he didn't murder his wife, played withrelish by PEGGY CASTLE.Under Phil Karlson's direction, it's all wildly unpredictable withenough sub-plots and twists to make it engrossing from start to finish.Payne was after meatier roles after leaving Fox in all of those prettyboy roles and musicals, establishing a new persona as a tough film noirhero, rugged and ready for the fight. He's excellent and so are theother players.Keyes reveals raw acting talent of astonishing intensity, especially inthe key scene where she plays a theatrical trick on him--and theviewer.As usual, an actor who once played leading roles at Fox, GLENN LANGAN,is wasted in a minor role. FRANK FAYLEN gives his usual reliableperformance as Payne's taxi driver friend.Well worth watching if you're a film noir fan and don't mind a grittytale that doesn't pull its punches.

Robert J. Maxwell

08 May 2012

I Dont Do Business With No Dames.

John Payne, smart guy, not much of an actor, made a series ofinexpensive studio-bound semi-noirs in the early 50s in which he wasoften the victim of a frame. In this one, he's an amiable ex boxer --nice, masculine occupation -- who now drives a cab because of an eyeinjury. When he discovers that his gorgeous, sexy wife (Castle) isschtupping some thief, he becomes bitter and easily angered. It's evenworse because her boyfriend is Brad Dexter, the sleazy private eye whoshoots Sterling Hayden in "The Asphalt Jungle." No taste, you know?Dexter is mixed up with a gang of armed robbers, fences, moneylaunderers, and shoe fetishists or something. It's not clear exactlywhat such established heavies as the pop-eyed Jay Adler and theNeanderthal Jack Lambert actually do, besides double cross each other.Adler has agreed to buy some stolen diamonds from Dexter but whenDexter show up with Payne's runaway wife in tow, Adler demurs. He don'tdo business with no dames because they can't be trusted. The solutionto Dexter's conundrum is simple. He takes the luscious Peggy Castle upto his apartment, strangles her, and dumps the body in the back ofPayne's cab.Dexter finagles the fifty large from Adler but Adler wants the moneyback and pursues Dexter as he tries to make a getaway from a pierbehind the River Cafe or whatever it is, in Jersey City. Payne is inpursuit of Dexter because, by this time, he's discovered that Payne isthe killer of his wife. Well -- not exactly. Actually that conclusionrequires a leap of faith on Payne's part.But let's not get into holes in the plot or, more generally, itsweaknesses because then we'd have to figure out why so much emphasis isplace on Payne's determination to return to the ring, a narrativethread abruptly dropped, like a corpse in the back seat of a taxi. We'dhave to start wondering why Jay Adler has such a problem doing businesswith women around, even as mere witnesses. What did Adler's mother everdo to him? Speaking as a psychologist, I'd begin with deficient pottytraining. And then, too, we'd need to ponder Dexter's motives indragging Peggy Castle along and insisting she witness the exchange ofmoney and diamonds. We psychologists call this "separation anxiety."It's why children cry when they have to leave home for their first dayof school. I have other questions too. To whom do I send this bill? The director was Phil Karlson, who had a curious career. His work mightbe called clumsy by some but I think "primitive" is a more aptdescription. He does a headlong job, kind of like Samuel Fuller butwithout any irony or social comment. He rams the fast-paced plot downyour throat whether you're ready or not. He made some clunkers but alsosome more disturbing things like "The Phoenix City Story" and "FiveAgainst the House" and "Walking Tall."

Keith Kjornes

08 May 2012

Very Good Noir film all the way around

John Payne plays a bitter cab driver saddled with a cheating wife whowants the moon and the stars and everything that goes with it.Something she realizes will never come married to this broken downhack. Such is the singular event that starts in motion a series ofevents, some coincidental, some planned and all of them unexpected. Andunlike some lesser entries into the film noir black and white movies ofthe day, this has some totally logical and totally unexpected twistsalong the way. Peggie Castle was never sexier than this film, EvelynKeyes was never more reserved-- until you get about the three quartersmark, and then she does one of the most erotic things I've ever seen inany film from 1953 or anywhere in the '50's. The fight scenes aregritty and realistic and the dialog is understated and not hysterical.And the pacing is big screen professional. I highly recommend this filmto anyone looking for some serious fun.

06 May 2012

99 River Street

This review is from: 99 River Street (DVD) This one was a real surprise for me. Tight story line plus excellent acting by Payne and Keyes. A great noir and worth the price.

bmacv

05 May 2012

John PaynePhil Karlson combo makes for potent punch

The underrated John Payne -- an ideal Everyman -- teamed with director PhilKarlson in a number of 50s thrillers. All bear viewing, but maybe the pickof the crop is 99 River Street. Payne plays a washed-up boxer now driving ahack, and the movie opens in a frame-within-a-frame of his watching himselfin an old bout on TV. Trying to win back the affections of hiscouldn't-care-less wife (Peggie Castle), he discovers that she's two-timinghim. Meanwhile an old gal-pal with theatrical yearnings (Evelyn Keyes, andmaybe her finest hour) tries to enlist him in a scheme of her own, whichbackfires. Next, his wife turns up dead....Karlson keeps the tension highbut well-modulated while managing to strike most of the images and motifs onthe noir keyboard (including some evocative night footage of the Jerseywaterfront). Overall, this installment in the cycle (which has neverappeared on commercial videotape) remains one of the most satisfying andcharacteristic examples of noir in the early Eisenhower era -- slightly lessspooky than its 40s predecessors, but a bit more brutal,too.