 | "We all work for our vices."
rating: 4
Once a key part of the mighty battle between Louis B. Mayer and head of production Dore Schary for creative control at MGM, John Huston's classic 1950 heist movie The Asphalt Jungle is good - very good - but at times it feels like it would have benefited from a lower budget and a tighter running time. Even though it was a comparatively low budget picture for the studio there's still a feeling that it's a film about people with no money made by people with rather a lot of it even if it was part of a conscious move by the studio to tackle grittier subject matter to compete with television. But then, with a track record that included Little Caesar, Scarface and High Sierra, the screen rights to W. R. Burnett's novel were never likely to go to one of the more cash-strapped studios that churned out film noir thrillers for their bread-and-butter.
It's that old favorite, the perfect heist that goes wrong, not because of bad luck or any overlooked detail but because of the inherent character flaws of the men carrying it out: for Sam Jaffe's meticulous and brilliant planner Doc Riedenschneider, it's very young girls ("We all work for our vices"), for Louis Calhern's crooked lawyer it's his belief that he can talk his way in and out of anything, for Marc Lawrence's bookie it's his desire to be seen as the equal of more socially `legitimate' criminals and for Sterling Hayden's not-too-bright hooligan it's his exaggerated sense of his own honor. Although executed with skill, most of the film's pleasures come from the performances, not least Jaffe's uncharacteristic Teutonic precision that earned him an Oscar nomination and Louis Calhern's free-spending but bankrupt criminal lawyer who simply regards crime as "a left-handed form of human endeavor" and who gets much of the best dialogue. But the supporting cast is memorable too, from Jean Hagen's hooker in love with Hayden, eager to please but living on her nerves in a performance completely devoid of vanity, Marc Lawrence's sweaty bookie and James Whitmore's cat-loving but tough-as-nails hunchback barkeep to Brad Dexter's unscrupulous private eye trying to cut himself into the deal, while Dorothy Tree's neglected wife puts a lifetime of desperation to recapture old times in her two scenes. Definitely worthwhile, though it doesn't leave as lasting an impression as many a cheaper film noir. Incidentally, someone really should tell whoever wrote the sleeve blurb for WHV's DVD release what `gunsel' really means...
Extras are few - an audio commentary by Drew Casper and James Whitmore, 'virtual' introduction by John Huston constructed from TV archive footage, and original theatrical trailer - but good.
|
Good Noir/Good True Crime
rating: 4
"The Asphalt Jungle" is a good, solid noir/ heist movie. AJ was shot in beautiful black and white against a grim, unspecified urban background. The cast work is excellent, with Sterling Hayden, Sam Jaffe, James Whitmore, Marc Lawrence and Anthony Caruso as the robbers. For a crew of bad guys, they are surprisingly likable; this viewer was rooting for them! Some had families, girl friends and wives to support. Those roles are in stark contrast to a crooked police detective, Barry Kelley and the overbearing Police Commissioner, John McIntire. Those two were hard to root for! AJ also features fine work by smarmy, greasy Louis Calhern as the fixer/fence and his unlikely girlfriend, a very young Marilyn Monroe. Hollywood noticed AJ! It received 1950 Oscar nominations for Best Picture, Best Supporting Actor (Jaffe). And Best Screenplay (Director John Huston and Ben Maddow), losing in each case to "All About Eve". AJ has only one weakness- its' length. Mr. Huston must have felt impelled to play out what happened to each of the crew and in a bit too much detail. The resulting 123 minute run time is a bit trying and merits a reduction in rank from 5 stars to 4. Some of the resolutions, particularly Hayden's, could have been cut. That one grievance aside, "The Asphalt Jungle" is a fine 1950s noir/true crime tale and is highly recommended.
|
A real gem
rating: 5
This movie is fabulous. It's not only well acted, but the story and the lighting (or lack of) makes this one of my favorite movies from this time period. Hayden (Dix) is one terrific actor - watch for the niceties when he is talking with Jean Hagen (Doll). One to be watched over and over as you catch new things upon reviewing. Huston's characters have big plans that are improbable from the start.
See Hayden in The Killing (1956) directed by Kubrick.
|
darkness at the break of noon
rating: 4
one of the finest noir films, with a nihilist point of view thru the lens of the great john huston, temporarily relocated at mgm between his days at warners and his longest period as an independent filmmaker. set against a gritty anonymous city, an assortment of failures try to pull off one career-making heist, and of course fail miserably. but thats only the groundwork for some insightful character studies by the likes of sterling hayden and a corps of familiar faces. as good as they come for this genre.
|
Noir heist film!
rating: 4
John Huston's noir-thriller is also a heist movie. When Doc (Sam Jaffe) gets out of prison, he has a plan for the big heist. He needs financial backing and a crew to help him. Dix (Sterling Hayden) is the muscle, Gus (James Whitmore) the driver, and Emmerich (Louis Calhern) is the financial backer.
Dix is an embittered man whose dream is to buy back the farm his family lost. Doc is a cool customer, genial and intellectual, and always has a plan. Emmerich has a sick wife at home and a hot blonde (Marilyn Monroe) at his cottage by the river. However, crime doesn't pay and each person's vice is their undoing.
This is a fine suspenseful thriller set in gorgeous, highly-contrasted black-and-white. The presence of shadows in each scene and the violent pessimistic script give this film a noir sensibility. Well directed and acted, this film also gives a true flavor of the 1950's.
|
|
