Cry of the City is a lesser noir from director Robert Siodmak with an often arbitrary plot, but since he is a mainstay of the genre it’s still an interesting foray on a number of fronts. It’s visually striking and features a number of interesting characters, especially female characters of all sorts of ranges.
The film opens with thug Martin Rome (Conte) laid up in the hospital after shooting a policeman dead and receiving some crossfire. The police, including Lt. Candella (Mature), wait around uneasily wanting to make sure that the perpetrator will make it out alive, so he can pay for his crimes. He gets a visit from a specter of a woman (Debra Paget), who disappears as quickly as she arrived. Then a crooked lawyer tries to get him to take the rap for a robbery he didn’t commit. It would take the heat off one of his other clients.
The cops begin to canvas the streets for the mysterious girl since Rome will give them nothing. And then he escapes the prison ward, fearful that he and his girlfriend will be framed. But he’s still feverish and weak from his wounds so he calls upon the assistance of his family and an old girlfriend (Shelley Winters).
He then leads the coppers to the crooked masseuse (played by the imposing Rose Givens), but time is running out for Rome, and he is finally receiving retribution for the killings he committed and all the people he has used. It’s a chilling ending worthy of the noir world.
There’s something about Victor Mature that I don’t really care for. Maybe he just feels a tad plastic as an actor. However, it is a great deal of fun watching Richard Conte, because he can play meek fellows and baddies. In Cry of the City he plays someone in between who is wholly corrupt, but his family gives him a sliver of humanity.
The film has a Godfather-like Italian culture, and it draws a fine line between the good and bad guys since in many cases they come from the same background. In this case, Rome chose the road of excess and corruption while Candella took the so-called straight path that’s a lot less glamorous. The plot, on the whole, has uneven patches, unexplained jumps, and unanswered questions. Shelley Winters felt like a rather random addition to the storyline. And Debra Paget mysteriously shows up, disappears, and comes back again. Although the film doesn’t have much of a score, Alfred Newman’s music sounds vaguely familiar — could it be from another film? I think so.