Blu-ray Review: Thieves' Highway

Hazardous long-haul trucking; the shady, double-dealing world of produce supply and distribution; rage, revenge and romance.... they're all to be found in AI Bezzerides' screenplay which was based on his own "Thieves' Market" novel.
Directed by Jules Dassin, "Thieves' Highway" terlls the story of Nick Garcos (Richard Conte); a ships mechanic who returns home bearing gifts for his parents and the girl he hopes to marry. In a highly emotional scene, Nick discovers his father is wheelchair-bound, having fallen foul of duplicitous produce dealer Mike Figlia (Lee J. Cobb).

Soon, Nick is on the road, leaving girlfriend Polly (Barbara Lawrence) behind, with Figlia firmly in his sights.
A new partnership with trucker Ed Kinney (Millard Mitchell) sees nick bound for San Francisco - a 400 mile journey without sleep - transporting a coveted early crop of golden delicious apples.
War veteran Garcos comes over as a decent man, driven to exact revenge for his father's condition and prepared to do whatever it takes in the process, which also involves falling for a wily female.

Valentina Cortesa's Rica is another well-drawn character in a film brimming with them, bringing a continental feel to proceedings.

It's certainly an absorbing journey; mean and moody with shocking violence and lifts the lid on a business not commonly associated with heavy-handed tactics to a surprising degree.
There's real pleasure to be drawn from watching the plot unfold in a shadowy world where loyalty and disloyalty are separated by a wafer-thin line and if none of the characters emerge with any real credit, maybe that's part of the appeal of "Thieves' Highway".

The Blu-ray presentation from Arrow Academy looks terrific,from a new 4K digital restoration from Twentieth Century Fox. The film looks crisp, with real depth and there's a fine level of grain beautifully preserved.
An enthralling documentary is first amongst the supplementary material.
"The Long Haul Of A.I. Bezzerides" (55m 42s) was shot in 2001, and provides an intimate portrait of 'Bezz' with contributions from the man himself, Jules Dassin, Mickey Spillane, Barry Gifford and George P. Pelecanos.
Gifford recalls Bezz was haunted by the flaws of common people, and this is certainly highlighted in "Thieves' Highway". Bezz talks about his work ethic; what made him want to become a writer; penning screenplays for Warner Bros; his opinion on the art of directing and his thoughts on Spillane's "Kiss Me Deadly" novel: Spillane returns the 'favour' elsewhere in this documentary. Clips from "Juke Girl", "On Dangerous Ground" and "Thieves' Highway" are included, but it's Bezzerides himself who gives this peice its heart and soul, talking with passion about his work and movingly, about the loves of his life. A very special guy.

"The Fruits Of Labour" (33m 39s)
This is a new video essay about production, reception and politics from Frank Krutnik, author of "In a Lonely Street".
Frank looks at the theme of the exploitation of labour; talks about the similar backgrounds of Bezzerides and Dassin; title changes; script revision, casting and labels "Thieves' Highway" a 'film gris'.
The 1949 opening in LA and audience and critical reaction are also covered in an essay that really does increase appreciation of this film.

"Commentaries By Frank Krutnik" takes 3 scenes from the film, and offers real insight with regard to mood and motivation.
"The Homecoming" (12m 19s) looks at nature and culture; the central theme of cash in a money-obsessed world and the fate of Nick's father in the novel.

"Delicious Golden" (7m 48s)
Frank highlights the labour behind the produce, the numbers behind the cash and Nick's desire to stop hard working men being cheated. Here, monetary value over nutritional value is what drives the likes of Figlia and his battle with a decent man is part of an age-old duel between right and wrong.

"Rica" (10m 46s)
Frank notes how Rica changes the films' direction; her interaction with Nick and how "Thieves' Highway" launched her career in the US.

A stills gallery comprising 43 photos can be accessed, including several fetching shots of Barbara Lawrence, and there's a theatrical trailer (2m 6s) which begins with the line "Your high road to an explosive human experience".
Arrow have included an excellent collectors booklet which features new writing on the film by Alastair Phillips (co-author of 100 Film Noirs).

A must buy if you're following Arrow's marvellous Jules Dassin collection and if you're not, this is a great place to start.

Blu-ray Review: Night And The City (BFI)

Meet Harry Fabian. Truth to tell, he's probably not the type of person you'd wish to encounter but it wasn't always like that.
Witness the scene where long suffering partner Mary (Gene Tierney) picks up a photograph of the pair and declares "Look at the people we used to be."Somewhere along the line, Fabian - played by Richard Widmark - was a decent man until his desire to be someone well and truly took root. Now, Harry is a hustler chasing the big bucks via a series of moneymaking schemes that end in tears, invariably leaving his partner holding the dirty end of the stick.

£100, £400 or a crisp £5 note... to Harry, it's just stake money on a game that can't go wrong but always does.
He inhabits a shadowy world where forgers, hookers and spivs peddle their wares, with enough mug punters and desperate clients to keep the wheels turning nicely. Harry's latest venture involves the chance to run London's wrestling circuit, after an encounter with old-time legend Gregorius ( Stanislaus Zbyszko) whose son Kristo (Herbert Lom) can see through Harry immediately. Thus, father is turned against son while Harry's endeavours to secure finance for a clash of wrestling titans may well make him the someone he craves to be.
Harry gets one half of the backing from Philips Nosseross (Francis L. Sullivan); owner of The Silver Fox club, whose wife Helen (Googie Withers)sees a way out of their marriage, aiming for a life of "ease and plenty" as Fabian is so fond of saying. This ill-fated alliance leaves battle-scarred victims in its wake, with scarely a likeable character on view. Even bumbling gourmet Adam Dunn (Hugh Marlowe) sets the hackles rising, just waiting for Fabian to trip up for the final time so he can win Mary's affections. In the end, it's only Gregorius that wins any sympathy, really tugging at our heartstrings when he asks for a window to be closed in a highly emotional scene.
For all that, it's a pleasure to watch the cast at work: Withers as the deliciously self-centred Helen; Sullivan having a ball with big Phil's scheming character and Widmark's take on Fabian who ultimately discovers that London is a very small place when you're on the run.

DOP Max Greene constructed a marvellous monochrome world here, with low camera angles, shadows on walls and ceilngs and famous London landmarks acting as a backdrop to enthralling doses of backstabbing and nefarious dealing in 1940s London.
Quite possibly director Jules Dasson's finest, and a film noir par excellence.

Green's cinematography certainly looks even more impressive on the BFI Blu-ray which unveils the American version of this film from a 4K scan. The films looks gorgeous here, with excellent contrast and detail, while the British version benefits from a 2K scan. There are several differences between the two cuts: the English version initially gives us a glimpse of two people reminded even more strongly of how things were before Harry's hare-brained ideas held sway and there's a different take on the scene where Helen Nosseross makes a startling discovery.
The two versions have different scores: Franz Waxman on the American version and Benjamin Frankel on the British cut which also features narration from Dassin.

The extras begin with two commentary tracks. The American cut sees Paul Duncan - writer and editor of film noir books - take the microphone. Paul talks about Gerald Kersh's novel; script revision; various stars who were approached to appear in the film; the challenges posed by shooting at busy London locations and MPAA directives regarding some of the scenes. The English version offers a commentary track from film scholar Adrian Martin who highlights the differences between the two cuts and the cosmopolitan aspects of the film. Adrian also discusses the novel; identifies locations used in the film and makes comparisons with both Orson Welles and "Force Of Evil".
Two excellent tracks that will heighten your appreciation of just what was accomplished here.

Next up is The Guardian Lecture: Jules Dassin Interviewed By Alexander Walker. (51m 38s)
The interview plays out to a series of images from the film, and includes Dassin's recollection of how he made the transition to Hollywood - a place that had "very little mind of its own." Dassin recalls films that influenced him; discusses the blacklist and his subpoena to appear before the Unamerican Activities Committee, and also takes questions from the audience for the last 5 minutes.

Richard Widmark Interviewed By Adrian Wooton At The National Film Theatre (1 hr 12m)

Recorded in July 2002, this very special event is a joy to view. Widmark talks fondly about his radio and theatre days; his debut feature in 1947 titled "Kiss Of Death"; his approach to acting and love of the studio system and the "great experience" of working on "Night And The City". Again, the audience are invited to ask questions, which include a query about the differences between acting in monochrome and colour which brought the house down. Hugely entertaining and informative.

The BFI have included a booklet which features an essay by Lee Server; Paul Duncan's piece on the film, novel and remake, and James Hahn's article on the two versions of the film.
A highly recommended release.

Blu-Ray Review: The Naked City

Jules Dassin's 1948 film became a landmark production for a number of reasons. Written by Albert Maltz and Malvin Wald, the film was one of the first to shoot on location in New York, capturing a city at work and play: a city that never entirely sleeps.
Miss Jean Dexter, 26 years of age, was murdered between 1.00-2.00am, prompting a police investigation and banner headlines labelling this crime 'The Bathtub Murder'. Genial old school cop Muldoon (Barry Fitzgerald) takes his younger colleague Halloran (Don Taylor) in tow as they interview suspects, sift through clues and study forensic reports in an effort to nail the killer.

The evidence points to more than one assailant in Dexter's perplexing case and before long, a list of suspects has been assembled.
Previously, whodunnit cases were usually the province of lone private eyes who got their man (or woman) with the police very much on the outside looking in. 'The Naked City', however, takes us through a police investigation, highlighting practically every aspect of a murder case.

From scene of crime to morgue, to researching suspects and possible motives, right through to the weary legwork involved, down streets that stretch for miles, populated by people who all have their own stories. Of course, the usual nutters surface: the ones who claim responsibility whenever a major crime is committed, but they are quickly and humorously dismissed by men who already have their own list of likely folks, including inveterate liar Niles (Howard Duff) who reinvents himself every time he's on screen.
It's a complex plot and an absolute joy to follow and observe, with solid characterisation, an impressive documentary feel and a thrilling climax to boot!
'The Naked City' has inspired countless films and television series, and fully deserves this HD release which will doubtless gain it many new admirers.

Arrow Academy's Blu-ray presentation has strong detail, with a few scratches that add to the documentary feel. Overall, it's a fine incarnation of this film.The extras begin with a Malvin Wald commentary track. Malvin calls the film a revelation for its time, and notes it was shot in 107 different places. He talks about Howard Duff, who had earlier played Sam Spade in a radio show, and reveals how the film was saved from being literally destroyed by studio execs. We also hear about the hidden cameras used to film selected scenes that added a high degree of authenticity to proceedings. It's a fascinating talk, leading us to 'New York And The Naked City', which was recorded in August 2014 and runs for 39 minutes. Here, Amy Taubin talks about the New York underground movie scene, discussing the likes of Shirley Clarke and Kenneth Anger, and takes a look at the early New York film movement. Film schools are also discussed, and the piece offers a rounded view of film in The Big Apple.

'Jules Dassin At LACMA' runs for 52 minutes, catching the director's appearance at the LA County Museum Of Art in April 2004. There is some sound distortion from the original recording, but this shouldn't impair your enjoyment and appreciation. Dassin was a very funny guy, and repeatedly has the audience in stitches as he holds forth on his career. Work on 'The Naked City' and 'Rififi' is covered, and he talks about producer Mark Hellinger (who also provided narration for the film) and laments his passing. Listen out for a great Jack Lemmon story, too!

'The Hollywood Ten' runs for just shy of 15 minutes, being a 1950 documentary showing why ten producers, writers and directors appeared before the House Un-American Activities Committee in 1947 and refused to answer questions relating to supposed communist activities. The men were given prison sentences, and Albert Maltz was one of them. It's a valuable addition to this disc, covering those dark days of 'blacklist'.
The disc is rounded off with a gallery of production stills by the infamous Weegee and a theatrical trailer.
As usual, Arrow has thoughtfully included an informative booklet, with new writing on the film by Sergio Angelini, Barry Salt and Alastair Phillips. It's a satisfying way to end this presentation of a very important film.