New York Confidential (Russell Rouse, 1955)
IMDb
Writers: Clarence Greene (writer) & Russell Rouse (writer)
Genre: Crime | Film-Noir | Drama
Cast:
Broderick Crawford ... Charlie Lupo
Richard Conte ... Nick Magellan
Marilyn Maxwell ... Iris Palmer
Anne Bancroft ... Kathy Lupo
J. Carrol Naish ... Ben Dagajanian
Onslow Stevens ... Johnny Achilles
Barry Kelley ... Robert Frawley
Mike Mazurki ... Arnie Wendler
Celia Lovsky ... Mama Lupo
Herbert Heyes ... James Marshall
Steven Geray ... Morris Franklin
William 'Bill' Phillips ... Whitey
Henry Kulky ... Gino
Nestor Paiva ... Martinelli
Joseph Vitale ... Batista
[quote]Conte takes on Crawford in mid-50s look at mobsters as organization men, 17 August 2002
8/10
Author: bmacv from Western New York
In Russell Rouse's New York Confidential, Broderick Crawford plays a darker extension of his Harry Brock character in Born Yesterday. Brock was a corrupt businessman, a wheeler-dealer with senators in his pocket, but the movie (a comedy, after all) never went so far as to label him a mobster, much less a killer. But five years later, in the wake of the televised Kefauver hearings which brought the scope of organized crime to a rapt public, Crawford has become a cog in a vast `syndicate' or `cartel' - an important cog in its Manhattan headquarters, yes, but only one piece of its unstoppable machinery.
When one of his vassals stages an unauthorized hit, Crawford calls in some talent from Chicago (Richard Conte) to enforce discipline. The widowed Crawford warms to Conte as the son he never had, though he does have a handful of a rebellious daughter (Ann Bancroft) as well as a high-maintenance mistress with a platinum chignon (Marilyn Maxwell). Maxwell has eyes for Conte, but his eyes stay affixed on the unstable, hard-drinking Bancroft, who wants nothing to do with her father's business - or with any of his minions.
The triangulated romance, however, takes second place to the mob's tangled business interests. When a recalcitrant lobbyist scuttles a scheme to profit from government shipping contracts, he's ordered killed. In the movie's best orchestrated sequence, torpedo Mike Mazurki accomplishes the hit but botches his escape from a hotel; wounded, he decides to flip and sing.
With the big heat now on, the executive board decides Crawford must take the fall; he, however, decides to join Mazurki in singing a duet. So the board contracts Conte to eliminate the now dangerous Crawford....
The gangster movies of the early 'thirties endure as character studies of flamboyant but flawed figures played by the likes of Edward G. Robinson, Jimmy Cagney and Paul Muni. This spats-and-tommyguns genre, however, fell out of favor in the 'forties (given global upheaval, bootleggers became small fry). When mob pictures reemerged in the 1950s, their difference in tone was palpable. From 711 Ocean Drive in 1950 to Phil Karlson's 1957 The Brothers Rico (also starring Conte), crime had become corporate, with formalized hierarchies, far-flung interests, and strict, if ruthless, rules for doing business. That's the thread that runs through New York Confidential: that no there's no individual who's indispensable, that the survival of the organization remains paramount.[/quote]
StevenH en KG:
N.Y.C.1955.DVDRip.XviD.AC3.KG.avi 
(DVDRip V.O. "emulizado")
Sin subtítulos, que yo sepa.
IMDb
Writers: Clarence Greene (writer) & Russell Rouse (writer)
Genre: Crime | Film-Noir | Drama
Cast:
Broderick Crawford ... Charlie Lupo
Richard Conte ... Nick Magellan
Marilyn Maxwell ... Iris Palmer
Anne Bancroft ... Kathy Lupo
J. Carrol Naish ... Ben Dagajanian
Onslow Stevens ... Johnny Achilles
Barry Kelley ... Robert Frawley
Mike Mazurki ... Arnie Wendler
Celia Lovsky ... Mama Lupo
Herbert Heyes ... James Marshall
Steven Geray ... Morris Franklin
William 'Bill' Phillips ... Whitey
Henry Kulky ... Gino
Nestor Paiva ... Martinelli
Joseph Vitale ... Batista
[quote]Conte takes on Crawford in mid-50s look at mobsters as organization men, 17 August 2002
8/10
Author: bmacv from Western New York
In Russell Rouse's New York Confidential, Broderick Crawford plays a darker extension of his Harry Brock character in Born Yesterday. Brock was a corrupt businessman, a wheeler-dealer with senators in his pocket, but the movie (a comedy, after all) never went so far as to label him a mobster, much less a killer. But five years later, in the wake of the televised Kefauver hearings which brought the scope of organized crime to a rapt public, Crawford has become a cog in a vast `syndicate' or `cartel' - an important cog in its Manhattan headquarters, yes, but only one piece of its unstoppable machinery.
When one of his vassals stages an unauthorized hit, Crawford calls in some talent from Chicago (Richard Conte) to enforce discipline. The widowed Crawford warms to Conte as the son he never had, though he does have a handful of a rebellious daughter (Ann Bancroft) as well as a high-maintenance mistress with a platinum chignon (Marilyn Maxwell). Maxwell has eyes for Conte, but his eyes stay affixed on the unstable, hard-drinking Bancroft, who wants nothing to do with her father's business - or with any of his minions.
The triangulated romance, however, takes second place to the mob's tangled business interests. When a recalcitrant lobbyist scuttles a scheme to profit from government shipping contracts, he's ordered killed. In the movie's best orchestrated sequence, torpedo Mike Mazurki accomplishes the hit but botches his escape from a hotel; wounded, he decides to flip and sing.
With the big heat now on, the executive board decides Crawford must take the fall; he, however, decides to join Mazurki in singing a duet. So the board contracts Conte to eliminate the now dangerous Crawford....
The gangster movies of the early 'thirties endure as character studies of flamboyant but flawed figures played by the likes of Edward G. Robinson, Jimmy Cagney and Paul Muni. This spats-and-tommyguns genre, however, fell out of favor in the 'forties (given global upheaval, bootleggers became small fry). When mob pictures reemerged in the 1950s, their difference in tone was palpable. From 711 Ocean Drive in 1950 to Phil Karlson's 1957 The Brothers Rico (also starring Conte), crime had become corporate, with formalized hierarchies, far-flung interests, and strict, if ruthless, rules for doing business. That's the thread that runs through New York Confidential: that no there's no individual who's indispensable, that the survival of the organization remains paramount.[/quote]
StevenH en KG:
Código: Seleccionar todo
Format : AVI
File size : 1.19 GiB
Duration : 1h 27mn
Overall bit rate : 1 944 Kbps
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Format settings, BVOP : Yes
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Codec ID : XVID
Codec ID/Hint : XviD
Duration : 1h 27mn
Bit rate : 1 743 Kbps
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Duration : 1h 27mn
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Channel(s) : 2 channels
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Stream size : 120 MiB (10%) Sin subtítulos, que yo sepa.
