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The Naked City (1948) [The Criterion Collection #380][Re-UP]

Posted By: Someonelse
Date: 28 Nov 2015 12:47:00
The Naked City (1948) [The Criterion Collection #380][Re-UP]

The Naked City (1948)
DVD9 | ISO+MDS | NTSC 4:3 | Covers+Booklet | 01:36:02 | 7,66 Gb
Audio: English AC3 1.0 @ 192 Kbps | Subtitles: English
Genre: Crime, Film-Noir | The Criterion Collection #380

Director: Jules Dassin
Stars: Barry Fitzgerald, Howard Duff, Dorothy Hart

“There are eight million stories in the Naked City,” as the narrator immortally states at the close of this breathtakingly vivid film—and this is one of them. Master noir craftsman Jules Dassin and newspaperman-cum-producer Mark Hellinger’s dazzling police procedural, The Naked City, was shot entirely on location in New York. As influenced by Italian neorealism as American crime fiction, this double Academy Award winner remains a benchmark for naturalism in noir, living and breathing in the promises and perils of the Big Apple, from its lowest depths to its highest skyscrapers.

IMDB - Won 2 Oscars | Criterion | DVDbeaver

The Naked City has been hailed – and rightfully so – for effecting a transformation in the nature of crime dramas. Its exclusive use of actual New York City locations, coupled with Jules Dassin's fluid direction and the deliberately flat, unaffected acting style used by most of the cast, all lent a verisimilitude and immediacy to the film that was spellbinding in its time and is still bracing to watch. Alfred Werker and Anthony Mann had attempted something similar in 1947 with He Walked By Night, set in Los Angeles, but the results were more engrossing than exciting. Naked City's authentic New York ambience, the visuals playing off of the city's architecture, its streets and alleyways, bridges and rooftops, and its residents, give the movie an intense, intrinsic excitement. This, in turn, allowed Dassin to work out all kinds of quiet little plots and acting bits of business that, in a studio-bound movie, would have slowed the proceedings to a standstill and sent audiences walking to the lobby. Screenwriters Albert Maltz and Malvin Wald knew exactly what they were doing, with a script that provides a continual stream of fascinating information, adding layer upon layer of material for the viewer's benefit, which Dassin and the cast weave into a dazzling tapestry of humanity.

The Naked City (1948) [The Criterion Collection #380][Re-UP]

The movie proved astonishingly honest and prescient as a mirror of many aspects of human behavior, especially its depiction of the way that the press and the public react to cases involving attractive victims, and also the public's lingering fixation on crime scenes. As a source of inspiration, The Naked City's influence extended for decades after its release, to movies like Force of Evil, The Tattooed Stranger, and Guilty Bystander that came out in its wake; into the late '50s with the film Cop Hater and the television series Naked City; and through the 1960s with films such as Madigan and series such as N.Y.P.D. Although the visual and plot elements must take center stage, anyone watching should also make note of the music and the odd circumstances of its composition. Originally, Dassin chose to use a score composed by a musician friend of his, who, like him, had been dropped by the major studios because of his political views; producer Mark Hellinger agreed, but when he heard the resulting score, he knew that it was no good and that it would have to be rewritten. Hellinger approached Miklos Rozsa, who had scored his previous two films done at Universal, but Rozsa said that the two weeks he had to work with was too short a time for him to rescore the movie by himself; they agreed that Frank Skinner, a member of Universal's music department, would also score part of the film. Hellinger was also the narrator of the movie, and he died of a heart attack soon after recording his closing monologue; Rozsa's contribution was the music accompanying the chase sequence on the Lower East Side and on the Williamsburg Bridge, and underscoring the close of the film, narrated by Hellinger. Rozsa deliberately made the scoring of the latter sequence into a musical eulogy for his friend and colleague Hellinger.
Bruce Eder, Rovi
The Naked City (1948) [The Criterion Collection #380][Re-UP]

Though the 1948 film version of The Naked City is regularly listed on the classic rosters of film noir, in many ways, I would argue for it being almost an anti-noir, Jules Dassin's clean-up on aisle hardboiled. While notably trading the impressionistic shadows that were a hallmark of the genre with the documentary look of Neorealism (swapping, in effect, the Germans for the Italians), he also extracts the dark cynicism from the crime picture, creating instead a police procedural where the good guys are clearly defined and the bad guys unambiguously punished. Though Dassin still had a few noirish tricks up his sleeve (Night & the City and Rififi were yet to come), he practically invented a whole other animal with The Naked City, eventually spawning the television show of the same name and paving the way for other day-in-the-life cop shows like Dragnet and the contemporary Law & Order franchise, as well as films like Mervyn LeRoy's The FBI Story.

The Naked City (1948) [The Criterion Collection #380][Re-UP]

The concept seems ridiculously simple now. Shoot on the streets of New York, in real locations, and follow the investigation of one crime from the discovery of the body through to the apprehension of the murderers. The lead officers establish the unshakable paradigm of the seasoned veteran and the well-meaning rookie: the wonderfully nonchalant Det. Lt. Muldoon (Barry Fitzgerald, The Quiet Man) and the do-gooder family man Jimmy Halloran (Don Taylor, The Flying Leathernecks). Though these two men will essentially be our guides through the complicated case, the camera will actually drift from them to follow the cops on the street tailing suspects, the crime labs going over the evidence, and, in a true stroke of genius, the citizens of the city itself.

The Naked City (1948) [The Criterion Collection #380][Re-UP]

Even though The Naked City takes place over several days, Dassin and his screenwriters (Albert Maltz and Malvin Wald) framed the story like it was one day, opening the picture as the sun is setting and night life is entering into full swing. Led by a lively narrator (Mark Hellinger, the movie's producer, speaking as himself), the camera visits people on the night shift and in swank society parties, eavesdropping on the thoughts that drive their evening out or that keep them company as they slog through their tasks. We also see two seemingly random and unconnected crimes, but from a distance, so that we only know what happened but not to who or by whom. On into the next day, as we travel to work with Halloran and listen in on conversations on the subway, New York itself remains a breathing, pulsing element of the story. Often, Dassin's footage is just of crowd scenes, probably shot on the fly, and he would dub in conversations later, layering the dialogue over the image even when the extras weren't talking. While I am sure this was an economical decision, it actually works as an artistic one, adding to the overall feeling that all life in New York is connected. It doesn't matter who is talking, the metropolis is engaged in one ongoing discourse. (The way Dassin weaved through his crowds, jumping from one person to the next, I couldn't help thinking of Wim Wenders' eavesdropping angels in Wings of Desire.)

The Naked City (1948) [The Criterion Collection #380][Re-UP]

Some of the plot business in The Naked City comes off as a little dry, but the story is of such a classic model, it's always going to work on some level. As the police officers check out the angles on each clue, they end up finding more clues, gathering details until the various disparate pieces move together and make a complete report of what happened. Some of the work is tedious, hopping from one pawn shop to the next, from one textile merchant to another, but Dassin also takes us on rooftops to talk to construction workers and into tiny, ramshackle diners in search of witnesses. Where the movie starts to hum, however, is in the interrogation room. Muldoon sees right through the lying con man Frank Niles (Howard Duff, All My Sons) and pities his naïve fiancée Ruth (Dorothy Hart, I Was a Communist for the FBI) , and the old detective plays both of them like his own personal marionettes, letting them tell their lies and then tripping them up with the things they don't know he knows. Barry Fitzgerald is the prototypical police trickster, acting as if he's not too with it or maybe even doesn't care, lulling his targets into underestimating him so that he can strike when they least expect it. It's the most flashy element of a movie that otherwise takes some of the glamour out of police work.

The Naked City (1948) [The Criterion Collection #380][Re-UP]

Don Taylor is a good foil for Fitzgerald. Looking like a 1940s Luke Wilson, he rushes around digging for information, eager to make it all fit and haul the bad guys in. He's a little bit stiff and a whole lot milquetoast, but he stands as the model of good next to the characters he's bringing to justice. As Niles, Howard Duff is nervous and twitchy while Taylor is confident and solid; where the killer (Ted de Korsia, The Lady from Shanghai) is selfish and dirty, the detective gives of himself and always fights clean.

In the end, though, as the sun goes down on The Naked City yet again, it's driven home that the true story is of the place itself, of the bustling lives that move through the streets and the push and pull between those that break from the social contract and the men who put them back in line. In style, structure, and technique, The Naked City must have seemed revolutionary in 1948. Television has made the movie seem a little old hat by endlessly recycling the formula Dassin and the writers created, but The Naked City will always remain an icon. No one can ever forget the famous last lines from Hallinger's narration: "There are eight million stories in the Naked City…and this was one of them."

The Naked City (1948) [The Criterion Collection #380][Re-UP]

Or more accurately, The Naked City was the first, and when it comes down to it, probably still the best–whether it's one of eight hundred, eight million, or even eight billion.

Outside of some minor stiffness in tone/mood, The Naked City – Criterion Collection is still a crackling police drama told in a vivid, Neorealist style. By using New York as its backdrop, the film opens up beyond the average cops and criminals scenario, giving instead a broader glimpse at the environment in which crime can occur. Barry Fitzgerald gives an excellent performance as the savvy homicide detective, but it's hard not to be upstaged by the crisp images of the metropolis as it goes about its daily business. If you like Law & Order or CSI, I Highly Recommended that you schedule a visit to The Naked City and see where it all came from.
Jamie S. Rich, Brute Force - Criterion Collection, DVDtalk
The Naked City (1948) [The Criterion Collection #380][Re-UP]

Disc Features:
* New, restored high-definition digital transfer
* Audio commentary by screenwriter Malvin Wald
* An analysis of the film’s New York locations by Celluloid Skyline author James Sanders (26:03)
* A new video interview with NYU film professor Dana Polan (28:08)
* Footage of Jules Dassin from his 2004 appearance at the Los Angeles County Museum of Art (40:38)
* Stills gallery
The Naked City (1948) [The Criterion Collection #380][Re-UP]


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