Call Northside 777 (1948) User Reviews

Wonderful Timeless Classic

[jpdoherty · 7/10 · 19 October 2010]

From the vaults of 20th Century Fox comes another fine Noir - CALL NORTHSIDE 777. Produced for the studio by Otto Lang in 1948 it continued Fox's splendid policy of producing realistic semi-documentary style thrillers in the great tradition of their earlier and memorable successes "The House On 92nd Street" (1945), "Boomerang" (1947) and "Kiss Of Death" (1947). Although CALL NORTHSIDE 777 lacked the sharpness and depth of these three classics it nevertheless still managed to be an engaging, sublime and well defined thriller thanks in no small measure to the excellent cast (particularly those in supporting roles), the brilliant stark monochrome cinematography by genius Joe McDonald and the tight and taut direction by the faultless Henry Hathaway who had the year before gained universal acclaim for his work on "Kiss Of Death". Based on writings by newspaper man Charles Clarke CALL NORTHSIDE 777 had a beautiful screenplay by Jarome Cady and Jay Dratler.

Based on a true story the picture relates how the killing of a policeman in Chicago in 1932 led to the wrongful arrest and conviction of Polish immigrant Frank Wiecek (Richard Conte) on foot of a dubious alibi and a dishonest identification. James Stewart is the reporter P.J. McNeal of the Chicago Times who is asked to investigate a newspaper advertisement placed by a Polish Charwoman offering $5000 for evidence that will get her son out of prison after 10 years of incarceration. McNeal at first thinks nothing of the assignment but when he meets the mother Tillie Wiecek (Kasia Orzazewski) and begins to delve into the case he finds little discrepancies and things that simply don't add up. With further exhaustive investigation - and against the steel will of the city authorities - he is able to prove by the obscure date on a newspaper in a photograph (blown up 140 times) that at the time of the killing Wiecek could not have committed the crime.

The acting is superb from all concerned! Jimmy Stewart is terrific as the crusading reporter. Fresh from his tremendous success in the brilliant "It's A Wonderful Life" the year before this was a new departure for the actor to appear in more serious roles. And with "Winchester 73" just around the corner he would soon embark on his greatest and most accessible characterization - the western hero. Richard Conte too is good as the wrongly accused Wiecek but quite fascinating are two women in supporting roles. Firstly Kasia Orzazewski is outstanding as the the anguished, pitiful and distressed mother. Her portrayal is sincere and heartfelt. Also excellent is Bette Garde as the lying and dishonest witness Wanda Skutnik. But missing is a scene that would show her being discredited. Pity they never thought of doing one! It would have been very satisfying! Another fault with the movie is the absence of a music score. Alfred Newman wrote a sturdy and dramatic Main Title and a soaring end title to close the picture but there is no music throughout the film and there are a couple of scenes crying out for some encouragement that only music can provide. It seemed a daft policy of Zanuck in the forties to restrict the use of music in Fox's pictures (the most blatant instance being "The Gunfighter" in 1950). Was he trying to save money? Who knows? However, music not withstanding CALL NORTHSIDE 777 is still a marvellous and engrossing motion picture and remains a timeless classic.

It's a Good World Outside

[claudio_carvalho · 8/10 · 17 December 2014]

In 1932 December, in Chicago, the Polish Wanda Skutnik (Betty Garde) runs a speakeasy during the Prohibition. When the policeman Bundy is murdered inside the illegal bar, Frank W. Wiecek (Richard Conte) and his friend Tomek Zaleska are arrested and sentenced to serve 99 years each in the Illinois State Penitentiary.

Eleven years later, the Chicago Times' editor Brian Kelly (Lee J. Cobb) is curious with an advertisement offering a US$ 5,000.00 reward for information about the identity of the killers of the policeman eleven years ago. He assigns the efficient reporter P.J. McNeal (James Stewart) to interview the person responsible for the ad. McNeal discovers that Frank's mother Tillie Wiecek (Kasia Orzazewski), who is a janitor, has saved her salary for eleven years to prove the innocence of her beloved son and now is offering the reward for additional information. McNeal is skeptical and believes that Frank is a cop killer, but his matter is successful and Kelly asks him to investigate further. Soon he changes his mind and realizes that Frank is a victim of the corrupt system.

"Call Northside 777" is an engaging movie about injustice and redemption based on a true story. The names were changed but most of the location is real. Movies of trial are usually attractive and James Stewart is one of the best actors of the cinema history. The result is a great movie directed by the also excellent Henry Hathaway. The only remark is the awful line of McNeal in the end of the movie: "Aw, look, Frank, it's a big thing when a sovereign state admits an error. But remember this: there aren't many governments in the world that would do it." Terrible way to admit an error that has cost eleven years of a man's life and made him lose his beloved wife and son. My vote is eight.

Title (Brazil): "Sublime Devoção" ("Sublime Devotion")

A great newspaper caper noir

[AlsExGal · 8/10 · 6 January 2019]

According to the narration and prologue, this was based on a true story. The film depicts the 1932 murder of a police officer in a speakeasy in Chicago. In 1933, two men were given life sentences for the murder. The action of Call Northside 777 starts out eleven years later, in 1944. Lee J. Cobb, editor of the Chicago Times, comes across a small ad in the classifieds offering $5,000 to whomever can offer information regarding the murderer of the police officer in 1932. Anyone with information is urged to call Northside 777. Cobb is intrigued that someone would be offering so much money for an eleven year old, solved murder, and why it is in such an inconspicuous ad? He has a hunch that there is a story in there and he assigns lead reporter, James Stewart, to the case.

Stewart is at first uninterested but as he thinks out loud and asks questions, Cobb urges him to investigate and see what he can come up with. Stewart starts with meeting the owner of the classifieds ad, who turns out to be the mother of one of the men put in prison for the murder. She is adamant that her son is innocent, and has scrubbed floors since his imprisonment to save up the reward money and pay for the ad.

As Stewart interviews more people investigated in the case, and reviews more news stories and documents related to the case, he realizes that the man in jail for this crime may really be innocent. Noir mainstay Richard Conte stars as the (allegedly) wrong-fully convicted man. Helen Walker has a small but effective role as Stewart's devoted wife whom he confides in when he's trying to figure out the case. They also work on a jigsaw puzzle together throughout the film, which very skillfully acts as a metaphor for what Stewart is trying to do in his work life.

Betty Garde plays the eyewitness whose inconsistent ability to pick out the murderer in the lineup comes into question by Stewart. She is very bitter and uncooperative towards Stewart, and obviously afraid of something or someone unnamed, so he's forced to undermine her credibility and go without her assistance in clearing the man whom he feels was wrongfully convicted.

I thought Stewart was excellent in his role as the everyday man whose work could affect the lives of many people associated with the case. Lee J. Cobb was authentic in the role of Stewart's boss who urges him to keep going in his investigation. I do get the sense though that Cobb is just trying to increase readership in the newspaper, and that he couldn't care less about Conte's character. But Stewart is the one with a little more humanity who is more about solving the crime than increasing readership of his newspaper.

One thing I thought was interesting about this film was that the man who administers the lie detector test to Conte is the actual inventor of the lie detector test.

Wonderful movie about the power of one

[blanche-2 · 7/10 · 26 January 2006]

James Stewart is a reporter who becomes involved in an old murder case in "Call Northside 777," directed by Henry Hathaway and costarring Lee J. Cobb and Richard Conte. The film is done semidocumentary style, in black and white, and is based on a true story.

Much of the movie is done in a low-key, realistic way, with most of the energy coming from Stewart. It takes us through, at some length, certain procedures, such as the administration of a lie detector test. But the movie isn't about that. It's about a reporter's passion for the unjust imprisonment of a young man, who at the time he takes up the cause, has been in prison for 11 years. His wife divorced him at his own request, and his mother has been scrubbing floors to make money to offer a reward. The viewer becomes very engrossed in the story along with Stewart.

Stewart gives an excellent performance which hearkens back to "Mr. Smith Goes to Washington" in a sense - the second half of the film calls for Mr. Smith's commitment, passion, and anger, and Stewart delivers. In the beginning, he's a cynical reporter who doesn't even want to do the story, and then as the facts emerge, he realizes there has been a gross injustice. What an actor. He's surrounded by strong performances from Helen Garde, Kazia Orzazewski, Cobb and Conte, who is very convincing as an innocent man.

The most exciting part of the film is at the end, and here's where the spoiler comes in. To prove Conte's innocence, a very early version of a fax machine is used in the form of the AP wire, and it is suspenseful and fascinating to watch the increasingly enlarged photos come off the roll. The final moment, of course, as the last picture is developed, is thrilling. I had just one problem with the scene. The Stewart character is determined to enlarge the photo enough to see the date on a newspaper - when in fact, the headline would have been enough, as one could have gotten the date by researching the headline. It's a minor point. It's a great story and a wonderfully atmospheric movie, taking us into the seedy side of Chicago.

Unfortunately, not has much has changed today in the justice system. If you have no money and no advocates, all too often what happened to Frank Wiecek is repeated over and over. But as Stewart tells Conte - I'm paraphrasing - "A state has admitted it made a mistake. That's no small thing. And it wouldn't happen anywhere else in the world." True enough.

This is a true story......

[hitchcockthelegend · 8/10 · 18 May 2008]

When a patrol cop is shot and killed, small time crook Frank Wiecek is tried for the crime and promptly sentenced to life imprisonment. Some 11 years on, tough cookie reporter P.J. McNeal gets involved with the case, the further he delves, the more he believes that Wiecek is innocent, but can he find evidence to back up his belief?

Filmed in semi-documentary style by director Henry Hathaway, this James Stewart led noir thriller oozes realism from start to finish. It's actually the lack of gloss and glamour that is the film's trump card. Based on the real story of the Joe Majczek case in 1933, it's filmed perfectly on location in Chicago {where the actual events happened}, gloriously mood emphasised by Joe MacDonald's superb black & white cinematography, and scored with tonal adroitness by Alfred Newman. As intrepid Chicago Times reporter McNeal {based on real reporter Jim McGuire who was a Pulitzer Prize winner for his investigative efforts on this case}, James Stewart lays down a marker for the more edgier character roles that would follow for him in the 50s. Here he plays it perfect as McNeal shifts from mere cynical newsman to an outright crusader of justice; and it's riding along with McNeal that this human interest piece lifts itself to great crime thriller heights. Along the way we find problems are encountered and police procedural techniques are scrutinised. All may not be as it first seemed, and this mysterious element ices what was already a delightful docu-drama based cake.

There is not much else to say, it's a film I personally highly recommend, a fascinating story that is given top care and attention from all involved, mean, moody and yes, magnificent. 8/10

Solid Cinematic Effort

[Lechuguilla · 4 February 2006]

Based on a true story, "Call Northside 777" follows P.J. McNeal, a newspaper reporter played by James Stewart, as he investigates a decade old murder case. The setting is Chicago in the 1930s and 40s.

Frank Wiecek (Richard Conte) has been convicted of a cop killing and sentenced to 99 years in prison. Convinced of her son's innocence, Frank's mother, an elderly and lowly cleaning lady, takes out an ad in the newspaper for information that will help free her son. McNeal grudgingly looks into the case, but doubts Wiecek's innocence. As the film moves along, McNeal slowly changes his perception of Wiecek.

Some viewers consider this to be a film-noir. To me, it is more of a docudrama, a staging of a real life story. The dialogue seems realistic. And the acting is low-key and credible. The film also highlights the technology of the era, including the use of the printing press, the polygraph, and a miniature camera.

But what impressed me most was the use of the Chicago locations where the real life story took place. Further, the B&W visuals are appropriately drab, dreary, and depressing, which reflects the tone of the actual events. There's very little background music, which also adds authenticity to the film. The only downside is the matter-of-fact procedural style in which the story is told, especially relative to the fatherly VO narration at the film's beginning and end. The film comes across at times as dry, and lacking emotional depth.

Devoid of cinematic hype, and told in a straightforward and plodding manner, "Call Northside 777" will appeal to people who seek realism in films. And, of course, the film's basis in fact, vis-a-vis fiction, adds to its credibility.

Powerful and Absorbing; 1930s True Story Makes a Good Reporter Yarn

[silverscreen888 · 7/10 · 26 October 2005]

This is a movie whose type later became familiar as "realistic crime-investigation narrative" primarily on the strength of a handful of films such as "the Lineup", "Kid Glove Killer" and this effort. It was in fact based on an actual 1932 case, we are told by historians, mostly on articles written by reporter James P. Mcguire. The one true thing said about the film by some of its recent reviewers is that the film benefits greatly--even looks modern to the 21st century eye--because it was filmed in the great city of Chicago and not on a Hollywood back lot. Solid director Henry Hathawy made use of unusual on-site lighting, locations and buildings to establish the milieu of the story-line in time and place. The plot line has one flaw, I suggest; I have seen it done as a TV one-hour drama and as this 111 minute feature, and it worked both ways for me because it features a straightforward "investigation" motif--a reporter trying to find out if a sentenced cop-killer is guilty or actually innocent. The flaw for me is the incredulity of the reporter before, during and long into his diligent and professional search for the facts in the case; anyone who knew anything about the police of the United States, Chicago especially, as they operated in 1932 and still operate today, would know two facts--that eyewitness identifications can, notoriously, be erroneously made; and that the justice system in the United States was then lacking in forensic sciences, politically corrupted and often set against minority-group defendants and suspects--conditions which have worsened in some respects since that time. Having said this, I add that the rest of the film is well-photographed, a good black-and-white, adventure, painstakingly presented. The script was adapted from the original articles as fictionalized biography by Leonard Hoffman and Quentin Reynolds, with screenplay by Jerome Cady and Jay Dratler. Cinematography by Joe Macdonald, music by Alfred Newman and consistent art direction by Lyle Wheeler and Mark-Lee Kirk, costumes by Kay Nelson and period set decorations by Walter M. Scott and Thomas Little all aid the realistic feel of this film very professionally. The body of the work comprises reports and arguments between a reporter, played ably by Jimmy Stewart, his editor --the powerful Lee. J. Cobb, and his wife, the attractive and capable Helen Walker, relative to his assignment-- finding out of Frank Wiecek was guilty of the crime for which he has served years in prison already. The case becomes an assignment for the ace reporter when he is assigned to investigate an offer of a reward for information leading to the man's exoneration; he finds out the offer of payment came from the man's aged mother who is scrubbing floors to feed herself and get money for this purpose. The case then turns on Stewart's ability to locate a missing witness, his growing belief in Wiecek's innocence and the use of a wire-photo, then a new and unusual technology, to prove that this star witness for the prosecution had been shown the accused--standard illegal police procedure--before she had made her original identification. In the cast besides Stewart who is charismatic, and very good though not ideal in the role, and Cobb and Walker, are many good actors. Kasia Orzazewski plays the mother, Richard Conte is good as Wiecek, Betty Garde is the elusive witness and Joanne de Bergh the wife who divorced the imprisoned Wiecek at his insistence. Among others in the cast are Moroni Olsen, George Tyne, Thelma Ritter, E.G. Marshall, Walter Greaza, Howard K. Smith, Samuel S. Hinds and Percy Helton. This is a deliberately paced and very realistic movie; it could have been done differently, but as noted above, my only reservation about its merits lies in the attempt to make the central character perhaps too annoyed at his assignment to be believable as a hard-boiled 1930s reporter a corrupt nation, city and legal environment. This is still a powerful and personal account of an injustice and how difficult it is in a bureaucratic country to right even the most obvious wrong. The film is memorable and often engrossing by my standards even today.

Nailing Down the Facts

[bkoganbing · 9/10 · 11 August 2006]

Call Northside 777 has James Stewart patiently trying to nail down enough facts to get Richard Conte a pardon from a murder for which he was falsely convicted. The tale is told in the documentary style that Henry Hathaway developed post World War II and that Darryl F. Zanuck used in several 20th Century Fox films.

On orders from editor Lee J. Cobb, Stewart checks out the source behind a small personal advertisement in the Chicago Sun-Times where he works. The ad is placed by Richard Conte's mother who works as a cleaning woman and saved enough money to offer a reward of $5000.00 for information clearing her son.

Back during the last days of Prohibition, Conte and another man were sent up for killing a Chicago policeman in a grocery store that fronted for a speakeasy. Conte was convicted mainly on the eyewitness testimony of the owner of the establishment Betty Garde.

Stewart gradually comes to believe in Conte's innocence and works tirelessly on his behalf. The best single performance in this film is by Betty Garde. A real portrait in evil that one is.

This has always been a film I've had an identity with. I had a similar situation in my former job with NYS Crime Victims Board. I had a case where a man sustained multiple injuries including the loss of a leg when a car drove up on a sidewalk and hit him. The report was never written up as any kind of crime, just an accident. The driver was given a summons and that was that.

I did a lot of work to prove the police were wrong in their action and it took two years, but I gathered enough evidence and my claimant was declared a crime victim and received the benefits from my former agency. The perpetrator was never charged with anything, but that was not in my mandate. Nevertheless I know exactly what Jimmy Stewart had to prove and how hard it is. The police even more than most of us do not like to admit they are wrong.

Call Northside 777 is a nicely done documentary style feature which is a great lesson in what a man with determination can accomplish.

great James Stewart

[SnoopyStyle · 7/10 · 2 July 2015]

It's 1932 Chicago during prohibition. A policeman is murdered by 2 men in a speakeasy. Frank Wiecek (Richard Conte) is sentenced to 99 years. Eleven years later, Frank's mother offers $5k reward in a newspaper ad for the real killers. Cynical reporter P.J. O'Neal (James Stewart) is assigned the story. He is pushed to dig into the case by his editor Kelly (Lee J. Cobb). He starts to change his mind about the case and gets pressure from the establishment.

The based-on-a-true-story worked on me a little in this movie. With the matter of fact narration and the trusted face of Stewart, it becomes quite compelling. Stewart especially is the perfect guy for the role. His early cynicism is a great starting point. This is a compelling rip-from-the-headlines story led by a great actor.

Engrossing Crime Drama

[harry-76 · 8/10 · 15 April 2000]

"Call Northside 777" is a well made crime drama shot in semi-documentary style. It benefits from a solid script, and tight direction (by Henry Hathaway). It also features a naturalistic James Stewart as a sharp investigative reporter; much of the success of the film is due to his thoroughly convincing performance. A fine support cast includes Richard Conte, Lee J. Cobb and Helen Walker. What ages the film a bit is the now somewhat dated technology featured (a lengthy episode in which the lie detector is treated in detail, along with certain photographic reproduction and transference techniques). Yet, one can view these aspects as historically accurate representations, and enjoy the total production, which is on a commendably high level.

reporter sets out to prove a convicted man is innocent

[helpless_dancer · 7/10 · 18 June 1999]

An eyewitness to a cop killing sends a man to the pen for 99 years. Eleven years later the convict's mother offers 5 thousand dollars to anyone proving her son is not guilty. A newspaperman looks into the case and becomes obsessed with gathering information which he is convinced will exonerate the convicted man. Tense, dramatic look at the seedy side of life.

Authentic Neighborhood

[roma_fiftytwo · 10/10 · 16 January 2006]

The neighborhood in the movie was authentic. The church seen in it was my childhood parish church, Holy Trinity. In the movie, the buildings across the street from the church were torn down to build one-story apartments. Behind the apartments, the expressway was built. This happened sometime after the movie's debut.

Like many movie goers, i find the use of neighborhood scenes crucial to the story line. The director did a fine job blending in the story line with the use of Chicago area footage.

Richard Conte's portrayal adds to the quality of the movie. Never disappointing, Jimmy Stewart did outstanding work. With the support of fellow cast members and film crew, "Call Northside 777" is a movie worth seeing. Even a second time.

Stewart is in top form, but the movie is all talk, no noir.

[secondtake · 6/10 · 3 March 2010]

Call Northside 777 (1948)

Henry Hathaway has several noir and noirish films to his credit, and this one is smack in the key, classic post-War noir period. But don't expect a thriller, or any of those great Mitchum or Bogart deliveries, or lots of moody night scenes with hard shadows, or a femme fatale of any kind. In fact, don't expect a film noir. Call Northside 777 is in some ways a very interesting film, but it's crime drama, and a surprisingly slow one, filled with talk and persuasion and almost no action, almost no suspense.

It does have two first rate actors, the impeccable James Stewart who makes the most of this (and saves the film from mediocrity), and James Lee Cobb playing a news editor, a great secondary to Stewart's role as a determined reporter. The man in jail, Richard Conte, is also a sympathetic actor, better known for other crime dramas from the time, including Thieves' Highway, an underrated gem also starring Cobb).

There is also the often mentioned documentary feel to the film, which might translate to the steady and factual way the scenes try to be realistic, step by step. This isn't really the best way to make a movie hum, and the events are told to us, generally, and the characters rarely have a chance to flesh out. Even the two leads are richly painted caricatures, really--it's just lucky they are both compelling actors.

The photographic trump card played at the end is also a cheap stab. You can tell from the print they are working from that the date would never really become clear, not even a close call. But even more, they would have been able to tell what day the newspaper was published by the layout of the pictures, which are clearly visible in the newsboy's grip. A trip to the library would have solved that one.

No one minds a tale of justice triumphing, and here it is. It's not a bad film, but drink some coffee first.

Watch, but don't listen

[experiments · 5/10 · 6 April 2008]

I think the best one can say for this yeoman-like effort is that it makes you wonder why more movies haven't been shot in the City of Broad Shoulders. The footage inside the Statesville Prison "panopticon" alone is worth the bother of watching the film.

The look of the film is engagingly straightforward. No tricky bits or funny angles, but a lot of visual realism. One could watch hours of such footage of 1940s Chicago, and the views out of the "Times's" windows were either real (and fantastic) or fake (and fantastic).

Tragically, once you get past the scenery, there's little that engages.

Some of the smaller parts are well-played. Poor EG Marshall has about 45 seconds of screen time. Maybe a little more for Lee Cobb. The only people who really make an impression are the convict's mother (in a sort of Mother Teresa role), and the woman who gets our boy put away, the speakeasy owner Wanda Skutnik. Now that's one scary broad with one scary name. Unfortunately, she doesn't get to scare us nearly enough.

Poor Jimmy, whom I usually enjoy, is reduced to running around acting fairly melodramatic once he gets going: arms waving, etc., etc., as he says, "He's innocent, I tell you!" and "That woman's a liar and has been from the get-go!" Oh, my.

There are several technical bits, first about lie detector tests and then about the use of a wirephoto. These bits of gee-whiz technology (which I don't think were *that* gee-whiz in 1948, frankly) get a bit drawn out. This isn't helped by Mr. Stewart bleating, "Now watch the date! Watch the date!" as a blown-up photo is revealed in the darkroom.

The other thing that annoys is that everything hinges on a "special" Pardon Board hearing. There's some minor delay in the newspaper's being able to present some evidence, and everyone's acting as though waiting 5 minutes would be entirely unacceptable. (Also, why a newspaper has standing to ask for or rescind requests for pardons is a bit blurry, at best.) Gives screenwriters a bad name, this sort of thing.

Watch it for the scenery, not for the scenes.

Reliable Jimmy Stewart fighting for a cause

[Maestro-15 · 8 April 1999]

Call Northside 777 is a genuinely engaging film. It has reliable James Stewart as an investigative reporter on a story about an alleged cop killer in prison. At first he believes that the prisoner is guilty but then becomes convinced otherwise and is willing to risk his professional reputation on clearing him. The pace of the film is told like a gritty docudrama with no dramatic musical underscore for effect. But more importantly, this film is interesting to watch for a time capsule of post WWII Chicago. The Chicago Times, the police precincts, the ethnic neighborhoods that existed then and a whole sequence of a wireless photo copier. This is generations before the fax machine was ever conceived. This film is important as Stewart was beginning his maturing film roles in the postwar period and taking on good narrative stories and less goodguy next door roles which were going out of fashion.

Semi-documentary style and authentic locations gives the film a gritty look...

[Doylenf · 7/10 · 19 May 2008]

CALL NORTHSIDE 777 is a fascinating semi-documentary filmed in realistic style by Henry Hathaway and featuring a fine central performance by JAMES STEWART, as a newspaper reporter anxious to prove that an innocent man is still serving time for a crime he never committed.

Others in the cast do their standard good work, including RICHARD CONTE as the wrongly convicted man, LEE J. COBB as a newspaper editor and E.G. MARSHALL. But most of the supporting players are no-names who give an authentic feel to all the minor roles, as does the fact that the film uses actual Chicago locations which gives the whole story an added flavor of realism.

Although the ending should come as no surprise to anyone aware that justice will be done, getting the solution to an eleven-year old murder is what counts here. The manner of police detection may have changed considerably since the late '40s, but the film is a timeless example of corruption exposed and a man's brave efforts to exonerate an innocent man. Well worth watching.

Absorbing Docudrama with interesting intrigue , powerful acting and perfect filmmaking

[ma-cortes · 8/10 · 9 May 2014]

Documentary-style and intriguing film based on facts about an unjustly imprisoned man . Actually, this film was based on a true story. Some elements, especially characters names, were fictionalized out of necessity, such as some central figures to the story were still living at the time of production, and had not given permission for their names to be used . It deals with a hard-boiled Chicago reporter P.J. McNeal (James Stewart) assigned by his publisher (Lee J Cobb) to investigate a strange information . As the cunning reporter finds himself in the crux of an important investigation uncovers new new clues in Wiecek case and unravels police cover-ups and missing evidence pointing to an imprisoned man's innocence . As he ferreted around until he found out the truth about a 12-year-old killing case . The journalist follows up a newspaper as offering 50000 dollars for any information leading to the arrest and conviction of a police killer . MacNeal right up to the ending agonising attempts to prove the innocence of of the inmate sent down for a killing he didn't do . The unjustly imprisoned for 11 years in real life was Joseph Majczek. After being released from prison in 1945, he worked as an insurance agent in Chicago. For his wrongful imprisonment, the State of Illinois awarded him $24,000, which Majczek gave to his mother Tillie. Majczek eventually remarried his wife with whom he had divorced while he was in prison

Docudrama/thriller based on the actual facts about Joe Majczek and the Pulitzer Price winning reporter Jim McGuire who through a deep investigation , found enough evidence to have the case reopened . This is a thrilling picture , as you get completely absorbed in its vision , captivating every step of the way thanks to pacy filmmaking and awesome interpretations . Interesting as well as thought-provoking plot with an incident-filled script by Jerome Cady and Jay Dratler based on articles by James P. McGuire and Jack McPhaul . Very good acting by the great James Stewart as an obstinate journalist who slowly comes to realize that there was a miscarriage of justice . Secondary cast is frankly excellent such as Lee J Cobb , E. G. Marshall , Moroni Olsen , Charles Lane and Helen Walker as wife . First credited film role of John McIntire, who portrayed Sam Faxon and Thelma Ritter's role as the police captain's secretary was mostly deleted from the released print, but she can still briefly be seen and heard in one scene . And film debut of Kasia Orzazewski who portrayed Tillie Wiecek, mother of the second lead character of Frank W. Wiecek.

Evocative cinematography in black and white by Joseph MacDonald .This film was photographed in the State of Illinois using wherever possible, the actual locales associated with the story. "Call Northside 777 ¨ (1948) was actually the very first Hollywood produced feature film to be shot entirely on location in Chicago . Many famous landmarks, such as the Chicago Merchandise Mart, Holy Trinity Polish Mission, and the Wrigley Building on North Michigan Avenue, can be seen throughout the film. Emotive as well as atmospheric musical score by the classical Alfred Newman . The motion picture was stunningly directed by Henry Hathaway . Henry was a craftsman who had a long career from the 30s with successful films , and especially Westerns , as ¨Brigham Young¨ and ¨Raw Hide¨ . In his 60s Hathaway still got the vigour to make some fiery movies as ¨From Hell to Texas¨, ¨How the West was won¨, ¨Nevada Smith¨, and ¨Shoot out¨ . Hathaway also directed Noir genre as ¨Kiss of Death¨, ¨The House on 92nd Street¨ , ¨Niagara¨, ¨23 Paces to Baker Street¨ , adventures as ¨The last safari¨ , ¨Prince valiant¨ , ¨White rose¨ , ¨White Witch Doctor¨ and other kind of genres .

Call Fox to Complain about Their DVD transfers!

[movieman-200 · 6/10 · 15 June 2005]

"Call Northside 777" is based on a true story; that of Frank Wiecek (Richard Conte), a blue collar patsy who is framed for the murder of a police officer during the bad IL' days of prohibition in Chicago. For eleven years Wiecek sits in prison – that is, until managing editor of the Chicago Times, Frank Kelly (Lee J. Cobb) assigns reporter, P.J. McNeal (James Stewart) to investigate a strange want ad. Turns out Frankie's mom, Tillie (Kasi Orzazaewski) never stopped believing in her boy. Working day and night to earn enough money to hire anyone who would reopen the investigation, the old woman's undying commitment touches McNeal's heart. He begins his descend into the past by attempting to contact Wanda Skutnik (Betty Garde), the loose living floozy who fingered Frank in a line up. But the embittered and unscrupulous Skutnik won't talk, leaving McNeal with just one option…and boy is it a long shot.

Director Henry Hathaway manages to infuse his 'who dun it' with considerable flair, even though the screenplay by Leonard Hoffman and Quentin Reynolds seems muddled at best. There are moments when tension in the investigation seems to start to grow, only to be defused by snippets of domesticated romance between McNeal and his ever-devoted wife, Laura (Helen Walker). The over the top voice narration that champions America as a country where justice eventually prevails is maudlin and heavy handedly inserted. As with "Panic in the Streets" the biggest mystery here is why Fox would choose to issue "Call Northside 777" as a "film noir". This is a detective thriller with serviceable merits. But it in no way can be classified as "noir" styled film making.

Fox's DVD is not very impressive. The picture quality is below par, for either a film of this vintage, or for a DVD of present day standards. The gray scale is often poorly contrasted, with weak blacks and dirty looking whites. Edge enhancement and aliasing are present throughout for a picture quality that, at times, is digital in appearance. Though certain scenes appear generally free of age related artifacts, others are riddled in a barrage of scratches, tears and chips. The latter is more predominant throughout. Finally, the audio is not very well balanced. At times its fidelity is muffled. At other moments it is quite strident. The presence of background hiss throughout is disappointing. And audio commentary accompanies the feature but again, is rather dull and lacking in background history about the characters, actors or talent behind the camera.

A Story Of a City

[telegonus · 10/10 · 5 April 2001]

This is the last, and in my opinion the best, of director Henry Hathaway's so-called 'numbers' trilogy (the other two are House 0n 92nd Street and 13 Rue Madeline, both badly dated now). It was made at the height of the so-called semi-realist or semi-documentary movement in American film-making, which was just peaking (and soon to decline) when this picture came out. Filmed on location in and around Chicago, it tells the story of a newspaperman who comes to believe in the innocence of a convicted criminal when the man's aged mother places an ad in the paper asking for information about the by now almost forgotten crime her son was accused of.

At first cynical, the reporter comes to believe the man's story, and arranges for him submit to a lie-detector test, which he passes. In short time the hunt is on the one person who can help prove the man's innocence. This is a very gutsy film for its day, and along with the much inferior The Naked City, released at about the same time, it is the one that makes the best use of urban locations. We see a long-gone Chicago, a city of brick and cement buildings that echo with the footsteps of busy men in heavy overcoats on their way to the 'office'. It is also a city with a huge, almost underground immigrant population, which we see only glimpses of early in the film, but whose members take on increasing prominence as the story progresses. The last part of the movie, with the reporter taking to the streets in tough authentic Polish neighborhoods, contains some of the best, most evocative and sympathetic views of the streets, saloons and dingy walk-up apartments of the urban poor I've ever seen. No pity is asked for and none is given. This is simply the way some people live; by beer, boiler-maker, song and crude humor. There is warmth, too, in these tight-knit communities, with their air of familiarity and loyalty, their rules of conduct unknowable to the outsider.

Hathaway is often seen as a plain, almost prosaic director, even at his best. In Call Northside 777 his steady journeyman hand is most welcome. He shows us an American city landscape quite different from what one normally finds in movies. We are in a terrain very much of the interior, the heartland, an America most easterners scarcely know of, its cities just as big and bustling as any on the Atlantic seaboard, but also quite different in tone, style and flavor. The film captures this aspect its midwestern city to perfection.

Calling Jimmy Stewart

[wes-connors · 7/10 · 1 September 2012]

In Prohibition-era Chicago, a policeman is shot dead at a grocery store doubling as a speakeasy. Cop killer Richard Conte (as Frank Wiecek) and his partner are quickly rounded up. The main suspect can't remember if his wife was preparing cake with dates or walnuts. Positively identified by witness Betty Garde (as Wanda Skutnik), the men are sentenced to 99 years in prison. However, it is obvious Ms. Garde did not see the masked men. The only real witness is a mail carrier, who is oddly dispensed of in the script...

Eleven years later, a classified titled "Call Northside 777" is placed in the "Chicago Times" by Mr. Conte's hardworking mother Kasia Orzazewski (as Tillie Wiecek). She has saved up $5,000 scrubbing floors, and offers it as a reward for information about the real killer. Nobody comes forward who can clear Ms. Orzazewski's son, but lying city editor Lee J. Cobb (as Brian Kelly) thinks the woman might make a good feature. He assigns the story to cynical reporter James Stewart (as P.J. "Jim" McNeal) and it is a hit with readers...

Hoping to conclusively determine Conte's guilt or innocence, Mr. Stewart re-investigates the case with increasing enthusiasm. According to the opening, "This is a true story," photographed (by Joe MacDonald) in the State of Illinois using, "whenever possible, the actual locales associated with the story." There are some weaknesses concerning the evidence Stewart uncovers, and Conte's convicted friend is left in the lurch, but the story is compelling throughout. Garde and Orzazewski perform their nice and nasty women well.

******* Call Northside 777 (2/1/48) Henry Hathaway ~ James Stewart, Richard Conte, Lee J. Cobb, Betty Garde

Call me old fashioned, but I actually like this old black and white movie. It's remarkable

[ironhorse_iv · 8/10 · 4 September 2016]

This is a wonderful drama about the importance of investigative journalism. In this day of easy to come, digital news, this movie makes us stand back and realize how hard, it was for print media to get their stories. I highly recommended, modern viewers in checking this wily film noir. Directed by Henry Hathaway, the film tells the story of a Chicago reporter, P.J. McNeal (James Stewart) who trying to prove the innocence of a man, Frank Wiecek (Richard Conte) who was wrongly convicted for murder, many years before, of a Chicago Traffic Cop. Without spoiling the movie, too much, while the movie states out on screen, that this is a true story. In actually, it was based on a true story. A very loose one, indeed. Since, 20th Century Fox bought the rights to this story for a film version, they titled 'Call Northside 777', which was supposedly the phone number that the innocent man's mother used in her newspaper ad. However, the actual phone number in the ad had been the far-less memorable GRO-1758. Some other elements, besides locations numbers were also changed. One big example is character's names. They were also fictionalized out of necessity, such as some central figures to the story were still living at the time of production, and had not given permission for their names to be used like the real life victims Joseph Majczek and Theodore Marcinkiewicz. Instead, they became Frank Wiecek & Tomek Zaleska (George Tyre). Some characters were even morph, together, such in the case of real-life reporters, James McGuire and Jack McPhaul who became P.J McNeal in this version. Other characters were cut out, like the judge, Charles P. Molthrop that believed a miscarriage of justice had occurred and promised the victim a new trial. Even witness, James Zagata who saw Molthrop's admission was omitted. Nor does the movie mention GOP assemblyman Ragnar "Rags" Nelson, who help in Majczek's release. Nor does the movie ever show, the Bailiff, who supposedly talk to Stewart's character in the film. Did I miss something? The movie never show that scene. While, these examples can be a bit distracting for anybody who is a history nut, but it wasn't too jarring to me. It didn't take me, out of the movie. It's still told the suspenseful story with a vivid, realistic pictorial journalism style. However, I think, I can do without the narrative of Truman Bradley. I saw, everything that he was describing on screen. Was he really needed? This movie really need to learn, 'show, don't tell' style concept of filmmaking. His voice was also getting a bit annoying with his overpraising of the newspaper business, too. Thank goodness, they cut him, off from most of the middle of the film. It was starting to hurt the film, a bit. It's so distracting. I guess, they were trying too hard on the then-novel "documentary style" of filmmaking. Indeed, the film is shot in odd style, with introductory title cards that let the viewer know the film is based on an actual Chicago murder case and that, whenever possible, the film was shot on location in Chicago, using the same settings where the actual events took place. I think a lot of this, wasn't really needed. Did we really need a reenacting of the famous 1871 Chicago Fire in this movie's opening? Honestly, what does using footage from 1937's movie 'Old Chicago' really have to do with then-modern day Chicago and this crime? It felt a little bit, like time-wasting. Also, I know this movie was the first Hollywood feature film to be shot on location in Chicago, but does the movie really needed to remind us that it is. Despite that, the film still captures not only the spirit of the story but also the essence of Chicago's night life. A lot of people talk about this film, as if it's a film noir movie, however, in my opinion, the movie itself seems a little light to be considered "film noir." After all, the movie has a happy predictable outcome, even if the real life events, end up more tragic with Majczek ending up in Asylum for another murder and Marcinkiewicz committing suicide. Also, the whole 'photo blowing' and 'polygraph' short cut, toward the end, was a bit unbelievable and full of pseudoscience BS. In my opinion, they should had still to the original ending. While, the crime story fit the genre, there is only a few scene that seem to master, the low-key lighting and deep cinematography as well. The Chicago locations feature in the film, wasn't as dangerous, tense, foreboding atmosphere as it should had. The lighting is way too bright in most scenes, plus the films tone is more positive than gritty. It's more like 'Ripped from the Headlines', journalism driven type film than anything. Remind me, a bit of 1967's crime drama 'In Cold Blood' in the way, the reporter operations. I kinda like Stewart as the tough, hard edge and cynical, P.J O'Neal. His character had a lot of character development. It's nice to see, Stewart mature from the naïve, boyish characters of his earlier films, and give him, chances to play more mature roles in the 1950s with Alfred Hitchcock. However, the most irritating about the character is the fact, he never takes notes. That was a bit unrealistic. The supporting actors, were just as strong as Stewart, with Lee J. Cobb playing his boss, to Kasia Orzazewski as Tillie Wiecek. Nevertheless, Richard Conte's wonderful performance as Frank Wiecek is the one that really shines out. I'm surprise, none of these actors were nominated for an Academy Award for these roles. What a shame! I also love the fact that the cops in the film, are real cops and the real Leonarde Keeler is playing himself in the film. It's add to the realistic tone of the film. Overall: This movie is great. It really needs to be watch more. Highly recommended.

A Lovely Period Piece

[macrascals · 7/10 · 8 February 2006]

A great evocation of a long lost cityscape. The underbelly of post war Chicago and its Polish community are portrayed beautifully, particularly when Macneil (Jimmy Stewart) is searching for the eyewitness who's testimony convicted Frank Wiecek. This is combined with a meaty story, told in a semi documentary style of a mother's devotion and a cynical hack's transformation to campaigning champion. Jimmy Stuart is excellent in this role, starting off disbelieving the innocence of the ''Cop Killer'' Wiecek, gradually becoming convinced by the decency and defiance of Frank and his family. Macneil gets to give a rousing statement to the Pardon Board, and the use of technology in the denouement is interesting. The scene where Frank is released to meet his ex wife and son is truly touching. The only unsatisfying part to the movie is the neglect of the other wrongly convicted man, Tomek Zaleska, although if you read the message boards you will see why.

A truly great film.

[Julie-30 · 10/10 · 13 November 2000]

Yes, almost every time I review a film, I say it's one of my favorites, but I tend not to review films I don't feel strongly about.

This is a film I feel VERY strongly about. Jimmy Stewart is incredible, as always, in the role of a cynical newsman who is assigned to figure out what really happened in a 10-year-old murder case. I saw it years ago, well before fax machines existed, and was fascinated at how he figures out "the story behind the story."

I make a point of watching it whenever it's on, and would love to see it released on DVD.

Decent film with technical flaw

[AJ4F · 6/10 · 27 December 2009]

Many old films get lauded as "great" largely because of their age. But, when viewed in modern terms and on technical merit, they often fall short. I think this is such a film, though it's still entertaining.

A big flaw was the use of dramatic license to blow up a photograph and send it over the wire as critical just-in-time evidence. It wasn't a detailed film negative, rather a finished print which could have been examined under a magnifier or microscope for the same result. Why bother with all the photo processing if he was in such a hurry?

Either way, the result was unlikely at the stated magnification unless the print was uncannily sharp. Also, the exact date they were after could have been reasonably determined by the pattern of photos and paragraphs visible at lower magnification. It seemed contrived, and it didn't happen in the real-life incident.

There are algorithms for analyzing similar video frames and combining the sum of their data into one clearer frame, but film & TV producers tend to treat enlarging as a supernatural process that derives something from nothing. Does the public really buy it?

"Northside" has the classic Jimmy Stewart earnestness ("couldja just give me a little more time?!") and nostalgic black & white imagery, but I wouldn't call it one of the best films of that era.

Unfulfilling

[lauloi · 5/10 · 5 August 2001]

"Call Northside 777" looked good in the movie store. But ultimately, this film was a disappointment. It has some good assets-- a nice cast is one of them. James Stewart proves that he can deliver dumb lines with as much charming style as he does the good ones. But as a character he is hardly better than cliched, despite obvious attempts on the part of the moviemakers to humanize him (note the corny love scenes between him and wife Helen Walker). Richard Conte, as the jailed Frank Wiecek, also struggles bravely against the hackneyed part of nice, innocent family man. But the script gropes clumsily for atmosphere, suspense and style, without really attaining much of either. And as the story is based on a real event, some key facts of the murder are never revealed, since they never were in real life. With a cast like this, and maybe with a few more good ideas, "Call Northside 777" could've been quite memorable. But as it is, the film is hardly more than a failed noir flick.