The Street with No Name (1948)

Calificación de los usuarios:

7.2/10   

Director:

William Keighley

Guionista:

Harry Kleiner (screenplay)

Fecha de Lanzamiento:

14 julio 1948 (USA)

Género:

Crimen | Drama | Cine Negro | Suspenso

Frase comercial:

Counter Attack!

Plot:

After two gang-related killings in "Center City," a suspect (who was framed) is arrested, released on bail...

Plot Keywords:

FBI | Undercover | Gangster | Criminal Gang | Murder

Premios:

1 nomination

Comentarios de los usuarios:

Taut Tale

Reparto

Mark Stevens	...	Gene Cordell / George Manly
Richard Widmark	...	Alec Stiles
Lloyd Nolan	...	Insp. George A. Briggs
Barbara Lawrence	...	Judy Stiles
Ed Begley	...	Chief Bernard Harmatz
Donald Buka	...	Shivvy
Joseph Pevney	...	Matty
John McIntire	...	Cy Gordon
Walter Greaza	...	Lt. Paul Staller
Howard Smith	...	Ralph Demory
listado alfabético del resto del reparto:
Joan Chandler	...	Joan Mitchell, Cordell's Fiancée (scenes deleted)

También conocida como:

La calle sin nombre (Spain) [es]

Duración:

91 min

País:

USA

Idioma:

Inglés

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (Western Electric Recording)

Clasificación:

UK:A (original rating) | UK:PG (re-rating) (2005) | Australia:G | USA:Approved (certificate #12956) | West Germany:16 (nf) | Finland:K-16 | Sweden:15 (1962) | Sweden:15

Locaciones de Filmación:

FBI Academy, Quantico, Virginia, USA

Compañía:

Twentieth Century-Fox Film Corporation

Errores:

Boquete en la Historia: [SPOILER] After the final shootout Gene immediately asks about Sy's condition, without having known that Sy was in the building at all, let alone wounded.

Citas:

Alec Stiles: What's the use of having a war if you don't learn from it?

Conexiones de Película:

Apareció en Los Angeles Plays Itself (2003)

Banda de Sonido:

BYE BYE BLACKBIRD

Taut Tale

At first, the docu-drama approach feels like kind of a safety net that prevents the viewer from losing himself completely in this striking noir universe, but the intricacies of the police work were interesting to watch unfold and this is still a strong film. Particularly memorable are the taut, virtually noiseless chase scenes that take place in suitably dark, nightmarish settings, like the one where crook Widmark sniffs out undercover cop Stevens at the hideout. I also liked the colorful low life lingo such as when one of the thugs tells Stevens to "pick yourself a boom-boom" as they suit up for their big score.

Great to see Richard Widmark doing what he does best - playing villains, of course. Few actors could match Widmark when it came to that staple of screen heavies: losing their temper. This guy slaps people's faces with a karate-like precision that's remarkable. And just the way he tells some flunkie henchman he doesn't want around to "blow" is pure heaven. In a role like this, he owns the screen; he's like a well dressed rat always scavenging for his next meal.

I was reading a Cornell Woolrich story about a year ago and one of the characters used a Mark Stevens' picture as an alibi for where they had been at a certain time. Never having heard of Stevens I assumed it was just a made up movie star name and movie title ("I Wonder Who's Kissing Her Now".) Imagine my surprise when shortly thereafter I looked up his name and found out that there certainly was such an actor, a borderline leading man who apparently enjoyed some level of stardom during a 30 or so film career. Judging by his appearance here, he's a good, functional actor, though he has the sort of face it's easy to forget. Which is probably why he was selected for this part, as he isn't asked to carry the film (he's off screen for about half the running time) and as an undercover agent he's naturally required to blend in with his new environment. He does that quite well.