That's not an usual topic here, for this so terrific TV show. The criminal line is totally unforeseeable. But, as for many unusual schemes, it's not always totally believable. That's the other side of the coin. Take it or leave it. I won't repeat this topic. This story of South american dictator is obviously more political than social or even criminal. The audiences will think about the Cuba and Fidel Castro affair, and will put the usual elements of this series far outside of New York City, although the story takes place in Big Apple. But the acting is more than convincing, no problem.
3 Reviews
Terrific Performances All Around
lrrap19 March 2020
A cunning, brutal former dictator (Nehemiah Persoff) is in New York, orchestrating a new Revolution to take back power in "his country." The plan is to install a meek, highly-principled teacher (Jay Novello) as president --AFTER financial backing is secured from a sympathetic philanthropist (Eduardo Ciannelli). The crucial missing element is the legendary American mercenary, Colonel Brier-- whereabouts unknown-- but beloved by the revolutionaries and therefore essential to their cause.
As Tevye says in "Fiddler on the Roof "Sounds crazy, no? Well, not necessarily, all things considered. The script is excellently constructed (though far-fetched) and the performances are REALLY solid.
Nehemiah Persoff - who closed out his career playing Tevye on stage, and who so often in Naked City OVERPLAYED, exaggerated, mugged and generally hammed it up, is fabulous in this role; subtle (after his first scene), devious, commanding, and altogether terrifying. Jay Novello turns in his usual superb performance, beautifully controlled. Eduardo Ciannelli--ditto---and supporting players Cimino and Juanquera, too.
Oh, yes--our Three Intrepid Regulars are also very good, Paul Burke especially. In addition, this is a "Libby-Free" episode, which is fine with me.
That leaves the always-professional, gruff, no-nonsense Chester Morris as the title character, and I think he is terrific in the role; the scene in private between him and Ciannelli is very intense---superbly written, directed, acted and filmed.
Director Elliot Silverstein clearly deserves high praise for his work with the actors, and the cinematography--especially the plentiful close-up shots, is very effective.
MY ONLY RESERVATION-- and it's unfortunate-- is the SLACK pacing and direction after Jay Novello is shot on the sidewalk near the end. Suddenly the entire show goes LIMP, just when the intensity needs to ramp up. The dialogue and editing just CRAWL along with absolutely no urgency. It really kills the momentum, especially as we prepare for the final climatic shoot-out between revolutionary thugs on the one hand, and an army of derelicts/winos on the other. How cool is that?
Overall, though, this is an outstanding show. LR
As Tevye says in "Fiddler on the Roof "Sounds crazy, no? Well, not necessarily, all things considered. The script is excellently constructed (though far-fetched) and the performances are REALLY solid.
Nehemiah Persoff - who closed out his career playing Tevye on stage, and who so often in Naked City OVERPLAYED, exaggerated, mugged and generally hammed it up, is fabulous in this role; subtle (after his first scene), devious, commanding, and altogether terrifying. Jay Novello turns in his usual superb performance, beautifully controlled. Eduardo Ciannelli--ditto---and supporting players Cimino and Juanquera, too.
Oh, yes--our Three Intrepid Regulars are also very good, Paul Burke especially. In addition, this is a "Libby-Free" episode, which is fine with me.
That leaves the always-professional, gruff, no-nonsense Chester Morris as the title character, and I think he is terrific in the role; the scene in private between him and Ciannelli is very intense---superbly written, directed, acted and filmed.
Director Elliot Silverstein clearly deserves high praise for his work with the actors, and the cinematography--especially the plentiful close-up shots, is very effective.
MY ONLY RESERVATION-- and it's unfortunate-- is the SLACK pacing and direction after Jay Novello is shot on the sidewalk near the end. Suddenly the entire show goes LIMP, just when the intensity needs to ramp up. The dialogue and editing just CRAWL along with absolutely no urgency. It really kills the momentum, especially as we prepare for the final climatic shoot-out between revolutionary thugs on the one hand, and an army of derelicts/winos on the other. How cool is that?
Overall, though, this is an outstanding show. LR
B-movie hokum
lor_22 May 2024
Another lousy screenplay that hardly belongs to a "Naked City" story is filled with absurd B-movie cliches, leading to a ridiculous climax about as believable as a 3-dollar bill. I couldn't believe the final plot twist for a second.
Chester Morris and Nehemiah Persoff head a nearly all-male cast in a story of a revolution plotted in NYC by survivors of a 25-year-old revolution that took place in a South American country. They're planning another revolution on the July 29th anniversary, and have found a bum (Morris) on the Bowery they're going to pass off as a Colonel to fool everyone. Persoff is the brains behind the scheme.
I enjoyed watching evil Persoff in action, a truly cold-blooded villain, while Morris nostalgically conjures up so many B movies that he had starred in many years back. Our series detectives are putting together the pieces (too conveniently presented as obvious clues) to uncover this plot, but the finale of an army of bums going up against the revolutionaries in a warehouse shootout is a joke. Killing off the principal characters makes for a rushed, maudlin ending.
Blame goes on the shoulders of hack TV writers Sy Salkowitz and Jerry Devine who foisted this junk on unsuspecting fans.
Chester Morris and Nehemiah Persoff head a nearly all-male cast in a story of a revolution plotted in NYC by survivors of a 25-year-old revolution that took place in a South American country. They're planning another revolution on the July 29th anniversary, and have found a bum (Morris) on the Bowery they're going to pass off as a Colonel to fool everyone. Persoff is the brains behind the scheme.
I enjoyed watching evil Persoff in action, a truly cold-blooded villain, while Morris nostalgically conjures up so many B movies that he had starred in many years back. Our series detectives are putting together the pieces (too conveniently presented as obvious clues) to uncover this plot, but the finale of an army of bums going up against the revolutionaries in a warehouse shootout is a joke. Killing off the principal characters makes for a rushed, maudlin ending.
Blame goes on the shoulders of hack TV writers Sy Salkowitz and Jerry Devine who foisted this junk on unsuspecting fans.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
