The Gangster (1947)

I watched "The Gangster" because of those wily tricksters at TCM, who do such a great job setting up all of their movies that you feel like you simply can't miss whatever terrific gem is on next. "The Gangster" was part of their "Summer of Darkness" series, a series devoted to my favorite film genre: film noir. But "The Gangster" is not a noir, nor is it even a gangster movie. It's more like the character study of someone who happens to be a gangster, and it's pretty underwhelming stuff. Barry Sullivan is the titular character, a heavy with a serious case of self doubt. Around him float a supporting cast of more or less pathetic loners, and the film plays like an examination of the loneliness to be found on the crowded city streets, a loneliness that persists despite being constantly surrounded by fellow human beings. That's a noir theme, but it isn't given a noir treatment by director Gordon Wiles, who won an art direction Oscar in 1931-32 for "Transatlantic." The TCM host said that his production design background is evident in his direction, as the film looks more like a play than a movie. Boy does it, and it's impossible to stage a film noir this way, since noir is, above anything else, cinematic.But my disappointment in "The Gangster" lies not only in the false advertising of TCM. On its own terms it's still not much more than a mediocre, rather slow movie.Grade: C+

***SPOILERS*** Odd kind of crime flick that has a director Fritz Lang "M" movie like look to it about a small time racketeer Shubunka, Barry Sullivan, who's about to be put out of business not by the law but his fellow criminals. With crime boss Connell, Sheldon Leonard, muscling in on Shubunka's territory in the Neptune Beach section of Brooklyn he's given a choice in joining the party, Cornell's mob, as a $80.00 a week collector or check out of town for good. But before Shubunka makes his exit Cornell want's him to hand over a list of those businesses on the beach who pay him off for protection.Determined to hold on to his criminal enterprise Shubunka tried to recruit outside mob members, from Detroit Cleveland & Chicago, to keep Cornell and his mobster off his back but doesn't have the funds or cash to do it. As it turns out one of Shubunka's costumers and good friend ice cream and soda shop owner Nick Jammey, Akim Tamikoff, starts to crack under the pressure of the Cornell Mob and soon is forced, in order to save his life, to join them. Everything starts to fall apart for Shubunka's attempt to hold on to power and the final domino to fall is his girlfriend showgirl Nancy Starr, Belita. It's Nancy who after trying to get Shubunka to quit the crime business joined his bitter rival Cornell just to get away from the now paranoid and self destructive hood.****SPOILERS**** What was the final nail in Shubunka's coffin was something that he was totally innocent of the brutal murder of his friend soda & ice cream owner Nick Jammey. It was accountant Karty, John Ireland, who embezzled his brother in law's business whom he worked for by fixing the books who went first to Shubunka, who turned him down cold, then to Jammey for cash to prevent from getting his legs broken. In a crazed and mindless assault on Jammey, who also refused to give him the money, Karty bash his head in and killed Jammey with a frying pan. With Cornell thinking that it was Shubunka who did in Jammey for joining his outfit he out a hit on him not realizing that Shubunka was totally innocent of his murder. By now Shubunka didn't care what happened to him and with the skies opening up and the rain pouring down on him he just meekly walked out on the dark and rain soaked streets of Neptune Beach to meet what fate has in store for him and thus get his final reward.

Here's a film I wish I could see again, even though it's a little too slow and talky for my tastes. It still was very interesting in spots.Barry Sullivan and Belita both provide some great film-noir lines and the photography is pure film noir. Henry Morgan has interesting part although his role is minor and Sheldon Leonard (with hair) is notable. The only character who became annoying was Akim Tamiroff, as the scared soda shop owner.The story, though, centers around Sullivan, who plays a man who doesn't trust anyone but would really like to find a woman he could trust. His outlook on humanity is brutal. It's so bad, it's almost funny. He reminded me of Lawrence Tierney in "Born To Kill."This movie is an odd combination of film noir, melodrama and character study and is worth checking out, if you can find it.

After the 1946 success of their million dollar musical noir SUSPENSE Monogram and their A grade production name ALLIED ARTISTS repeated their Barry Sullivan and Belita pairing plus many excellent sets and camera angles in a truly strange crime drama THE GANGSTER. Typical of their urban style and effort to make socially arresting films (BLACK GOLD, HIGH TIDE, and later PHENIX CITY STORY)I find I am quite haunted by this grim and emotional portrayal of a doomed big shot draining mentally and emotionally in his seaside square mile of crummy crim competition. It is almost as if everyone in this film acts as though he is sure they are trying to cause him to have a mental breakdown. Sullivan is a career criminal on the very edge of insanity brought on by just a plain lousy life of struggle, arguing and ratty behavior. His affair with the incredibly gorgeous Belita (of skating fame) is racked with his paranoia and melancholy at best. It is as if his falling in love with her is causing his mind to unravel and local thugs know it. THE GANGSTER is a very well made film and genuinely emotionally interesting. It is NOT as the title suggests, a 'gangster film' however it is quite a sad and tortured tale depicting the tragic shattering in slow motion of a big man's heart and mind as he realizes (or just thinks that) his world is crumbling. The scenes at the beach promenade with Belita dressed all in white offer the viewer genuine beauty. She is sublimely dressed and photographed all through this handsome film. In fact she reminded me of a young Gertrude Lawrence: Belita was British and a champion skater at a young age throughout the UK before coming to Monogram when only about 19 years old. She just died, in 2006 at about 82 years old. Barry Sullivan is a revelation. THE GANGSTER is one of the most interesting psychological dramas made, given that it is set within his mind, hence the fake looking world he inhabits (stylised sets etc). He has fallen in love and knows he doesn't deserve it or control it, thus causing emotional fright and mental collapse. What a topic! Good movie, this!