After world war ii, when mainstream Hollywood absorbed the techniques of documentary and the lessons of Italian neo-realism, producers were still happy to hire openly left-wing filmmakers, and “naked city” remained a classic. But if so, what kind of classic?
The story follows an experienced and philosophical homicide cop (Barry Fitzgerald) and his young, immature partner (don Taylor) as they pursue a murder involving a group of New York jewelry thieves. Director and writer Jules word Albert maxwell are blacklisted, ignore the house un-american activities committee, although the film reflects the word can’t a condescending attitude to daily of New York and Max’s conviction, corruption achieve from urban crime underclass, the upper class, social criticism is quite mild.
The film was shot almost entirely on the streets of New York, and its title comes from a photographer’s collection of lurid crime scenes and bizarre street life, which he signed on Weegee. But the film is barely influenced by his original style, only occasionally showing the expressionistic style and sharp psychopathology of film noir that Mr. Dasin and the film’s producer, Mark Hellinger, have associated.
Instead, it is a curious mixture, all of which is woven into a film inspired by walter ruttmann’s 1927 classic, “Berlin, the symphony of a great city”. “Naked city” is about New York itself, encapsulated forever in the hot summer of 1947. Its citizens are unknown stooges. The film purposefully forgoes the director’s opportunity to frame the scene dramatically, while helinger offers an informed, intimate, folksy commentary on the actions that tame the narrative and intentionally destroy suspense. As he casually sums it up: “there are eight million stories in naked city. This is one of them. “That’s why this movie is both a milestone and something of a masterpiece.
Extras on the record include a review by Malvin Wald(the original screenwriter), a film about the history of New York cinema, and a 1950 partisan documentary about the Hollywood ten.
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