The Asphalt Jungle

(USA 1950)

I expected crime noir classic The Asphalt Jungle to be something of a cheesefest: stiffly acted, overly melodramatic, and maybe a bit hamfisted in its morality, like The Hardy Boys for adults of the Greatest Generation. Thankfully, John Huston’s film adaptation of W.R. Burnett’s 1949 novel is none of that.

No sooner is Doc Riedenschneider (Sam Jaffe) out of the big house when he hatches a plan to do what he does best: steal. Like, a million bucks or more in jewels from a jewelry store (not Jared’s). Yes, a jewel heist. He pitches his plan to Cobby (Marc Lawrence), a two-bit gambling bookie, who puts him in touch with Alonzo Emmerich (Louis Calhern), a rich but shady attorney. Emmerich buys in, not just providing financial backing but also agreeing to handle disposing the booty for cash.

Doc assembles a crew of petty thieves consisting of a “box man,” or a safecracker (Anthony Caruso), a driver (James Whitmore), and an all-important “hooligan” (Sterling Hayden) to execute the plan. The heist goes off without a hitch, mission accomplished. It’s smooth; uneventful, even. That is, until a stray bullet accidentally hits one of the crew members.

This is where the plot gets really interesting, as human nature and a slew of bad decisions rear their ugly heads. It doesn’t help that at the same time, sundry troubles that have been brewing alongside all the planning are coming to a boil. Soon, it’s every man for himself in a sticky web of deception, doublecrossing, and death.

The Asphalt Jungle is an exquisitely layered and calibrated drama that’s tough to turn away from — and tough not to appreciate. Written by Huston with Ben Maddow, the screenplay is tight. The characters — a collection of urban lowlife thieves, thugs, private detectives, crooked cops, and good looking dames — all have dimension. Interestingly, what would probably be the most intense scene in most movies — the break-in — isn’t; the intensity and the drama come from what happens after that. A manhunt that ends in Cleveland and an attempted swindle serve as the ticking clock here. This is the perfect thriller for a hot summer night in the city. Bonus: The Asphalt Jungle features a young but unmistakable Marilyn Monroe in one of her earliest roles.

In 2008, the United States Library of Congress deemed The Asphalt Jungle “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry (https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/).

With Jean Hagen, John McIntire, Barry Kelley, Teresa Celli, William “Wee Willie” Davis, Dorothy Tree, Brad Dexter, Helene Stanley, John Maxwell, Strother Martin, Jack Warden, Tim Ryan

Production: Metro-Goldwyn-Mayer

Distribution: Metro-Goldwyn-Mayer

112 minutes
Not rated

(Music Box) A-

Noir City

https://www.warnerbros.com/asphalt-jungle

The Godfather

(USA 1972)

“Why did you go to the police? Why didn’t you come to me first? What have I ever done to make you treat me so disrespectfully?”

—Don Vito Corleone

 

“My father is no different than any powerful man, any man with power. Like a president or a senator.”

—Michael Corleone

 

“And may their first child be a masculine child.”

—Luca Brasi

 

“Hey Mikey, why don’cha tell that nice girl you love her? ‘I love you with all a-my heart. If I don’t a-see you again a-soon, I’m a-gonna die!'”

“Leave the gun. Take the cannoli.”

—Peter Clemenza

Pretty much perfect, The Godfather was almost a different movie. Based on Mario Puzo’s insanely popular best selling 1969 novel, studio executives conceived a pulp gangster drama for its film adaptation. Good thing they wanted a “real” Italian-American to direct so it would be so authentic that moviegoers would “smell the spaghetti” (https://www.vanityfair.com/news/2009/03/godfather200903). Several unsuccessful attempts were made to attract a director, including Warren Beatty. Paramount “settled for” unknown Francis Ford Coppola, who took it somewhere else.

The Godfather is universally held in high esteem as one of the greatest films of all time—as it should be. It’s a a movie showered in superlatives—like the bullets that shower, well, most of the characters. It’s impeccable. We caught an anniversary screening.

Coppola’s morality play is a masterpiece, more complex than it seems at first and full of contrast and contradiction. A solemn and ominous mob drama that centers on Don Vito Corleone (Marlon Brando) and his family business, The Godfather boasts one riveting career-defining performance after another—Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvall, and Abe Vigoda, to name a few. The characters are great, and the dialogue—perfect! Not a single second is wasted here, not even that long ass wedding scene.

The observations about human nature are astute, and the spin on assimilation and the American Dream is clever. The dramatic arc involving the descent of younger son Michael (Pacino) into a moral apocalypse is something you can’t shift your eyes away from. Black as its promotional poster, The Godfather leaves so much to chew on. This is what cinema is all about.

In 1990, the United States Library of Congress deemed The Godfather “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry (https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/).

With Sterling Hayden, John Marley, Richard Conte, Al Lettieri, Diane Keaton, Talia Shire, Gianni Russo, John Cazale, Rudy Bond, Al Martino , Morgana King, Lenny Montana, John Martino, Salvatore Corsitto, Richard Bright, Alex Rocco, Tony Giorgio, Vito Scotti, Tere Livrano, Victor Rendina, Jeannie Linero, Julie Gregg, Ardell Sheridan, Simonetta Stefanelli, Angelo Infanti, Corrado Gaipa, Franco Citti, Saro Urzì, Sofia Coppola

Production: Paramount Pictures, Alfran Productions

Distribution: Paramount Pictures (USA), Cinema International Corporation (CIC) (International)

175 minutes
Rated R

(AMC River East) A+

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