The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Mostly, the movie is committed to the value of a good time.

Lieutenants Victor Mature (Candella) and Fred Clark (Collins) get to gangster and cop-killer Richard Conte's (Martin) hospital bedside because they want to bust his backside and get information regarding a couple of crimes. He's not the sort to play ball, though, and gives them the slip. Mature gets on his case despite there being a family friendship.The story seems a little empty and the film never really kicks into gear. The cast are good but the storyline is unrealistic and uninteresting. Family friends take a different life-path - one good and one bad - leading to a showdown in the end. Even the climax is horribly contrived. Nothing very memorable but the cast make it ok for a single viewing to pass some time.

Cop killer Richard Conte escapes from a prison's hospital ward with police lieutenant Victor Mature and his partner Fred Clark on his tail. Aside from killing a cop, Mature also wants Conte for his potential involvement in a jewel heist, based on allegations made by slimy lawyer Berry Kroeger. Conte however is only interested in making sure his girl Debra Paget doesn't get caught up in anything and tries to get her out of harm's way by finding the people behind the heist.A basic plot that is transformed into a crackerjack top-shelf noir by the excellent cast and crew led by director Robert Siodmak ('The Killers'). Noir regulars Conte ('New York Confidential') and Mature ('I Wake Up Screaming') play characters that fit them like a well- worn glove and it shows. Especially Conte is in excellent form here, he seems even more electric & intense than usual. But what really struck me with this movie is how many characters it has and how nuanced and well-written they are. The screenplay by Richard Murphy ('Panic In The Streets') and an uncredited Ben Hecht ('Notorious'), based on a novel by Henry Edward Helseth, is exceptional, as it brings each character to life in ways that do not slow down the pace of the movie but actually adds to the movie's flow. And of course this is helped by some great performances, especially Mimi 'Mama' Aguglia ('The Brothers Rico') as Conte's mother and Hope Emerson ('House Of Strangers') as a masseuse/jewel-thief are memorable.Shot both on backlots and on the streets of NYC, the movie looks great. It's not a chiaroscuro masterpiece, but DoP Lloyd Ahern ('The Brasher Doubloon') and Siodmak do a good job of using specific camera angles to add tension and atmosphere. They always keep things interesting, with the occasional highlight that draws attention to the shot itself, such as Emerson's entrance into the movie which is stunning (both in the basic idea as in the execution). I was more than impressed by this movie, which really took me by surprise, and I will definitely revisit this movie soon. Highly recommended! 9/10

Reflecting lights off the wet streets … neon signs flashing inside buildings … the noises of a busy city … odd angles … low angles … exotic women … black and white … of course we are into a noir movie.At the beginning we see Martin Rome (Richard Conte), badly wounded in a hospital bed, receiving the Last Rites of the Church. In fact, he will be in pain – mental as well as physical – for the entire film. Although he comes from a good family, Rome is a criminal who in a shootout has killed a cop, albeit in self-defense. At times Rome will evoke sympathy, for he has some positive attributes; he certainly is charismatic. Sordid lawyer extraordinaire, Neils (Berry Kroeger), who has not a decent bone in his entire body, wants Rome to take the rap for the heist of precious jewels stolen from a Mrs. DeGrazia. Neils figures that Rome is facing a possible death penalty for the death of the policeman anyway. At bedside he is unsuccessful in wheezing out a false confession, even though he says he will frame Rome's teen-aged girlfriend, Teena Riconti (Debra Paget). Later on we will discover Neils has stashed the jewels in his office.Lt. Candella (Victor Mature), a good and decent policeman, has Collins (Fred Clark) for a partner. Candella is not one of those wise-crackers or playboy cops; his essence is almost pokerfaced as compared to Conte's charm. Candella is a friend of the Rome family. It bothers him to know that Martin Rome has taken a different path than the righteous one and has caused his mother and father so much pain. But his real concern is on the direction that Tony Rome (Tommy Cook) will take. Tony is Martin's teen-aged impressionable brother, and Martin's negative influences are strong. His younger brother looks up to him. Martin Rome's interest is on the stolen DeGrazia jewels, and after he escapes from custody – with the significant help from inmate Orvy (Walter Baldwin) – heads for Nile's office dressed in a trench coat and fedora. There, in a confrontation, kills Niles in self-defense and limps away with the jewels. Constantly tracked by Candella and Collins, Rome's wounds are operated on in a car at night by an unlicensed European doctor. Rome soon heads for the business of the masseuse Rose Given (Hope Emerson), who is also implicated in the stolen jewels. Given agrees to trade cash and a ticket out of the country for the jewels, which Rome has hidden in one of the public lockers in a subway station. When Rome leaves to get the jewels, he calls and tips off Candella. When the police arrive at the station they arrest Given, but Rome escapes while Candella is wounded. Soon Rome meets with Teena in a church and tries to convince her to go to South America with him. Rome also orders the now-hesitant Tony to steal some money. But Candella also arrives and sees Teena finally reject Rome, while Tony also switches loyalties. As Rome tries to leave on his own, he is stopped by Candella."Cry of the City" is filmed on location in New York. The characters are more than one-dimensional. It is refreshing that both leads are played by real Italian-Americans (Mature was Italian-Swiss; his family name was Maturi (which means about the same thing as Mature). Mature had some interesting historical he-man roles: Samson, Hannibal, Doc Holliday, and Chief Crazy Horse (!). Richard Conte, as usual, was nothing less than terrific (and underrated). He had already starred in "The Purple Heart" (1944) and Call Northside 777 (1948). Hope Emerson, in her debut, plays an appropriately large (over 200 pounds and six foot two, almost as tall as Victor Mature) and murderous masseuse. When she places her hands around five foot eight Conte's throat she is unsettling, to say the least. Two years later she would be a sadistic prison guard in "Caged." Walter Baldwin plays a woebegone Orvy. Shelley Winters has an appearance as Brenda, who helps Martin Rome. Lovely Debra Paget, in her first role, certainly has the look of a Teena Riconti. It is hard to believe that she had this role, although brief, at only age fifteen. She often played princesses, ancient ladies, and Indian maidens. Tommy Cook also "passes" in this film. See this movie.

Very fine noir. From beginning to end this character driven tale is very well told with some solid performances, dialogue and location shooting. Maybe this lacks a little 'action' but it is gripping and suspenseful in places nevertheless. Everyone is believable, even the kid, and that's a rarity. Richard Conte's performance as the truly ruthless bad guy is quite majestic and Victor Mature, as the ever on his heels good cop, does well to keep up, in both senses of the word. Even the smaller parts are great, including a lovely performance (which I understand was virtually all removed from the US release) from Shelley Winters. It is an almost nothing part and easily cut but she plays the moll so well, with a mixture of caring, humour and concern for her own safety. I was astonished that the several family scenes did not slip into sentimentality and even increased ones general concern for all concerned. Great street scenes, busy ones too and including shots of overhead railway. Really good, attention grabbing noir of the first order.