Clever, believable, and super fun to watch. It totally has replay value.

After playing with our expectations, this turns out to be a very different sort of film.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

This is a fullblown Robert de Niro flick, who as a character is running on empty: no money from the ATM, no money from work. What to do? He creates a pipedream and is gonna organize a boxingmatch with no knowledge of it and with no money to back it. That spells trouble. Night and the City has it's other star in the name of Jessica Lange. Both Lange and de Niro make "Night and the City" a joy to watch. It is a light drama although the feelgood factor is at such a high that you could also call it a feelgood drama.You just gotta love the character de Niro plays, he fails at everything but gets away with it and has another even bigger project destined to fail lined up right after the earlier misfortunes. He is truly the great pretender, but feelin' good at it!If you like de Niro's work you should definitely see this lighter drama, because he dances a tightrope between a comedy and a drama and does so very convincing. The dialogues are funky and full of wit. The story is simple but connivingly great and has a great dynamic. It has a nice throwaway feel to it, but however lighthearted it is, the story deals with heinous deceit. "Night and the City" has become so dear to me over the years, because the characters are so sympathetic: while failing at everything they still hold on to their dreams and on to eachother's love. De Niro and Lange are just to die for in this New York Tale of love and deceit.

I beg to disagree with Roger Ebert on this one. I think he is too obsessed with comparing this film to the original. Even though I didn't see the original, I can see that this film isn't supposed to be a copy, but only borrows the premise in order to develop an original, realistic and contemporary plot of its own. I can't understand Ebert when he claims that characters in a noir film should not be developed and the plot should not be realistic..?? I suppose you have to be a critic to understand that. This film "feels" like a good old movie from days past when screenplays, characterization and dialog where important, that's why I liked it, and I suppose that may not be "modern" enough for some...I found this to be a good film, with excellent characterizations that work (finally a movie that has 'real' characters we can understand, believe in, sympathize with), a realistic plot and some very good acting (especially De Niro whom I found to be excellent once again). On a lesser note, the photography and soundtrack.

The picture deals an ambitious, fast-talking lawyer named Harry Fabian(Robert De Niro, Richard Widmark role) in N.Y.C., he's a hustler with several money-making schemes . Harry concocts a plot as boxing's small-time promoter . But he makes erroneous friends, the old boxer's brother(Alan King), a tough gangster. Harry is the role who fills completely the movie , he survives as person who reports false crime in the trials. Harry becoming involved with mobsters and an affair with his barman's spouse(Jessica Lange). But his plans go awry and he's on the run for his life. The story terminates with a persecution excellently filmed with all its rawness .This noir urban/drama packs good performances though Robert De Niro is overacting. Nice interpretation by Jessica Lange , the only character who shows a bit of kindness on Harry. Supporting casting is frankly well, as Cliff Gorman, Eli Wallach, Jack Warden, Barry Primus, Michael Badalucco, among others , furthermore cameo role by Richard Price, screenplay's author. Dark cinematography by Tak Fujimoto and atmospheric and effective musical score by James Newton Howard. This version about Harry downfall lacks punch and dramatic weight, it results to be much better the classic adaptation (1955), a real masterpiece, set in London with Richard Widmark, Gene Tierney and Herbert Lom. This inferior new version is dedicated to Jules Dassin, the magnificent director of the original picture and adapted from the novel by Gerard Kersh. The motion picture is regularly directed by Irwin Winkler, usual producer of Robert De Niro films and occasionally filmmaker.

The only reason I saw this movie was its filming locale, Boxers on West 4th Street in NYC. (Ironically, the bar had nothing to do with "Boxers" as in pugilists). Its not Boxers that I will remember, its the predecessor on this corner, Boxers decor was the same as the lamented JIMMY DAYS that graced this corner from about 1970 until 1989 or 1990. When Jimmy was forced out by escalating rents, Boxers moved in, keeping the exposed brick ceiling decor the same. Soon, this movie may be the only permanent record of a great NY neighborhood bar known as JIMMY DAYS. There is a Margot Kidder independent movie from the 1970s that was filmed here when it was Jimmy Days, called Willie and Phil.