The Mob (1951) Reviews

• Strong Cast of Unknowns Helps Good Crawford Programmer

  boblipton2007-08-26

  The title of this review says it all. In 1951, who knew who Ernest Borgnine, Richard Kiley and Charles Buchinsky were? But in this Columbia noir, made after Broderick Crawford became an unlikely star because of ALL THE KING'S MEN has the lead going undercover to investigate racketeering on the docks, we see how good actors can overcome a basically decent script overloaded with 'snappy' dialog, cheap sets and unexceptional directing. The actors are, frankly, amazing and this is as good as a movie can get with a major flaw like this -- ace DP Joseph Walker can't do much with the studio sets and back projection, but he makes a good effort with a highly mobile camera.

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• Bartenders Know Everything

  wes-connors2007-08-25

  Broderick Crawford is terrific as a police detective going undercover as a longshoreman. The film begins with Mr. Crawford, while off-duty, investigating a shooting; when he arrives, he's told to watch the victim by another detective - only to be left holding the victim (so to speak). After his "error", he is assigned to undercover as longshoreman at a mob-infested dock, and locate dangerous mob boss "Blackie". On the docks, the film really takes off - the story gets very exciting, with hardly a misstep. The camera is a sharp match for the players and script. Note, Ernest Borgnine throws a swell party. Broderick says "Oh, please…" like he was born yesterday. "The Mob" has enough twists and turns to keep the interest brewing... to a tight ending. ******* The Mob (1951) Robert Parrish ~ Broderick Crawford, Richard Kiley, Ernest Borgnine

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• A Great Variety of Talent and Soon to be Stars, Kind of like a 5 Pound Box of Fine Chocolates of the Movie Screen!

  redryan642007-08-26

  Broderick Crawford won the Oscar for Best Performance for ALL THE KING'S MEN(Columbia, 1949). This crime drama, THE MOB, was undoubtedly planned as a vehicle tailor made for him. We see that this film is classified as Film Noir, of which it does seem to have the dark, brooding and the impossible situations for there to be any successful conclusion/happy ending. But this ending is sort of up beat, and it's even one that would fit as the fade-out finale of one of the Chester Morris/Columbia Pictures' BOSTON BLACKIE entries. The beginning of the movie is done in a somewhat slowly revealing, deliberate and methodical scene that keeps the audience guessing about the integrity of main character,Police Detective,Johnny Damico(Broderick Crawford). His quick paced banter with a jeweler over a diamond ring and its value is just vague enough to lead us to believing It to be some sort of shady deal. Ultimately we learn that Det. Damico and Mr.Jeweler are well acquainted, even friends. The Detective is shown to be a man and an Officr of the Law who has good, decent beliefs and behaviour. Quite by accident, Det. Damico runs into an on-view shooting. The shooter identifies self as a Police Detective Lieutennant and presents Shield and ID to Damico. It is dark, rainy and the "Lieutennant" manages to split from the scene. After all is found out, the Police Commissioner assigns the Detective to go underground to ferret out the cause of recent killings, including including that of the real Police Lt. whose shield was used by the unknown killer. At this point, the story really takes off as Damico feigns the role of a trouble making bad guy from New Orleans. The undercover role takes him to the Waterfront and taking the position as a Longshoreman. Now at this point, it appears that the film was a story of Labor Racketeering and the corruption that flows from the scene of such an unsavory operation. It sort of resembles, ever so briefly, the not yet made ON THE WATERFRONT(Columbia,1954). But no dice, once again the Director and production shifts gears and the storyline skews toward resemblance to the Detective Stories that populated the Pulp Magazines and those Radio Dramas which were adapted from the Pulps. Once again, we see a variant on the theme as the new source of inspiration appears to be the Comic Book cops-n-robbers story as exemplified by Will Eisner's THE SPIRIT.* The chase and the eventual revealing of the Hide-Out HQ and, especially the true identity of the Underworld big shot are especially reminiscent of an Eisner written and illustrated story. But, then again, we see another aspect of this story in the inclusion of some ultra modern,"Super Scientific",electronic crime-bustin' technology. They seem to take a queue from the James Cagney starring film, WHITE HEAT (Warner Brothers 1949). At a late point in the story, tracking a vehicle via the use of infra red light and pinpointing a location by radio Tri Angulation is introduced. The film has an interesting cast of people who DON'T look like movie stars. They look very ordinary and much like a cast of characters that you would see in the real world. But that does not mean that there was not talent on display. The Acting Abilities of the cast members are super abundant, as shown by the rise in prominence of so many of the players in the subsequent years. So, we are treated to performances by the likes of: Mary Kierman, Richard Kiley,Otto Hulett,Matt Crowley**,Neville Brand, Ernest Borgnine, Charles Bronson, Frank DeKova, Lawrence Dobkin and others. And, please don't you think that it the purpose of this writer to pan or degrade this film, far from it. The only thing that I can say is: "Hey 'MOB', where have you been all my Life?" * Much like THE SPIRIT, this offers its moments of levity and the Story is propelled along at a good clip, powered by some clever, witty and even funny dialog. ** Is this the same Matt Crowley who enjoyed a fine career as a Radio Actor, portraying among others, BUCK ROGERS? ADDENDUM: 9/23/09. The answer is (after all this time is a most emphatic "YES!" It turns out that the multi-media actor was active in Radio (BUCK ROGERS), the Movies (THE MOB), Broadway Stage (THE FRONT PAGE)as well as a multitude of TV Shots too numerous to list here.

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• An exceptional lesser-known example of Film Noir

  MartinHafer2008-05-28

  Broderick Crawford plays a cop who goes undercover to infiltrate the mob. And to make them think he's "their kind of guy" he comes into town with a major attitude and a willingness to slug anyone who gets in his way. However, this is no routine assignment, as there are lots of dangerous twists and turns and repeatedly it appears he's about to buy the farm. I particularly loved the very tense and rather violent ending in the hospital---you just have to see it to understand. This film has one of the most important ingredients of Film Noir down pat--it has one of the ugliest casts in film history!! True lovers of this gritty genre know that actors in such films can't be "pretty boys" but ugly and cold-blooded killers. That's why when I saw this film starred Broderick Crawford (king of the hard-drinking ugly actors), Ernest Borgnine and Neville Brand (the scariest looking thug in film history) I was thrilled to see it. Now this ISN'T meant as an insult--I am just stating a fact necessary for a good Noir film. Great Noir abounds with ugly mugs like Edmund O'Brien, John Ireland and John McGraw--though the cast in THE MOB is among the ugliest and therefore best in genre history. In addition to ugly and menacing men, the film also features realistic and gritty violence, tough dialog, lots of great shadows and camera angles as well as a taut script--and all are in THE MOB in spades. All the elements needed for exceptional Noir--so it certainly wasn't a surprise that I really enjoyed the film. If you love Noir, you will love this film. If you don't, then watch this film anyways!! Then, try some other great Noir films like THE KILLERS, DOA, KISS OF DEATH and ASPHALT JUNGLE--then you, too, will most likely be hooked!!

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• Tough Crime Movie with Dialogue Reminiscent of the Star's Real Mother

  Handlinghandel2007-08-26

  Broderick Crawford plays a cop in this excellent crime drama. (I wouldn't call it a film noir but I'd say it got to the location of "On the Waterfront" first. And, in my very humble opinion, pulled together a better story.) The dialogue has a snappy edge that isn't found much in gangster movies of this period. The guys -- and it's mostly all guys here -- have a sarcastic way of communicating. They talk like athletes or construction workers. I've been both and I know. A lot of calling each other cheerleaders and other ways of joking about their masculinity. But it's done in a good-natured, blue collar. There is no hint of anti-gay sentiment. Broderick Crawford generally seems so different from his mother it's hard to imagine they were related in that way. But here we pick up his casually comic timing. Crawford is excellent as a policeman who goes undercover on the docks. Richard Kiley shines as one of the guys -- giving nothing away, here -- he deals with. And Matt Crowley is fine as another. (I checked on him and he played Walter Burns in a TV version of "The Front Page in 1945. Wow! I didn't know there WAS TV in 1945.) The actress playing Crawford's girlfriend isn't bad. She plays a nurse and she seems wholesome. Wholesome and dull. She seems to have few film credits. This has an authentic feel. And it's different, too. It's definitely a keeper.

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