As a parting gift, Daryl Zanuck gave one of his accused ‘Hollywood Communist’
directors a big budget, a top cast and a crime story to direct in London about
an expatriate American ‘artist with no art’.
|
Richard Widmark, as Harry Fabian, the 'artist with no art' in Jules Dassin's Night and the City |
The American, Harry Fabian (Richard Widmark), long on get-rich-quick
schemes but ever short of funds, hatches a plot to control London’s
professional wrestling circuit. If Fabian succeeds, he gets out from under his
nightclub boss Philip Nosseross (Francis L. Sullivan) and outmaneuvers
wrestling promoter and organized crime kingpin Kristo (Herbert Lom). His plan involves
manipulating his long-suffering girlfriend Mary Bristol (Gene Tierney), his
boss’s wife Helen (Googie Withers) and Kristo’s father Gregorius (Stanislaus
Zbyszko), an old-time Greco-Roman wrestling champion.
|
Richard Widmark, Googie Withers and Francis L. Sullivan in Night and the City:
'Oh dear boy, you'll be the death of me!' |
This cast and British character actors from Kristos’s ‘boys’, his
lawyer Fergus Chilk (Aubrey Dexter) and his wrestler, The Strangler (Mike
Mazurki), to the street operators Anna O’Leary (Maureen Delaney), Googin the
Forger (Gibb McLaughlin) and Figler, King of the Beggars (James Hayter), may be
the best collection of faces any director ever shot in black and white.
Zbyszko, a retired two-time world heavyweight wrestling champion in the 1920s, is
a larger-than-life non-actor who nearly steals the show.
|
Stanislaus Zybyszko, former champion wrestler, in Night and the City |
But London critics did not like this pessimistic tale set in the London
criminal underworld, shot in their town by an American director for a Hollywood
studio with Widmark and Tierney in the lead roles. The film also reportedly
‘angered’ Gerald Kersh, author of the 1938 novel on which the story was based,
though director Jules Dassin said he was given the script to direct without
having read the book.
|
Harry Fabian (Richard Widmark) works Helen Nosseross (Googie Withers) in Night and the City. |
Since that time, Dassin’s 1950 Night
and the City, a drop-dead-gorgeous masterpiece of make-believe in black and
white, has been celebrated as one of the seminal works of film noir. Dassin disputed this label.
‘I didn’t know there was a film
noir until I learned the term in France,’ Dassin said in a 2004 interview
for Criterion with Issa Clubb. Blacklisted in Hollywood, the former American
studio director established himself in France where he made the urban heist classic
Rififi (1955) in the twilight between
the Second World War and the Nouvelle Vague.
|
Hard to resist a pretty lady in Jules Dassin's Rififi |
‘When Rififi came out, [the
critics] talked about how I was indebted to a film made by John Huston called Asphalt Jungle [1950] and how they were
similar,’ Dassin said. ‘Now, word of honor, I had not seen Asphalt Jungle until I read about all this and I still don’t see
the connection, except for one story element: a guy’s undone because he
couldn’t resist pretty girls—or ladies. But that’s all,’ he said in the 2004
interview.
|
Hard to resist a pretty lady in John Huston's Asphalt Jungle |
Postwar French film intellectuals enthused over the hard-boiled Hollywood
crime stories shot in black and white in the narcotic American night and coined
them film noir. It was a style of
filmmaking that contemporary German film theorist Siegfried Kracauer and others
associated with German Expressionism.
|
German Expressionism: Das Kabinett des Dr Caligari
Robert Weine (1919) |
But Lotte Eisner, an early German film critic, traced the style to more
practical roots, beginning with European theater legend Max Reinhardt. A
trained actor, Reinhardt became a successful theater owner and impresario of
operas and grand theatrical productions at the turn of the century. He
revolutionized the way operas and plays were staged and trained actors and
stage crew in his methods at the time when the first German films were being
made. Eisner also credits the influence of early naturalistic Danish film
directors and elements of German Romanticism.
|
Max Reinhardt in Hollywood: A Midsummer Night's Dream (1935) |
In her book The Haunted Screen,
Eisner noted that Reinhardt’s Deutsches Theater in Berlin, for example, was
famous for its revolving stage and elaborate sets. But she said that a shortage
of raw materials and limited budgets in the latter part of the First World War
inspired Reinhardt to substitute lighting for set décor. Reinhardt also
directed several early films (Sumurûn, 1910; Die Insel der Seligen, 1913). Given this practical background,
German film directors already were familiar with chiaroscuro effects and had no
need to rely on what the Expressionists were doing, Eisner wrote.
|
Otto Rippert's 'pioneer work' Homunculus (1916)--Lotte Eisner |
‘Proof can be found in the serial film Homunculus [Otto Rippert, 1916] which, made as it was long before [Das Kabinett des Dr] Caligari [Robert Weine, 1919], has not
had the attention it deserves. In this pioneer work, the contrasts between
black and white, the collisions between light and shade—all the classical
elements of the German film, from Der Müde Tod (Destiny) [1921] to Metropolis [1926—both by Fritz Lang]—are already present,’ she wrote.
Lang and many of the film professionals who began their careers in the
German system where film was regarded an art—Ernst Lubitsch, Billy Wilder, William
Dieterle and Robert Siodmak, for instance—emigrated to the Hollywood film studios
in the Nazi period. Thus perhaps in a similar practical sense, the way film noir looks owes as much to
Reinhardt, taking root in the Southern California desert in the 1930s and
becoming a staple of the way studios made films that flourished as American
art.
|
Gene Tierney as Mary Bristol, Harry Fabian's long-suffering girlfriend in Night and the City |
Though as Dassin said of film
noir in the 2004 interview: ‘You know, sometimes we know not what we do. It
just happens.’
In addition to a high definition digital transfer of the original
print, the Criterion Collection DVD released in 2015 includes both the U.S. 95
min. release and longer U.K. release reviewed here, as well as a June 1970
interview of Dassin by Paul Seban for the French television show L’invité du dimanche and the 2004
Criterion interview.