AniInterview Sorry, this movie sucks

Marketic It's no definitive masterpiece but it's damn close.

Listonixio Fresh and Exciting

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

JohnHowardReid Director: FRANK TUTTLE. Screenplay: Sydney Boehm, Martin Rackin. Based on the Collier's magazine serial, "The Darkest Hour", by William P. McGivern. Photographed in CinemaScope and Eastman Color by John F. Seitz. Film editor: Folmar Blangsted. Art director: John Beckman. Set decorator: William L. Kuehl. Make-up: Gordon Bau. Costumes: Moss Mabry. Music composed by Max Steiner, orchestrated by Murray Cutter. Assistant director: William Kissel. Sound recording: Charles B. Lang. Associate producer: George C. Berthelon. Producer: Alan Ladd. A Jaguar (Alan Ladd) Production, released through Warner Brothers Pictures. U.K. release: 28 May 1956. Sydney opening at the Plaza. 98 minutes.SYNOPSIS: After serving a five-year term for manslaughter, a wrongly convicted ex-cop goes after the waterfront gangster who was really responsible.COMMENT: Alan Ladd versus Edward G. Robinson, the posters promised, but, disappointingly, the screenplay keeps the two stars apart until the climax. In fact, Ladd and Robinson share only two scenes. For most of the movie, Robinson plays against Paul Stewart, and it is these two actors rather than producer Ladd, who provide the story's chief points of friction. Nonetheless, Robinson is always in his element and the script does come to a grand climax on San Francisco Bay in which CinemaScope is brilliantly utilized to round off the movie with maximum dramatic impact. In other respects, however, director Frank Tuttle's hand seems somewhat lethargic. The color photography suffers from the early CinemaScope disease of over-graininess, but rates as reasonably acceptable. Indeed, most audiences probably won't notice, especially in theaters with smaller screens. On the Plaza's huge screen, however, where I saw the movie, the color looked undeniably blotchy.

Laurence Tuccori A film noir shot in colour, in cinemascope, with scenes set mostly outdoors during daylight hours, and making ample use of San Francisco's picturesque landscape, starts out with several counts against it.But contravention of most if not all of the conventions of the noir genre is the least of this movie's problems.The biggest drag on the story is its star. Alan Ladd strolls through the plot like a Californian Redwood on legs. If it weren't a clash of materials, it would not be unfair to characterise his woodenness as robotic. There's not an ounce of enthusiasm or conviction in his performance as Steve Rollins, an ex-cop wrongly convicted of manslaughter, who leaves jail vowing vengeance on the gangsters who framed him.Ridiculously attired in a linen suit that never creases or stains despite several bare knuckle dust ups, he fearlessly provokes corrupt waterfront boss Victor Amato (Edward G Robinson) into a showdown that can only result in death or victory.Along the way, just to demonstrate what a straight-up, honorable guy he is, Rollins rebuffs his wife (Joanne Dru) for a moment of weakness while he was in jail (but only after he'd refused to let her visit him for three years) and comes to the aid of a nightclub singer (Fay Wray) whose life Amato is threatening. All of which Ladd achieves without once moving a facial muscle.So thank god for Edward G.Robinson! He singlehandedly saves HELL ON FRISCO BAY with a performance that is considerably better than the film deserves. Robinson's career was in a slump in 1955, mostly as a result of the anti-communist blacklist, and he was no longer getting A-list parts, but he never stopped giving his best to whatever work came his way. He's as great here as he was in 'Little Caesar' and 'Key Largo.' His Victor Amato is a fully-rounded, believable and disturbing character, a psychopath who can charm the parish priest one moment and order the murder of his own nephew the next. When Robinson's on screen it's almost possible to forget he's inhabiting the same story as dreary lifeless Alan Ladd.Credit is also due to Paul Stewart who makes the most of his underwritten part as Amato's put-upon right hand man, and watch out for an uncredited but instantly recognisable Jayne Mansfield in her last bit part before exploding into America's consciousness with 'The Girl Can't Help It' a few months later.HELL ON FRISCO BAY is a decidedly mediocre tale but a fine example of an actor proving himself better than the material he's given to work with. Watch this and you may well be put off Alan Ladd for life but you'll definitely want another serving of the wonderful Edward G Robinson.Read more of my reviews at http://thefilmivejustseen.blogspot.com/

classicsoncall There's a great politically incorrect sign hanging in the Amato Club House that says - "Be American, Speak English". That's one of the visual treats in "Hell On Frisco Bay", a gritty gangster drama featuring one of the best, Edward G. Robinson as tough guy Victor Amato. There's also a lot of great dialog compliments of Robinson's character, especially the prayer conversation with henchman Joe Lye - "Guess those prayers went into a separate account for lover boy".Alan Ladd portrays Vic Amato's nemesis in this one, playing it fairly deadpan, almost tired, throughout the story. He's an ex-cop just released from San Quentin following a stretch for a murder frame up, and he's out for vengeance. A pal from the old days, Dan Bianco (William Demarest), is about the only one he can confide in as he goes after the bad guys. Come to think of it, Demarest plays it entirely straight in the picture too, he's usually good for a few comic relief moments in most films, but not here. He knows enough to back off too, when Steve Rollins (Ladd) makes it known he's got a score to settle.The tension between Rollins and Amato is allowed to fester and build as the former detective conducts his personal investigation, reaching the boiling point when Vic summons his adversary to a meeting. Ladd delivers one of the movie's best lines when he turns down Vic's job offer of two hundred dollars a week - "I'd like to kill you so bad I can taste it." Not too much room for miscommunication there.Joanne Dru portrays Rollins' not quite ex-wife, having had a quick affair while he was in the cage. A nice surprise in the film for me was the appearance of Fay Wray as a retired actress; you know, she really aged wonderfully in the two decades following "King Kong". It's too bad she was relegated to a career of 'B' films even after her Kong triumph. Also on hand in an early screen appearance is Rod Taylor, described as a 'tough monkey from up North', who takes his orders from mobster Vic.For his part, Robinson turns in one of those quintessential gangster performances that he's known and caricatured for, particularly vile here for ordering a hit on his own nephew. With Robinson, you get so much more than you bargained for with all those little nuances he throws into a role, like the way he sizes up the door man at the apartments, or how he sets up Joe Lye's hit right in front of a statue of St. Anthony. And when he goes down, he goes down hard, sneering all the way as the cops fish him out of Frisco Bay following that wild speed boat chase. As for the film, it's an OK little story that could have packed more of a punch without the color format. I would have preferred the movie's noir-ish ambiance in glorious black and white.

sol **Spoilers** Getting framed by the mob in the bar-room brawl death of Mr. Dinetto SFPD cop Steve Rollins, Allen Ladd, is sent away to San Quentin for five years for manslaughter. It's while he was incarcerated that Rollins gets the news through the prison grapevine from a man high up in the Victor Amato, Edward G. Robinson, Mob known only as Mr. Ragoni that he has proof that he is innocent of Dinetto death and he's more then willing to prove that fact once Rollins' get out of prison.Released from prison Rollins soon finds out that the person who can clear his name Mr. Ragoni had disappeared, and is later found murdered. Rollins is now only interested in getting even with Victor Amato and his mob and even his long-suffering wife night-club singer Marcia, Joanne Dru,is thrown aside in his efforts to get Amato. Rollins is determined t get even regardless of who or what get's in his way even if it's the entire mob running the San Francisco waterfront. One of Allen Ladd's better late, after Shane, movies as he as ex-cop Steve Rollins does a Dirty Harry bit without a badge or gun and rids the docks of that city of the mobsters and crooked politicians who control them.Getting at Amato through his wimpy nephew Mario, Perry Lopez, Rollins beats the truth out of him about who was responsible for Dinetto's death. Mario implicating both his gangster boss uncle Victor and the hoodlum he hired to do it John Brodie Evens, Rod Taylor. Amato getting the news from his police informant Det. Connors,Peter Hansen, of the scared to death little Mario ratting on him has his top henchman Scarface Joe Lye, Paul Stewart, do a job on Mario making it look like he killed himself. Where the clever as a fox Victor Amato screwed himself up was when he opened his big mouth in Scarface's apartment about him doing in Mario. Amato boasted of his crime in the presence of Scarface's girlfriend actress Kay Stanly ,Fay Wray, who overheard it. With that eyewitness evidence as well as Amato's brutal treatment of the person, Kay Stanly, who witnessed it that was all that was needed to get the slippery eel Victor Amato indited tried and sentenced behind bars for life or a one way trip to the San Quentin gas chamber.Working over a number of Amato's hoods Rollins gets the boss of bosses trapped in a corner where he can't get out, As all the murders including that of his top henchman who later fell out with him, over how Amato treated his girlfriend Kay Stanly, Scarface Joe Lye comes back to haunt him. Amato is then forced to make his getaway on a motorboat in San Francisco Bay with the now really mad, if he wasn't already, as hell ex-cop Steve Rollins more then willing to swim the length and breath of that waterway in order to get his hands on him. Very brutal crime movie for it's time, 1955, with Allen Ladd's Steve Rollins somewhat of a precursor to the later ruthless and no holds barred San Francisco cop Inspector Dirty Harry Calahan who gets things done his way and his way only. Edawrd G. Robinson as big boss Victor Amato is far more convincing as a Mafioso bigwig then even Marlon Brando Al Pacino and Robert De Niro were in "The Godfather" movies. Robinson comes across as a man completely in charge and knowing just what strings to pull to get what he want's done. Thats until he overreaches himself by mindlessly overreacting to the I don't give a damn Steve Rollins who showed the Mafia chieftain that what he feels is Rollins' most important commodity, his life, doesn't mean a thing to him unless he puts his butt behind bars or in the grave for what he, Amato, did in destroying it.