Hellen I like the storyline of this show,it attract me so much

ChanBot i must have seen a different film!!

GazerRise Fantastic!

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

christopher-underwood Robert Wise directs but without much enthusiasm and Lee Garmes, the cinematographer has little opportunity to show his skill. Indeed, this little B movie, I hesitate to use the much overused 'noir' tag, is most uninspired. Prompted, apparently, by the real life Senate Committee on organised crime and even sporting an afterword by the real life head of that committee, Senator Estes Kefauver, urging American citizens to play their part in stamping out such crime in their neighbourhoods, this still lacks a bit of 'life'. John Forsythe doesn't help with a lacklustre performance as the lead and Joan Camden even less so as his wife. The thing here is that this was clearly intended as a well meaning do good kind of a film, setting out the problem and urging everyone to help solve it. To help things along at one point the wife asks her husband, 'What is the mafia?' so there's little doubt at what level this film was aimed. Competent but far too uninteresting a story and with no violence the 'real life' message is about all this has.

seymourblack-1 In 1950, Senator Estes Kefauver headed a special committee to investigate organised crime and the committee's hearings (which were televised live), soon provoked a great deal of interest. This was the first time that most members of the general public had been made aware of the nature and extent of organised crime in the United States and although the committee's findings revealed a serious threat to society, they also became a source of fascination for many people. "The Captive City" is based on the actual experiences of Time magazine crime reporter Alvin M Josephy Jr (who co-wrote the screenplay) and is one of a number of movies (such as "The Enforcer" and "The Racket") which exploited the strong interest that existed in crime syndicates in the early 1950s.Jim Austin (John Forsythe) is the editor and co-owner of the local newspaper in a small town called Kennington and is surprised when a private investigator tells him that he's inadvertently discovered the existence of a major gambling operation that's run by one of the town's most prominent citizens. More shockingly, Clyde Nelson (Hal K Dawson) adds that the police and local politicians are also involved and it's for this reason that he's recently been harassed by having his telephone tapped and his investigator's licence withdrawn. Jim finds Nelson's claims hard to believe and after receiving some assurances from Police Chief Gillette (Ray Teal), takes no further action. After Nelson is killed in what's claimed to be a hit-and-run incident, Jim becomes suspicious and starts to make his own investigations.In a series of articles which Jim writes, he criticises the local police for their lack of action in pursuing Nelson's killer and soon finds that his actions bring him into conflict with the police and business people who stop advertising in his newspaper. The newspaper's press privileges are suddenly withdrawn and an attempt is made to tap his telephone. Furthermore, it becomes apparent that he's being followed by a car with Florida licence plates that fits the description of a vehicle that was known to have followed Nelson in the days shortly before his death.Jim's investigations confirm the veracity of Nelson's claims and reveal that the level of corruption in his town is widespread with most people either being directly involved in the gambling operation or at least supportive of it. He also finds other information that makes it far too dangerous for him and his wife to remain in Kennington and so they race off to Washington with the intention of giving evidence to the Kefauver committee."The Captive City" is a low budget docu-noir and the inclusion of a narration, scenes shot on location and a solemn message delivered by Senator Kefauver are typical of such movies. Similarly, the use of a mixture of scenes that are well-lit and others which have the more orthodox noir look is also consistent with the docu-noir style. The story, which is told in flashback, emphasises how pervasive the influence of the mob is and how easily the corruption that it generates can become an acceptable part of everyday life.Jim Austin's struggle against what seem like insuperable odds is made riveting because it's fact-based but also because he's continually in mortal danger. Furthermore, Robert Wise's no-nonsense direction adds so much clarity and pace to the action that its intensity remains high throughout.

AudioFileZ In reviewing "The Captive City" one must acknowledge the great director Robert Wise. Wise will always be remembered for "The Sound of Music", "West Side Story", and "The Day the Earth Stood Still". But, for this viewer The Captive City fell through a crack as I'd never seen or heard of it. Until now, that was my loss…However, it's always a joy to find an old film in the noir vein with some "meat-on-the-bone", and this definitely qualifies.Following on the heels of the excellent sci-fi drama "The Day the Earth Stood Still" may have hurt this film in the annals of time a bit. I can't say that I know what it did to the box office at the time, but it certainly had slipped through my grasp in the intervening years. It certainly had a limited budget as evidenced by the "C-list" cast, yet John Forsythe puts forward an admirable lead that the good story was hung on. I couldn't find out for sure how the screenplay was concocted, but I definitely get the feeling it was a composite of real events occurring at the time in many places in a post-war USA. In other words: The Captive City was based on fact if dramatized. I'd say it did a good job of coming off as just that. It reminded me of "The Phenix City Story" in many ways as a town was in the midst of increasing graft whereby "the mob" wanted a bigger cut with more control. Something needed to be done as things began to take a murderous turn. Enter newspaper editor Jim Austin played by the aforementioned John Forsythe. Austin is contacted by a private investigator whose simple divorce case turned ugly when the woman who hired him estranged husband's associates apply pressure on him to back-off. The investigator contacts Austin since the police are part of the problem. He feels he must turn to the "power of the press" in hopes he can make public outcry turn against the criminal element. The only problem is that Jim Austin thinks he's living in an idyllic town and he initially thinks the investigator is a bit of a crackpot sensationalist. Just about the time Austin has a gnawing suspicion that he's wrongly pegged the man he is found dead with the cause being a hit and run accident complete with no witnesses. The story predictably from here as against large odds Austin pressures the police department for not having an interest in solving the case. Even if you've guessed the rest it doesn't matter too much because the movie moves along nicely and keeps the viewer interested.Wise has made a latter day excellent film noir drama with "The Captive City". The camera work is fantastic as it frames the subjects in a very involving and immediate way. Wise is one director with a wonderful eye for composition and he certainly chose correctly in using black and white in which to present it. You will not help but notice the depth of field in every shot, a technique learned from the great Orson Welles and augmented with the use of the special Hoag lenses whose focal length seemed to go on forever. Though not quite as overall involving as "The Phenix City Story" it is still quite good and highly recommended (in no way an embarrassment over half a century later). Wise was one of the finest directors of any time and even with a limited budget he proves it here. Also, of note is the introduction of young Martin Milner, who we would later come to love in the TV-series "Route 66" (reruns for me), as the Forsythe's staff photographer.

Kalaman Possible Spoiler. "The Captive City" is a tense, modest, and scarcely appreciated noir sleeper, starring John Forsythe in his debut and directed with considerable skill and panache by Robert Wise. Supporting cast is primarily NY stage troupe, including Joan Camden, Harold Kennedy, Marjorie Grossland, Victor Sutherland, and the familiar Route 66 Vet, Martin Milner. In 1951, Estes Kefauver opened hearings in Congress into organized crime. This film, about an ambitious and crusading newspaper editor Jim (Forsythe) and his discovery of crime and corruption in small town America is a reflection of its era. Hollywood crusading editors were considered trite by many, although when you come to think of it just how many such films of that ilk can you recall?In this little sleeper, as in most socially-conscious films of the 50s, facts which are commonplace even today (i.e. numbers rackets, police corruption, and sports betting) are revealed to be an integral part of middle town America. The Florida mob has moved in to take over, and someone rats them out to the editor Jim. Soon all hell breaks loose, with "respectable" members of the business community approaching Jim to lay it off and take it easy. Jim's partner wants to buy him out and get out of the business, because they're losing money and ad revenue. One night, Jim and his photographer Phil (played by Milner) sneak out to get a shot of the mob guys at their wire joint. Later, unsurprisingly, Phil is severely beaten and another friend a drunk is "accidentally" run over at night by a black Cadillac, one of the film's most brutal scenes. The score by Jerome Moross is hauntingly melodic, then it turns sour, then strident (similar to Dmitri Tiomkin's in many ways), and adds just the right note of despair and panic to the film noir texture of this film. Almost nowhere is this film predictable or corny (except for the now familiar first-person narrative technique so often used in films like this one). Riveting and near-perfect, "Captive City" deserves to be appreciated.