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Panic in the Streets 1950 123movies

Panic in the Streets 1950 123movies

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#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – When a body is found in the New Orleans docks, it’s pretty obvious that he died from gun shot wounds. The police surgeon notices that the man is also displaying other symptoms and Lt. Commander Clint Reed, a doctor with the U.S. Public Health Service, diagnoses a highly contagious disease, pneumonic plague. He tries to convince local officials to find everyone who may have been in contact with the dead man. The Mayor supports his efforts but many, including the police, are doubtful. Reed wants to avoid publicity so as not to panic the public. They have little information to go on – they don’t know the dead man’s identity – and Reed estimates they have 48 hours before disease begins to spread. With police Capt. Tom Warren going through the motions, Reed sets out to find the killers.
Plot: One night in the New Orleans slums, vicious hoodlum Blackie and his friends kill an illegal immigrant who won too much in a card game. The next morning, Dr. Clint Reed of the Public Health Service confirms the dead man had pneumonic plague. To prevent a catastrophic epidemic, Clint must find and inoculate the killers and their associates, with the reluctant aid of police captain Tom Warren, despite official skepticism, and in total secrecy, lest panic empties the city. Can a doctor turn detective? He has 48 hours to try…
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A Microbe Killer Stalks The Big Easy
In Panic In The Streets Richard Widmark plays U.S. Navy doctor who has his week rudely interrupted with a corpse that contains plague. As cop Paul Douglas properly points out the guy died from two bullets in the chest. That’s not the issue here, the two of them become unwilling partners in an effort to find the killers and anyone else exposed to the disease.

As was pointed out by any number of people, for some reason director Elia Kazan did not bother to cast the small parts with anyone that sounds like they’re from Louisiana. Having been to New Orleans where the story takes place I can personally attest to that. Richard Widmark and his wife Barbara Bel Geddes can be excused because as a Navy doctor he could be assigned there, but for those that are natives it doesn’t work.

But with plague out there and the news being kept a secret, the New Orleans PD starts a dragnet of the city’s underworld. The dead guy came off a ship from Europe and he had underworld connections. A New Orleans wise guy played by Jack Palance jumps to a whole bunch of erroneous conclusions and starts harassing a cousin of the dead guy who is starting to show plague symptoms. Palance got rave reviews in the first film where he received notice.

Personally my favorite in this film is Zero Mostel. This happened right before Mostel was blacklisted and around that time he made a specialty of playing would be tough guys who are really toadies. He plays the same kind of role in the Humphrey Bogart film, The Enforcer. Sadly I can kind of identify with Mostel in that last chase scene where he and Palance are being chased down by Widmark, Douglas, and half the New Orleans Police. Seeing the weight challenged Zero trying to keep up with Palance was something else because I’m kind of in Zero’s league now in the heft department.

Kazan kept the action going at a good clip, there’s very little down time in this film. If there was any less it would be an Indiana Jones film. Panic In The Streets won an Oscar for Best Original Screenplay that year.

Kazan also made good use of the New Orleans waterfront and the French Quarter. Some of the same kinds of shots are later used in On the Waterfront. In fact Panic In The Streets is about people not squealing when they really should in their own best interest. Very similar again to On the Waterfront.

Panic In The Streets does everyone proud who was associated with it. Now why couldn’t Elia Kazan get some decent New Orleans sounding people in the small roles.

Review By: bkoganbing Rating: 8 Date: 2008-03-27
Early Elia
Spoilers. Sandy Koufax’s father-in-law, sometimes known as Richard Widmark, is a doctor in the Public Health Service in New Orleans, Dr. Reed, years after I thought he’d died after finding the solution to the yellow fever problem in Panama. He has some problems at home with his wife, Barbara Bel Geddes, because it’s so difficult to pay the bills on the salary of a Lieutenant Commander. They can’t even pay the cleaning bills for his uniform so how can they even think of having a second child? His wife is supportive, although with her Smithie accent it sounds as if she should be doing the complaining exclusively. Enough about home life.

The main narrative opens with a low-key shadowy shot of one of those noir-type poker games, all smokes and drinks and snarls. Poldi’s cousin feels sick and leaves the game. Blackie, that is Jack Palance of the sculpted zygomatics, doesn’t like a winner who leaves. So the three losers follow the cousin and in the process of relieving him of his profits they manage to shoot him a few times, after a nice stalking scene full of dread across a railroad yard and then in front of giant shadows cast against a warehouse wall. (Warehouses will figure large in this film.)

The cousin is a recently arrived illegal immigrant and although he may not have a passport he has brought a case of pneumonic plague ashore with him. The incubation period for this cataclysmic illness is 48 hours and that’s how long the authorities have to track down the people he’s been in contact with.

Well, Widmark is drawn into the search, aided by the reliable Paul Douglas, whom Widmark describes as “not the brightest cop in the world, but who is?” I have to pause here to mention the actors. Widmark is likable here, not one of his giggling maniacs this time. Douglas is Douglas, a kind of bulky everyman. But there are two other performances that need mentioning, those of Zero Mostel as Fitch and Palance as his boss, Blackie, a smoldering evil guy who owns a shabby laundromat. (“It’s a legit business.”) There is a scene between the two of them that is memorable. Fitch, the fawning toady, is listening to Blackie, crouched in front of him in fact. Blackie is going on in that purring paranoid voice about why the cops are turning the whole city upside down looking for Poldi. (They’ve managed to identify Poldi as one of the last people to be with his cousin, but they’re not letting on about the disease for fear of starting a panic.) Blackie suspects Poldi got something from his cousin, maybe a pile of dough. “You know, Fitch, I’ve got a feelin’ about Poldi. Yeah, I got a feelin’ about him. I got a feelin’ he’s tryin’ to put somethin’ over on me. And there’s one thing I don’t like, Fitch. You know what that is?” Mostel whines, “Sure, Blackie, somebody tryin’ to put somethin’ over on you.” Blackie’s eyes close and his head lolls back against the wall — “I never liked it.” Of course I can’t reproduce the scene in print but the exchange ought to be scene in order for the hilarity of its melodrama to be appreciated. “I never liked it”! Elsewhere Palance seems made of all bone and tense sinew, his shock of shiny black hair flopping about. When he seems relaxed, it’s in the same sense that potential energy is relaxed while waiting to be transformed into kinetic. When Mostel and Blackie finally find Poldi, now dying at home, Blackie sits next to the bed and cradles Poldi’s head in his arms, breathing into his face, caressing his features mercilessly, promising to get him a doctor, not the priest he’s calling for, and then in an instant begins strangling Poldi — “Where IS it, Poldi?” A few minutes later they dump him off an outside staircase and break Poldi’s neck, while Poldi’s mother wails. Zero Mostel turns in a nice peformance, better than in The Producers. Another unforgettable instance takes place during the final chase through a coffee warehouse. The cops after them, the duo pause behind some bags. Mostel is sweating and panting and holding onto Palance, but Palance simply can NOT keep still — his head bobs as he paces first one way then another, glaring at the floor. And the minor characters too. The interrogation of two Asian cooks aboard an outbound freighter — “He cawre me dirty name and tell me bring shishabob.” An Irish dwarf who sells papers and runs errands for Blackie, giving him some information on a sidewalk, and when Blackie tries to pay him, backing away and protesting, “No, no, Blackie. I don’t want it,” and when nevertheless Blackie stuffs the bills into the little man’s sweater, replying while still waddling backwards, “God bless ye, Blackie, God bless ye.” Where did Kazan find these faces? Every one of them, down to the least apparent atmosphere person, looks as if he or she belongs in exactly that place at exactly that time. He didn’t quite make it in “A Face in the Crowd,” in which the faces in the crowd looked rather Hollywoodized, but did it in extenso in “On the Waterfront.” Getting the extras right is an underrated skill. I should also mention that there is a car chase followed by an exciting game of hide and seek and some shooting, but there are no spectacular vehicle crashes, no exploding fireballs, and no squirting squibs. Good grief, how they would probably mangle that finale in a contemporary movie.

I will only add a few footnotes to this comment. One is that, however unlikely it may seem, Kazan’s direction here was influenced by John Ford, the master of the personal foreground played out against the epic background having taught one or two things to the master of the psychological vivisection. Specifically, Kazan said in an interview, he was amazed at the way Ford treated critical events in “Prisoner of Shark Island.” After Lincoln’s assassination in long shot a curtain is drawn delicately across the booth. Here we likewise gets few closeups of important events like the killing of Poldi’s cousin. And Blackie’s attempt to escape by climbing a hawser to a ship is mostly in long shot. (Blackie is foiled, not ironically, by a rat guard.) Another footnote involves the finale in which Blackie reaches down from his perch under the pier and beans Widmark with a pistol. Through an overslgith, Palance was never given a lightweight prop pistol, and Widmark’s sort of idiosyncratic scream of pain as he grabs his sconce and falls is a real scream of pain.

I recommend the film. It’s very well done in every respect. Not a masterpiece. The conflicts between characters are rather shallow ones and development is rudimentary. But as a genre piece, it excells.

Review By: rmax304823 Rating: 8 Date: 2002-12-29

Other Information:

Original Title Panic in the Streets
Release Date 1950-07-27
Release Year 1950

Original Language en
Runtime 1 hr 36 min (96 min)
Budget 0
Revenue 0
Status Released
Rated Approved
Genre Crime, Drama, Film-Noir
Director Elia Kazan
Writer Richard Murphy, Daniel Fuchs, Edna Anhalt
Actors Richard Widmark, Paul Douglas, Barbara Bel Geddes
Country United States
Awards Won 1 Oscar. 3 wins & 3 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 2,634 m (10 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm

Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Panic in the Streets 1950 123movies
Original title Panic in the Streets
TMDb Rating 7 94 votes

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