#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran investigate. Suspicion falls on various shifty characters who all prove to have some connection with a string of apartment burglaries. Then a burglar is found dead who once had an elusive partner named Willie. The climax is a very rapid manhunt sequence. Filmed entirely on location in New York City.
Plot: The Naked City portrays the police investigation that follows the murder of a young model. A veteran cop is placed in charge of the case and he sets about, with the help of other beat cops and detectives, finding the girl’s killer.
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|7.6/10 Votes: 12,278|
|7.2 Votes: 148 Popularity: 7.016|
Shots have been fired, chloroform has been administered.
This is a real original and just about everybody involved knows it. A documentary style police drama with real New York locations — “Nothing was shot in a studio!” And it does capture New York City, circa 1947, entering a late florescent age. Many of the shots were “stolen,” taken on real streets from a van with tinted windows, with only the principal actors knowing that a movie was being made.
White collar workers all wear suits and ties. There is a sidewalk salesman hawking neckties. An ice man with those over-sized calipers. A milkman driving a horse and wagon. A Kosher Deli. Little girls playing jump rope — “Out goes the doctor, out goes the nurse, out goes the lady with the alligator purse.” Kids on swings. People reading newspapers over someone else’s shoulder while jolting along on the subway. A shootout on a tower of the Williamsberg Bridge. A blind man and his dog. Stillman’s Gym with two professional wrestlers being coached in how to register pain. Two girls gawking at a wedding dress in a shop window and mooning over “Frankie.” Ethnic people — Italians, Irish, Jewish, Polish. Accents — “A boxer-fighter maybe? What do I know?” “Eh, bene, bene — encore.” Scrubby walnut trees in brick-strewn vacant lots. Working class accents mostly, including that of the narrator, Mark Hellinger. Nobody is black or Puerto Rican. The taxi drivers speak English. No bums or dopers. It’s all here, or rather it was all there.
Now, of course, it’s all a little familiar because we’ve gotten used to location shooting and wince when shots are obviously studio made. But this was new at the time and is still enjoyable to watch.
The performances are adequate. Don Taylor is bland and doesn’t have any accent but he’s easy to identify with, at least for me, because he’s so pleasant and handsome. Barry Fitzgerald has an oddly creased face and crudely shaped cranium. His smile is almost a mile wide, a caricature of itself, a lovable guy. Howard Duff is — well, Howard Duff, a liar and a thief. Ted deCorsia is great. We first meet him working out in his shabby apartment, flexing and admiring himself in front of the mirror, his body pale and flabby, a shock of coarse black hair over his sweating forehead. And that voice, like a coffee grinder. And check out the list of supporting actors. Wow. Arthur O’Connell, Nehemia Persoff, James Gregory, inter alia.
The story itself isn’t very much. Rather routine. Could have been a good radio drama of the sort that were popular at the time — “Suspense” or “The Whistler” or “Inner Sanctum.” And the narrator’s voice-over sometimes creaks at the joints as it strains for hard-boiled sonority — “Yesterday she was just another pretty face. This morning she’s the marmalade on everybody’s toast.” (That line kills me.)
And, I have to admit, that it paints a kind of pretty picture of police procedures. Barry Fitzgerald in particular is folksy, humorous, and compassionate. I kept waiting for him to remove his pipe and mutter, “Ego te absolvo.” The police offices look too CLEAN. There are no dents in the wall from suspects having their heads slammed against it. Every surface seems too recently to have been painted. Suspects who shout angrily at their police interrogators and are obviously lying are just politely reasoned with. It was a time of relative civility. The dective’s job is to maintain that civility. Like a doctor, he isolated the criminal who functions as a kind of disease. The city wasn’t yet the vicious game preserve it was to become in the 60s. At the end, isolated, the murdere is perched high atop the Williamburg Bridge and there are minuscule dots in white below him, playing tennnis, oblivious to the presence of the “other.”
In a neat little touch, the cops are examining the scene of the crime and have found a few stray long hairs. From behind, Fitzgerald leans over the rather mopey middle-aged neighbor on the couch an compares the hair sample to hers. She looks around in surprise. “Er, don’t mind me,” says Fitzgerald, “I was only admiring your lovely hair.” The neighbor clutches her hands together with delight and gazes up at him with an adoring dimpled smile. Fitzgerald pauses a moment, clears his throat, and hurries away.
Well, okay. This might have been “gritty” at the time but now it’s just an interesting picture, a little glossy maybe, but a lot of fun, and ahead of its time with that location shooting by Daniels.
Remains an incredibly unique cop film
How many cop films feature: (1) a crime that never expands beyond its initial level, i.e. an investigation of a brutal and senseless murder ends up with a brutal and senseless murder, (2) the cops solve the case not by brilliant Sherlockian logic, but simply by walking and asking questions (the way real police investigators spend 99.99% of their time), (3) a person who claims to be able to crack the case but turns out to be a crack pot, or (4) a person who confesses to the crime only because he thinks he belongs in jail (happens repeatedly in real cases with a lot of publicity, but NEVER in films). This film has all of these realistic events, PLUS a compelling plot and characters. A cop movie that is both true-to-life AND fascinating — a combo not seen since.
Original Language en
Runtime 1 hr 36 min (96 min)
Rated Not Rated
Genre Crime, Drama, Film-Noir, Mystery, Thriller
Director Jules Dassin
Writer Albert Maltz (screenplay), Malvin Wald (screenplay), Malvin Wald (from a story by)
Actors Barry Fitzgerald, Howard Duff, Dorothy Hart, Don Taylor
Awards Won 2 Oscars. Another 1 win & 4 nominations.
Production Company Universal International Pictures, Hellinger Productions
Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm