TheLittleSongbird Elia Kazan is not at his best here; East of Eden, Splendor in the Grass, A Streetcar Named Desire and especially On the Waterfront are superior films. Panic in the Streets is still a very good, often excellent even, film and is very much an under-appreciated effort from him.Panic in the Streets visually is not as audacious as the aforementioned films, it's not a bad-looking film at all actually as it's nicely shot and atmospherically lit but sometimes the lower budget does show in some less-than-taut editing. It also has some slightly draggy stretches in the middle and as a result of a lot going on the film occasionally feels over-stuffed.Kazan's direction impresses though, first thoughts was that it was an unusual choice of film for him to take on, but he still directs with his usual class and tension and some of the themes here not at all unlike some of those of his other films(i.e Gentlemen's Agreement). Alfred Newman's often exciting, always atmosphere-enhancing music score compliments the film beautifully, and all the characters are very well-written and believable, Blackie for me especially was a very interesting character. It's the script, story and acting where Panic in the Streets most strongly excels however.The script boasts some truly cracking dialogue, with some witty exchanges ("You know, my mother always told me if you looked deep enough in anybody, you always find some good, but I don't know"/" With apologies to your mother, that's the second mistake she made") and a lot of tension, tension so strong sometimes that one might find themselves with significantly shorter nails by the end of the film from biting. There is a lot going on in the story, occasionally it feels over-stuffed, but it's compellingly paced, all the different plot strands are handled with no less detail than the one before it, it's very focused and doesn't focus too much on one thing and completely under-develop another, and even with a lot going on it didn't feel confusing, a lot of effort actually is made into making the storytelling as clear as possible and it is always tense and exciting. Panic in the Streets contains some really powerful acting, with Richard Widmark- in a good guy role- giving one of his most restrained performances, and it is hard to believe that this was only Jack Palance's film debut, he's spine-chilling here in a performance that to me ranks among his better ones. Paul Douglas, Barbara Bel Geddes and Zero Mostel don't play any less compellingly, Douglas contrasts very likeably with Widmark, Bel Geddes is very touching and Mostel is amusing and creepy while wisely reigning in in a role that he could have easily over-acted.Overall, not one of Kazan's best but a very good, and often excellent, film, that is very much under-appreciated. 8/10 Bethany Cox

ppilf A very good movie directed by the talented Elia Kazan. There were a few non-professional actors, and a bit of the script and scenes seem a little corny, even amateurish, but overall, the directing, film editing, sound, camera work, and production were great. The overall story itself was also very good, maybe just a tiny bit over the top for film noir. But the acting performances by Richard Widmark, Jack Palance, Paul Douglas, Barbara Bel Geddes, Tommy Cook, Zero Mostel, and the other professional actors were all great.Now for the real attraction. I thought Jack Palance was outstanding in this film, which was his feature film debut. Although the character he played ("Blackie") was a very bad (but smart) criminal, and he didn't have a lot of scenes, Palance's acting performance was fantastic. There are several scenes in this movie that are now on my all-time favorites list because of Palance's presence. I liked Palance in the "City Slickers" films, especially the sequel, but I never realized that he was such a talented actor in his early years. This film made me a Jack Palance fan, and I began buying early films that he was in.

classicsoncall Not every black and white melodrama from the Fifties needs to be considered a noir film; that designation doesn't work for me here. Nor does the title actually, because there's really never any panic to speak of except in the feverish race by authorities to find the source of pneumonic plague brought into the country by a stowaway on a cargo ship. For what it is though, there are some intermittent thrills as Dr. Clint Reed (Richard Widmark) and Police Captain Tom Warren (Paul Douglas) combine forces to methodically pinpoint the the cause of the infection and bring those responsible to light.The one to keep your eyes on here is gangster Blackie, 'Walter' Jack Palance in his big screen debut. Almost gangly in comparison to his later film roles, Palance brings a hostile malice to his character that seethes in every scene he's in. Which made it almost comical to me why he seemed so determined to pin down subordinate Poldi (Guy Thomajan) for some undetermined loot that he thought cousin Kochak smuggled into the country (it turned out to be perfume!). You knew Blackie could play rough, but I never expected to see him throw Poldi over the stairwell with his mother watching - yikes!Richard Widmark's character takes charge right from the start after he's called in from his day off as a naval medical officer. The picture juxtaposes his high pressure job requirements with a serene home life, but he always exhibits an intensity throughout, even as his wife tries to keep him grounded in family responsibilities. Funny, but every time I saw Barbara Bel Geddes I couldn't help thinking of June Cleaver waiting for Wally and the Beaver to come walking through the door any minute.The finale was a pretty realistic nail biter considering how Palance, Mostel and Widmark had to maneuver their way around those slick pilings under the warehouse dock. I was expecting one of them to lose their balance and go completely in the drink, and had to wonder whether they did that all in one take. I never doubted Palance's athleticism though, after watching him maneuver his way up the tow line of the docked ship in port. The film makers really put him through the wringer for his very first picture.

drystyx Very few films have this kind of "flow", this kind of clever logistics. It is as though no strain went into the formation of the movie, but instead was the result of complete inspiration.The plot is that of a doctor and detective bonding together to stop a plague that is hidden in the underworld.The pace is unbelievably perfect. We are drawn in, hook, line, and sinker, into the story. Some movies struggle to do what this does. This movie not only tells a story, but takes you on a journey.One watches this and is mesmerized by the flow that is so natural. One wonders if it is incredibly clever writing or incredibly clever directing. Obviously, both are involved.