rooee "There are eight million stories in New York City," intones the narrator, "and this is just one of them." Not all stories are as gripping as this one, though. The Naked City is a tough-as-nails detective noir (there are two murders in the first five minutes) from Jules "Rififi" Dassin, and it delivers all the suspicion, salaciousness, and shooting one could hope for – albeit not much more.As with his previous film, the prison drama Brute Force, Dassin is plunging us into a brutal underworld, although this time we're watching events from the perspective of the cops, led by Lieutenant Muldoon (Barry Fitzgerald), as they investigate the murder of a female model. Suspects come and go, with some really dodgy ones thrown in as red herrings, before the culprit takes his pursuers on a tour of New York landmarks.Claiming to present the city "as it is", Dassin shot the film largely without sets, giving the exterior scenes in particular an unusual (for 1948) sense of authenticity. The same can't be said of the performances, which are wildly melodramatic at times, although in the lead role Fitzgerald brings a typically wicked dry wit.The script might lack the sharpness of a true classic such as Double Indemnity, and the dialogue could have done with some hard boiling by the likes of Jim "The Killing" Thompson, but the film ebbs and flows admirably, daring to portray detective work as an imperfect science. For every revelation or clue there's a mad man or woman claiming they killed Jean Dexter. At one point the investigation comes to a shuddering halt as the men claw for leads. But it's all in the service of a tremendous third act, which ramps up the pace, and leads to a brilliantly composed chase 'em up finale, of which a certain Mr Hitchcock would have been proud.What stops The Naked City from matching Hitch's finest work is a lack of anything to really distinguish it from the crowd. The absurdly verbose narrator pushes the idea that it is, in a sense, the ugly city itself that's killed beautiful Jean, but it's a theme that never fully convinces in what we're actually shown. The film does come to life in a handful of individual scenes – such as a visit to the mortuary, where Jean's mother decries her daughter before crying for her; or a confrontation with a rabbit-punching ex-wrestler – but overall there's little here not done before, bar a documentary-style conceit hardly plundered."It's a heavy case," we're told more than once, and it's a heavy film. Unsentimental and intensely talky (until that last act), it's a well-constructed, if ultimately unremarkable, police procedural in which to sink on a Sunday afternoon.

theoneandonlyjimmypage what is art as the tolstoy small book is bitterly or with clementine appeal ribald scalding scarlet red lettered packaged red herring detail report...what is art is not a lie...what is art is beauty and not the truth....i have found and i feel that it is possible to experience the real world with a second sight, a new point of view...and art that changes your point of view for a moment is what one might really really really want...i often do. the level of the abstract real situation and not real products has a cause and effect value as the supposed oppossites may;a bit the absurd as obtuse as if for information only....the elephant in the room as being the same elephant but a different elephant room may be a look at the first elephant to the impotent and a look at the impotent for all....of course one might be naked and a city.....but it shouldn t be at the hands of the little empreor (i.e.)but at the hands of time- strife with all mankind is what was and death screams over the bells of towers of the hills of the meadows...underneath the city lies a heart made out of stone and the city will yield no ground.

seymourblack-1 At the time of its release, "The Naked City" was a contemporary offering in the sense that it utilised the "docu-noir" and "Italian neorealist" styles which were popular during the late 1940s. More significantly, however, it was also incredibly innovative and influential because, not only was it the first movie to be shot entirely on-location in New York City but also it's widely acknowledged as being the first movie to show in detail, the very routine nature of a police investigation. This effectively paved the way for all the police procedural films that followed and so its significance in cinema history is difficult to overstate.The role that the city plays is enormous as its presence and characteristics are re-emphasised repeatedly throughout the film. The use of location shooting, views of the subways and non-professionals in some of the supporting roles, all add authenticity to the action and shots of children at play, street vendors and busy streets convey a strong sense of the vitality of the city and its relentless nature.When the dead body of a beautiful young woman is found in her apartment by her housekeeper, Detective Lieutenant Dan Muldoon (Barry Fitzgerald) and his young partner, Detective Jimmy Halloran (Don Taylor) are assigned to the case. After the medical examiner confirms that Jean Dexter (who was a model), had been murdered, Muldoon questions the housekeeper, Martha Swenson (Virginia Mullen) about her employer's friends and this leads to Frank Niles (Howard Duff), Dr Lawrence Stoneman (House Jameson) and Ruth Morrison (Dorothy Hart) all being interviewed by the detectives.Niles had been one of the victim's ex-boyfriends who had since become engaged to Ruth Morrison. He proves to be an inveterate liar and further checks establish that he'd sold a gold cigarette case that had been stolen from Dr Stoneman and that his fiancée's engagement ring had also been stolen. Dr Stoneman confirms that he had prescribed the sleeping tablets that had been found in the victim's apartment and Ruth Morrison, a model who'd worked with Dexter, is soon regarded as not being involved in any wrongdoing.Further investigations reveal that Jean Dexter and Frank Niles had been involved in arranging jewellery thefts and that they had hired other criminals to actually carry out the robberies. This information then leads to the killer's identity and motive finally being discovered.The police officers in this movie are depicted as being good humoured, scrupulously honest and not at all cynical. Muldoon is a very friendly and experienced detective who has spent most of his career dealing with homicide investigations and Barry Fitzgerald is amusing but also sometimes a little over-the-top in the way that he portrays this Irishman. Don Taylor is good in his role as Halloran who is Muldoon's very enthusiastic and well-meaning partner and Howard Duff provides some moments of humour in his excellent performance as the disreputable Niles who is unable to open his mouth without telling a series of lies. Ted de Corsia also makes a strong impression in his minor part as a harmonica-playing wrestler!Producer Mark Hellinger's narration is very dated but Jules Dassin's direction and the quality of William H Daniels' Oscar-winning cinematography are both very impressive. Another outstanding highlight of this film is the final chase sequence which is both exciting and brilliantly choreographed.

romanorum1 The narrator intones, "There are eight million stories in the naked city …" as the film begins with scenes of the quiet city in the early hours after midnight. We are introduced to those who are working the third shift in a city that never sleeps. We know that we are not seeing a studio, for the "actors" – those who populate the great city of New York – are eventually observed in apartments, skyscrapers, factories, restaurants, coffee shops, parks, docks, and sidewalks. The city is hot in the summer. During the beginning narration, an unconscious blonde model is being murdered at the young age of 26 years. Within four hours, one of the two murderers kills the other and throws his body into the river. A few hours after that, the cleaning lady enters Miss Dexter's apartment, sees the body in a bathtub, and screams. Now our story takes hold. The police are quickly on the scene, and the newspapers follow. Before long the police examiner determines that the promiscuous woman's death was not by accident or suicide, but by homicide.Soon the lawmen discover that the dissolute woman was part of a jewel burglary ring that targeted the rich folks. Frank Niles, disreputable and a pathological liar, and Jean Dexter were part of the set-ups. Also a famous doctor is involved. In reality this film is a routine detective story. It involves the somewhat tedious but difficult – and sometimes dangerous – police work of investigation, of gathering information and piecing it all together. But the detectives and police are dedicated heroes who do their jobs with little complaint. It all comes down to a climax that involves an exciting city-wide dragnet for the arch-killer. Unfortunately for him, he is unable to board an overcrowded bus that would have taken him away from the targeted area. A panicked gunshot at a seeing-eye dog alerts police, and the ending occurs at the Williamsburg Bridge in the Lower East Side of Manhattan. Case closed.As for Jean Dexter, "her name, her face, her history were worth five cents a day for six days." Now, with the case over, the old newspapers lying in the streets are cleaned up by the city trash men. Dexter is soon forgotten by virtually all, for there are eight million other stories brewing. A very few, including Dexter's grief-stricken parents, will never forget. The next day another story will reach the headlines, and our police heroes will be ready to solve another crime.Alhtough Muldoon spearheads the investigation, he is assisted by Jimmy Halloran (Don Taylor); there are other detectives, like Constantino and Perelli, although they have lesser roles. The Irish brogue of Barry Fitzgerald (Det. Lt. Dan Muldoon) can be a bit overpowering, but the pint-sized detective does deliver his lines with knowledge and charm. And is he shrewd! Howard Duff plays sleaze Frank Niles, and Ted DeCorsia is a wicked Willie Garzah. The film's producer, Mark Hellinger, narrates.Shot on location on New York City streets in secret, and semi-documentary in style, the film is ground-breaking. It was obviously the inspiration of the later TV series, "Naked City" (1958-1963), and even "Dragnet" before that. The black and white photography is so good that the movie earned an Academy Award. Another award was won for film editing. While the old-time life of the city has changed, many of the police procedures seen are obviously in use today. If the plot seems standard or if the story appears boring at times, remember that detailed police procedure works the same way: constant probing, questioning, checking, and rechecking. Much less often does it consist of high speed chases and slam-bang shoot-outs. Who is the real hero of the story? Why the personality of the city of New York, of course!