WHEN ALL is said, done and written; History will certainly remember Herbert J. Yates' Republic Pictures Corporation as home to the best in the area of the "B" Western par excel lance, inexpensively made B Movie Grade Comedies and for its penchant for making Top Grade Serial Actioners; all being the output of their "Thrill Factory" assembly line methods of Movie Making. The obviously unflattering and negatively loaded moniker of "Repulsive Pictures" was and still is widely circulated alias in the Movie Capitol.
AS IS THE case with all rules, there are many exceptions to be found-even at the address of the Republic Studio. The roll call of those films made by their admittedly "B" Movie operation is extensive. Just you stop and consider the following, Mister! We have the likes of: THE QUIET MAN (Argosy Pictures/Republic, 1952) THE RED PONY (Charles K. Feldman Group/Lewis Milestone Prod./Republic, 1949) RIO GRANDE (Argosy/Republic 1950, THE SANDS OF IWO JIMA (Republic/Universal Studios, 1949) and CITY THAT NEVER SLEEPS (Republic Pictures, 1953)..
"WHAT WAS THAT last one", we hear you asking? "We've never heard of CITY THAT NEVER SLEEPS." Well my dear Schultz, neither had we until relatively recent times. We hadn't been able to screen it until just this past week.*
THE PRODUCTION of CITY THAT NEVER SLEEPS came along at a time when the movie industry was taking quite a hit at the old Box Office; which is motion picture business talk for 'the bottom line.' Competition to the movie houses' big screen from the small screen of the TV sets was being met with movie types featuring the depiction of situations and intensity that the audience could not view over the public air waves. (At least not in those days)
TAKING A CUE from what had been found to be popular in the Post World War II, elements commonly found in the backbone features made during this period were those most commonly found in the genre of Film Noir. Brutally realistic depictions of violence, ever complicating situations, convoluted plot twists and employment of characters depicting some of the truly basest of human behaviour were all regularly portrayed as mainstays of the 'new look' cinema.
DISDAINING THE USE of color filming, not for economic reasons; but rather for the creation of the proper moods evoked by the dark, night scenes, rendered in magnificent black, gray and silver; the typical movie of this time evoked danger, sin and often, outright despair.
FOLLOWING A GROWING tradition established by such film titles as THE NAKED CITY, KISS OF DEATH, CALL NORTHSIDE 777 and THE HITCH HIKER, traditional use of filming in the Studios' Soundstages, ready made Sets and Backlots was jettisoned from the plans in favour of shooting on real city streets, in real cities of the real mid 20th Century America. This made "realism" even more life-like; while as a side bar to the main purpose of the film provided an accurate historical array of snapshots of those cultural idiosyncrasies of the 1940's, '50's and '60's for posterity.
AS FOR THE particulars of today's honoree, CITY THAT NEVER SLEEPS is the story a day in the life of Policeman, Kelly (Gig Young), who is at a crossroads in his life. We are made privy to his emotional struggle with his own feelings of inadequacy in life. Originating with his marriage to a lovely, but economically superior in the area of gainful employment; Officer Kelly's feelings of alienation with his job have caused an excessively intensive strain on his life.
OFFICER KELLY plans to remedy his plight in a most extreme manner; plotting to leave his missus Kathy(Paula Raymond), quitting the Police Department and running off to sunny California with night club dancer,Sally 'Angel Face'Connors. Kelly, otherwise exemplary Cop, has come to a defining point in his life. In the time of his overnight Tour of Duty on the mean streets of that Windy City, Kelly will emerge as Saint or Sinner, Good Guy or Bad Guy, Paragon of Virtue or Lowest of the Low.
HIS SHIFT on the Midnight Watch begins at roll call, shortened by Detective Sergeant Kelly, his father, who has received distressing telephone call from the younger Kelly's wife; pleading for some help in restoring sense to their marriage and life.
THE YOUNGER KELLY finds his night's work to be rendered much more different when he is informed that he is without his regular partner, who is absent from work. He is abruptly joined by a replacement called only by his given name of 'Joe'(Chill Wills). During the course of the night's work Kelly interacts with many a bizarre and selfishly evil characters; ranging from a truly criminal Lawyer and his wandering young wife to a down & out actor turned human mannequin to the hardened burglar/killer (William Talman).
SOME UNEXPECTEDLY spiritual happenings are brought to bear their positive forces in creating a rebirth and metamorphosis in the soul of Officer Kelly. Suddenly he decides to make reparations to his wife and continue to work as a Chicago Cop. Director John H. Auer takes the script by Steve Fisher and turns in a Minor Classic; which should be required viewing in all Police Training facilities in the Country (and the City, too!)
ALL WE CAN say is, "where has this been for all of our life?" (We should make note of fine performances by Edward Arnold, Wally Cassell and William Talman. Yeah Schultz, he was D.A. Hamilton Berger on PERRY MASON.)
NOTE: * Both Schultz and meself wanna thank our friend Patrolman Vic Rini, CPD (Ret.) for putting us on to it and being kind enough to lend us his VHS copy. Now if anyone wants to know what to get me for my birthday, or Christmas
See You Next Time?
AS IS THE case with all rules, there are many exceptions to be found-even at the address of the Republic Studio. The roll call of those films made by their admittedly "B" Movie operation is extensive. Just you stop and consider the following, Mister! We have the likes of: THE QUIET MAN (Argosy Pictures/Republic, 1952) THE RED PONY (Charles K. Feldman Group/Lewis Milestone Prod./Republic, 1949) RIO GRANDE (Argosy/Republic 1950, THE SANDS OF IWO JIMA (Republic/Universal Studios, 1949) and CITY THAT NEVER SLEEPS (Republic Pictures, 1953)..
"WHAT WAS THAT last one", we hear you asking? "We've never heard of CITY THAT NEVER SLEEPS." Well my dear Schultz, neither had we until relatively recent times. We hadn't been able to screen it until just this past week.*
THE PRODUCTION of CITY THAT NEVER SLEEPS came along at a time when the movie industry was taking quite a hit at the old Box Office; which is motion picture business talk for 'the bottom line.' Competition to the movie houses' big screen from the small screen of the TV sets was being met with movie types featuring the depiction of situations and intensity that the audience could not view over the public air waves. (At least not in those days)
TAKING A CUE from what had been found to be popular in the Post World War II, elements commonly found in the backbone features made during this period were those most commonly found in the genre of Film Noir. Brutally realistic depictions of violence, ever complicating situations, convoluted plot twists and employment of characters depicting some of the truly basest of human behaviour were all regularly portrayed as mainstays of the 'new look' cinema.
DISDAINING THE USE of color filming, not for economic reasons; but rather for the creation of the proper moods evoked by the dark, night scenes, rendered in magnificent black, gray and silver; the typical movie of this time evoked danger, sin and often, outright despair.
FOLLOWING A GROWING tradition established by such film titles as THE NAKED CITY, KISS OF DEATH, CALL NORTHSIDE 777 and THE HITCH HIKER, traditional use of filming in the Studios' Soundstages, ready made Sets and Backlots was jettisoned from the plans in favour of shooting on real city streets, in real cities of the real mid 20th Century America. This made "realism" even more life-like; while as a side bar to the main purpose of the film provided an accurate historical array of snapshots of those cultural idiosyncrasies of the 1940's, '50's and '60's for posterity.
AS FOR THE particulars of today's honoree, CITY THAT NEVER SLEEPS is the story a day in the life of Policeman, Kelly (Gig Young), who is at a crossroads in his life. We are made privy to his emotional struggle with his own feelings of inadequacy in life. Originating with his marriage to a lovely, but economically superior in the area of gainful employment; Officer Kelly's feelings of alienation with his job have caused an excessively intensive strain on his life.
OFFICER KELLY plans to remedy his plight in a most extreme manner; plotting to leave his missus Kathy(Paula Raymond), quitting the Police Department and running off to sunny California with night club dancer,Sally 'Angel Face'Connors. Kelly, otherwise exemplary Cop, has come to a defining point in his life. In the time of his overnight Tour of Duty on the mean streets of that Windy City, Kelly will emerge as Saint or Sinner, Good Guy or Bad Guy, Paragon of Virtue or Lowest of the Low.
HIS SHIFT on the Midnight Watch begins at roll call, shortened by Detective Sergeant Kelly, his father, who has received distressing telephone call from the younger Kelly's wife; pleading for some help in restoring sense to their marriage and life.
THE YOUNGER KELLY finds his night's work to be rendered much more different when he is informed that he is without his regular partner, who is absent from work. He is abruptly joined by a replacement called only by his given name of 'Joe'(Chill Wills). During the course of the night's work Kelly interacts with many a bizarre and selfishly evil characters; ranging from a truly criminal Lawyer and his wandering young wife to a down & out actor turned human mannequin to the hardened burglar/killer (William Talman).
SOME UNEXPECTEDLY spiritual happenings are brought to bear their positive forces in creating a rebirth and metamorphosis in the soul of Officer Kelly. Suddenly he decides to make reparations to his wife and continue to work as a Chicago Cop. Director John H. Auer takes the script by Steve Fisher and turns in a Minor Classic; which should be required viewing in all Police Training facilities in the Country (and the City, too!)
ALL WE CAN say is, "where has this been for all of our life?" (We should make note of fine performances by Edward Arnold, Wally Cassell and William Talman. Yeah Schultz, he was D.A. Hamilton Berger on PERRY MASON.)
NOTE: * Both Schultz and meself wanna thank our friend Patrolman Vic Rini, CPD (Ret.) for putting us on to it and being kind enough to lend us his VHS copy. Now if anyone wants to know what to get me for my birthday, or Christmas
See You Next Time?