Redwarmin This movie is the proof that the world is becoming a sick and dumb place

Pluskylang Great Film overall

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Portia Hilton Blistering performances.

seymourblack-1 In 1950, Senator Estes Kefauver headed a special committee to investigate organised crime and the committee's hearings (which were televised live), soon provoked a great deal of interest. This was the first time that most members of the general public had been made aware of the nature and extent of organised crime in the United States and although the committee's findings revealed a serious threat to society, they also became a source of fascination for many people. "The Captive City" is based on the actual experiences of Time magazine crime reporter Alvin M Josephy Jr (who co-wrote the screenplay) and is one of a number of movies (such as "The Enforcer" and "The Racket") which exploited the strong interest that existed in crime syndicates in the early 1950s.Jim Austin (John Forsythe) is the editor and co-owner of the local newspaper in a small town called Kennington and is surprised when a private investigator tells him that he's inadvertently discovered the existence of a major gambling operation that's run by one of the town's most prominent citizens. More shockingly, Clyde Nelson (Hal K Dawson) adds that the police and local politicians are also involved and it's for this reason that he's recently been harassed by having his telephone tapped and his investigator's licence withdrawn. Jim finds Nelson's claims hard to believe and after receiving some assurances from Police Chief Gillette (Ray Teal), takes no further action. After Nelson is killed in what's claimed to be a hit-and-run incident, Jim becomes suspicious and starts to make his own investigations.In a series of articles which Jim writes, he criticises the local police for their lack of action in pursuing Nelson's killer and soon finds that his actions bring him into conflict with the police and business people who stop advertising in his newspaper. The newspaper's press privileges are suddenly withdrawn and an attempt is made to tap his telephone. Furthermore, it becomes apparent that he's being followed by a car with Florida licence plates that fits the description of a vehicle that was known to have followed Nelson in the days shortly before his death.Jim's investigations confirm the veracity of Nelson's claims and reveal that the level of corruption in his town is widespread with most people either being directly involved in the gambling operation or at least supportive of it. He also finds other information that makes it far too dangerous for him and his wife to remain in Kennington and so they race off to Washington with the intention of giving evidence to the Kefauver committee."The Captive City" is a low budget docu-noir and the inclusion of a narration, scenes shot on location and a solemn message delivered by Senator Kefauver are typical of such movies. Similarly, the use of a mixture of scenes that are well-lit and others which have the more orthodox noir look is also consistent with the docu-noir style. The story, which is told in flashback, emphasises how pervasive the influence of the mob is and how easily the corruption that it generates can become an acceptable part of everyday life.Jim Austin's struggle against what seem like insuperable odds is made riveting because it's fact-based but also because he's continually in mortal danger. Furthermore, Robert Wise's no-nonsense direction adds so much clarity and pace to the action that its intensity remains high throughout.

Robert J. Maxwell An earlier reviewer had it right. It was directed by Robert Wise, to whose later "Invasion Of The Body Snatchers," this bears a certain structural resemblance. John Forsythe and his wife driving madly along a highway pursued by an ominous black car. They frantically pull into the nearest town, rush into the police station, and beg for help from an uninterested authority. Forsythe does everything but shout, "You're NEXT!" There's a big difference though. "Invasion of the Body Snatchers" is a chipper, tense, vision of 50s paranoia. This is the story of a newspaper editor who discovers that some organization called "the mafia" is behind a lot of bookie joints in the small town of Kennington. The police are helpless. The town's church fathers are resigned. Two witnesses are murdered. Is there no hope at all? Okay, homicide is a devalued act, and nobody should gamble except on the stock market. But you can see that this story is light years from an insidious invasion by pod people. It's a weak story. At times it drags. We never get to meet any Mister Bigs, just their flunkies and goons, and even THEY aren't especially frightening.They're not frightening because they haven't been given any subtlety in their lines. Everybody says things like, "Jeez, lay off, will you?" John Forsythe and Kevin McCarthy (of "Invasion") have something in common in that they're both blandly handsome. But this is McCarthy's kind of role, not Forsythe's. McCarthy really lets us know when he's in extremis. He can act. Forsythe's is a soothing presence, perhaps a supporting player, a family friend or a concerned doctor.It would be interesting for someone who has seen neither movie to watch them in sequence. After that, they should watch "Phoenix City Story." And, if they're still awake, try something a bit recherché -- take a look at "On the Waterfront."

Michael O'Keefe Robert Wise directs this drama about crime in a small city. John Forsythe plays Jim Austin, a small town newspaper editor that is a crusader for all that is right, and is not afraid to fight what is wrong. A local private detective, Clyde Nelson(Hal K. Dawson), is working on a simple divorce case and uncovers something way more important. Nelson discovers a major gambling ring operating in the city. He believes that a small time mob boss Murray Sirak(Victor Sutherland) has his thumb on bookie joints that occupy almost every corner in town. Nelson brings this to Austin's attention, be doesn't put faith in the story until the detective is killed in a hit-and-run accident. Austin gets a somewhat cold shoulder when he goes to the police Chief(Ray Teal); its now up to him and his paper to rid the corruption and bring honest and respectable elements to his city. Other players: Joan Camden, Paul Brinegar, Ian Wolf and Martin Milner.

Kalaman Possible Spoiler. "The Captive City" is a tense, modest, and scarcely appreciated noir sleeper, starring John Forsythe in his debut and directed with considerable skill and panache by Robert Wise. Supporting cast is primarily NY stage troupe, including Joan Camden, Harold Kennedy, Marjorie Grossland, Victor Sutherland, and the familiar Route 66 Vet, Martin Milner. In 1951, Estes Kefauver opened hearings in Congress into organized crime. This film, about an ambitious and crusading newspaper editor Jim (Forsythe) and his discovery of crime and corruption in small town America is a reflection of its era. Hollywood crusading editors were considered trite by many, although when you come to think of it just how many such films of that ilk can you recall?In this little sleeper, as in most socially-conscious films of the 50s, facts which are commonplace even today (i.e. numbers rackets, police corruption, and sports betting) are revealed to be an integral part of middle town America. The Florida mob has moved in to take over, and someone rats them out to the editor Jim. Soon all hell breaks loose, with "respectable" members of the business community approaching Jim to lay it off and take it easy. Jim's partner wants to buy him out and get out of the business, because they're losing money and ad revenue. One night, Jim and his photographer Phil (played by Milner) sneak out to get a shot of the mob guys at their wire joint. Later, unsurprisingly, Phil is severely beaten and another friend a drunk is "accidentally" run over at night by a black Cadillac, one of the film's most brutal scenes. The score by Jerome Moross is hauntingly melodic, then it turns sour, then strident (similar to Dmitri Tiomkin's in many ways), and adds just the right note of despair and panic to the film noir texture of this film. Almost nowhere is this film predictable or corny (except for the now familiar first-person narrative technique so often used in films like this one). Riveting and near-perfect, "Captive City" deserves to be appreciated.