ThiefHott Too much of everything

SpuffyWeb Sadly Over-hyped

Greenes Please don't spend money on this.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

JohnHowardReid Copyright 1960 by Burt Balaban Productions, Inc. Worldwide release through 20th Century-Fox Film Corp. New York opening at the Victoria: 28 June 1960. U.S. release: June 1960. U.K. release: 5 February 1961. Australian release: 20 October 1960. 9,178 feet. 103 minutes. Australian release title: SHADOW OF FEAR.NOTES: A remake of "The Enforcer" (1951) with Humphrey Bogart in the Morgan role and Everett Sloane as Lepke. Remade in 1975 with Tony Curtis as Lepke.VIEWER'S GUIDE: Although based on historical fact, this movie is most unsuitable for children.SYNOPSIS: In the 1930s, New York's underworld is ruled by the infamous Louis (Lepke) Bucholter, the murderous kingpin of organized crime. Under his reign of terror legitimate businesses are forced to pay "protection" money or face professional killers such as Abe Reles. Caught up in the violence is one Joey Collins, who, because of a debt to Reles, is being forced to assist the gang in carrying out their "contracts."COMMENT: So far as I'm aware, this is the second of the only two films made by radio-TV comedian, Henry Morgan. His debut was in "So This Is New York". Needless to say, many computers and reference books simply add these two movies to the credits of Henry "Harry" Morgan. It was certainly an off-beat piece of casting, and it is reasonably effective, though the movie's dominant performance is provided by Peter Falk. Hero Whitman is merely adequate, whilst May Britt is wasted in a nothing role. (Both she and Whitman are fictitious characters too, whereas most of the other players can get their teeth into real people). To sum up, this is not a pleasant movie, although it is somewhat softened by a number of extraneous scenes, including a nightclub visit with "singer" Sarah Vaughan.

ma-cortes After years of chase , Assistant D.A. Martin Ferguson (Humphrey Bogart) has an important case against Murder, Inc. whose boss results to be a gangster named Albert Mendoza (Everett Sloane) . As the assistant district attorney goes after an organized band of murderers and to condemn Mendoza as well as put his gang behind bars . Meanwhile , Mendoza is in prison and his lieutenant Joseph Rico (Ted De Corsia) is going to testify . But Rico falls from a building to his death and Ferguson along with Capt. Frank Nelson (Roy Roberts) must work through the night going over everything to study the issue anew .Exciting and thrilling picture with a complex intrigue , nice character studio , suspense , a lot of killings and full of flashbacks . One of the most grueling of even Bogart's mobster movies all done in gripping realism and shot in semi-documentary style . Interesting and moving screenplay by Martin Rackin . The picture has a Noir treatment of the real-life ¨Murder Inc¨ case , being narrated by means of flashbacks . There are murders galore ; as grisly killings by : hanging , razor , knife , falling heights , point blank shot and by pick axe filmed in hypnotic realism . Faint-heart people of the 50s were impressed for killing galore , horrific scenes and strong images by that time . According to the New York Times' Feb. 16, 2014 article on films influenced by the Kefauver hearings, Sen. Estes Kefauver appeared in a prologue for this film . It's splendidly played by Humphrey Bogart ; he was in his best period of the early 50s when he starred classic movies such as ¨The Caine Mutiny¨, ¨Sabrina¨, ¨Beat the devil¨, ¨The African Queen¨, ¨Sirocco¨, ¨In a lonely place¨, ¨Chain lightning¨, ¨Knock on any door¨ and this ¨The enforcer¨. The main star is backed by a host of fine support cast such as Zero Mostel , Ted de Corsia , Everett Sloane , Roy Roberts , Michael Tolan , King Donovan and the cowboy Bob Steele . Evocative and adequate cinematography by Robert Burks , Hitchcock's usual . Appropriate as well as atmospheric musical score by David Buttolph adds impact to the action . The motion picture produced and distributed by Warner Bros. was compellingly directed by Bretaigne Windust . After several days of filming, director Bretaigne Windust fell seriously ill and was rushed to the hospital in critical condition. Humphrey Bogart asked his old friend, director Raoul Walsh, to come in and shoot the picture until Windust recovered. Unfortunately, Windust was more seriously ill than most realized, and his recovery took several months, during which Walsh finished the film. However, Walsh refused to take screen credit for it, saying that the picture was Windust's big break and he wasn't going to take it away from him . Rating : Better than average . Worthwhile watching . The film will appeal to Humphrey Bogart fans .

saturno3x1 This is a very good film. It got me thrilled from the very beginning. The story starts when the main witness on a murder trial falls to death accidentally just the night before the trial, and then the District Attorney begins to review all the case over, seeking some other conviction clue against the defendant. From then on, all the movie is made of flashbacks which tell you (not always in chronological order) the whole police investigation that has been carried out to break up that crime organization.The keys: Actually this is not a Bogie's film, for he doesn't play an important part in the action: Most of the time, he just listens to what others do. In fact, this is nobody's film, for the play is quite well distributed between the characters. And the director has been clever enough to give each one of the players quite enough a part to describe his/her character perfectly.The details: There are a lot of details in the action, on which I didn't realize the first 4 or 5 times I saw the movie. But after seeing it a dozen times (believe it or not), I enjoy every one of them. For example, try to understand why Ricco's hand was slipping when Ferguson tried to grab it. Or guess whatever happened to Vince. Or what is the thing "you can carry around in the hat", as Mendoza said. Or just ask yourself why Rico was such a good employer for his employees: paying without having them work, providing lawyers, taking care of their families...The moral: I even try to figure out if there is a moral conclusion laying under the plot. Maybe there is one, if one comes to analyze the murderers characters: All of them seem quite tough when they have a gun, but they break down when feeling threatened (even the impassive and cool Mendoza), revealing themselves as a bunch of cowards. And there is another important fact: In the end, NO ONE GOT TO ESCAPE. Up to eight of them end up violently killed, and the other five regret (or seem to) and agree to collaborate with the police.The goofs: Unfortunately there are plenty of goofs in the action: Olga Kirshen talks too much, same as Angela Vetto; Big Babe hides in the church, as if it were a safe place to hide from murderers; Angela assumes Teresa's personality in a way which is not credible; Rico knocks poor Whitlow's head over the washbasin without Ferguson nor Nelson hearing it, although they are in the room next door; The apparent lack of impeachments for disappearing people in all those years of murders... Still, that doesn't harm the plot that much.Although not quite realistic, the acting (Ted De Corsia at his best), the plot and the direction make a thrilling picture which worths a view... well, more than one view.

gullwing592003 "If you're smart you can be a hero, if you're dumb you can be dead!" Joseph Rico (Ted De Corsia) tells D.A. Martin Ferguson (Humphrey Bogart) in this very dark, intense factual story of a Murder for Profit organization. Rico offers to give Ferguson the top man Albert Mendoza (Everett Sloan) if Ferguson plays ball. Ferguson needs Rico's testimony to convict Mendoza. In the building while under surveillance by Sgt.Whitlow (King Donovan) awaiting trial the next day, Ferguson loses his only eyewitness when Rico falls to his death.From this point on the movie reveals it's plot & storyline from a series of flashbacks & several times we see flashbacks within a flashback. The flashback device is effective & even adds a dimension to the crime/film noir genre. Despite Bogart's star billing he doesn't dominate the film & is not in every scene & his absence is not missed due to the top notch supporting cast led by Ted De Corsia, Zero Mostel, Bob Steele, Jack Lambert etc.Though we already know Rico is dead he is very much seen afterwards & dominates the film from the flashback scenes. Eventually when the movie transports us back to the present situation we still hear Rico's voice from a tape recorder.Bogart's role as the D.A. Martin Ferguson is reminiscent of his earlier role in the 1937 film Marked Woman opposite Bette Davis as D.A. David Graham modeled after real life D.A. Thomas Dewey who convicted Lucky Luciano in 1935. For once Bogart appeared in a gangster film as a crusader of justice & again in 1951 in The Enforcer.I really enjoy watching this movie but what I find disappointing is the abrupt, unexpected & inconclusive ending that leaves you up in the air. Bogart's exit line is "Alright Miss Vetto you got a date in court, I want to see the look on Mendoza's face when he looks into those big blue eyes again". Well as the viewer I would've also liked to have seen the doom & gloom on Mendoza's face when he see's Angela Vetto's big blue eye's. As Ferguson rebuilds his case with a new eyewitness.We are robbed & deprived of all this & the subsequent courtroom trial proceedings & the chilling death scene of Mendoza walking his last mile to the hot seat, while a gloating Martin Ferguson watches as he has finally burned Mendoza in the chair in the name of justice. Just like James Cagney's electric chair scene in Angels With Dirty Faces or when he blows himself up in White Heat. 2 very strong endings. No place else to go. The Enforcer is a strong movie with a weak ending that could've been a lot better.