‘Twas the Night (2001)

‘Twas the Night (Dir: Nick Castle, 2001). 

Made for TV Christmas movies have become inexplicably popular in the last two decades. Seemingly hundreds of them litter the television schedules from September to January every year. This entry in the genre, a Disney Channel Original Movie, has become something of a festival staple on the Disney Channel and can usually be found in their December lineup. 

On Christmas Eve, heavily in debt conman Nick Wrigley (Bryan Cranston) escapes his gangland creditors by hiding out in the home of his brother.  After mistaking Santa for an intruder he knocks the fat man out cold, ties him up and steals his high-tech sleigh. Taking advantage of his close relationship with nephew Danny (Josh Zuckerman), the pair go on a burglary spree. Unbeknownst to Danny who believes the pair are helping the concussed Santa by delivering Christmas gifts.  

There is a certain amount of cynicism mixed in with the inevitable sentiment in ‘Twas the Night, lending the movie a somewhat uneven tone. Its self-centered wise guy characters are a little hard to warm to. Their redemption, when it comes (as is always certain), is neither empathetic or particularly heartwarming, suggesting that the ending is there merely to placate viewers expectations of family Christmas movies. 

The visual effects are above the usual TV movie standard, although it never quite overcomes the feel of an extended Disney Channel sitcom. The screenplay by Jim Lincoln, Dan Studney and Jenny Tripp has its funny moments, but little in the movie really rings true. It has all the glitz one would expect of a Christmas movie but is oddly lacking in heart.

Bryan Cranston is the standout among the cast. Cranston came to prominence a year earlier as Hal in popular sitcom Malcolm in the Middle (2000-06). His amiable performance here is the best reason to watch this passably entertaining but unexceptional movie. 

While ‘Twas the Night is not exactly unmissable festive fare, it should appeal to tweens and younger teens who feel they are above sentimental Christmas movies. Younger children, meanwhile, may be a little upset seeing Santa hit over the head with a shovel! Not a Christmas classic but you may find its worth a watch if you come across it while flicking through cable.

Freaky Friday (2018)

Freaky Friday (Dir: Steve Carr, 2018)

Disney have certainly gotten their money’s worth out of Freaky Friday. This Disney Channel Original Movie is the studio’s fourth adaptation of Mary Rodgers’ novel and is itself based upon Disney Theatrical Productions 2016 stage musical, with music and lyrics by Tom Kitt and Brian Yorkey and book by Bridget Carpenter. 

The now familiar tale of the mother and daughter at loggerheads who switch bodies for a day is tweaked and refreshed for a new generation of tweens. Here Cozi Zuehlsdorff is a teenager still grieving the death of her father five years earlier and Heidi Blickenstaff her stressed mother on the eve of remarrying. This time a magical hourglass is the catalyst for the swap. A scavenger hunt is shoehorned in, recalling another earlier Disney Production, the cult favourite Midnight Madness (David Wechter & Michael Nankin, 1980).

I have been a fan of the original Freaky Friday (Gary Nelson, 1976) and the 1972 Mary Rodgers novel upon which it is based almost all of my life. This most recent version deviates significantly from both movie and source. While the original is undoubtedly the best, this new Freaky Friday is a lot of fun. Kitt and Yorkey’s  High School Musical-style soft rock is easy on the ear, although the vocals suffer from the same apparent ‘tweaking’ effect which Disney Channel musicals always seem to do. Steve Carr's direction doesn’t belie the movies TV roots, while Blickenstaff and Zuehlsdorff step into the legendary shoes of Barbara Harris and Jodie Foster with an appealing enthusiasm which is hard to resist. Come the inevitable climactic big song and dance number this tween movie had worked its warm-hearted magic of this middle age movie critic. 

I must confess to having a soft spot for Disney Channel movies. No one would argue that they are cinematic masterpieces, but most offer 90 minutes of lightweight fun. If you are a fan you will know what to expect, if you’re not this won’t be the movie to change your mind. Freaky Friday won’t change the world but it should bring a smile to the faces of those looking for goodnatured, undemanding entertainment.

Captain Underpants: The First Epic Movie (2017)

Captain Underpants: The First Epic Movie (Dir: David Soren, 2017). 

DreamWorks Animation’s Captain Underpants is a lighthearted superhero spoof based upon the successful series of children’s books by Dav Pilkey. 

4th graders George and Harold accidentally hypnotise their strict school principle Mr Krupp into believing he is inept y-fronts wearing superhero Captain Underpants. Although distinctly lacking in superpowers, Captain Underpants soon finds himself battling evil school science teacher Professor P in his bid to rid the world of laughter.

Captain Underpants' bold animation style lacks the finer details of DreamWorks' best features but does a nice job of bringing Pilkey’s illustrations to 3D ‘life’. Further enhancing the visuals is an innovative use of varying animation techniques such as rod puppets and traditional 2D. Unsurprisingly, considering its subject, much of the humour is of the toilet variety. This may limit its appeal to younger audience members, although there are some unsophisticated laughs to be had by kids and grownups alike. Largely absent are the pop culture references which were once a staple of DreamWorks movies; instead we have some neat self-referencing humour and inventive breaking of the fourth wall.

Ed Helms is on vocal duties as Krupp/Captain Underpants and does a fine job of switching from insanely angry principle to authoritatively stupid superhero at the click of a finger.  Kevin Hart and Thomas Middleditch also impress as best buddies George and Harold.

Captain Underpants proves to be a somewhat middle-ground DreamWorks effort; while never approaching the excellence of Kung Fu Panda (Mark Osborne & John Stevenson, 2008) or How to Train Your Dragon (Dean DeBlois & Chris Sanders. 2010), it is better than misfires such as Shark Tale (Bibo Bergeron, Vicky Jenson & Rob Letterman, 2004) and Bee Movie (Simon J Smith & Steve Hickner, 2007). 

Subtitled The Fist Epic Movie, its underwhelming performance at the box office means it is unlikely we will see a Captain Underpants 2. Which is kind of a shame. The movie is no masterpiece but its embracing of different animation styles, along with its general good-naturedness, make it the most original and entertaining Dreamworks animation in recent years. 

Five Weeks in a Balloon (1962)

Five Weeks in a Balloon (Dir: Irvin Allen, 1962).

Following the blockbuster success of Walt Disney's adaptation of 20,000 Leagues Under the Sea (Richard Fleischer, 1954) and Mike Todd's Around the World in 80 Days (Michael Anderson, 1956), 19th century French author Jules Verne was suddenly a 20th century Hollywood box office hot property. Of the movies released in their wake Journey to the Center of the Earth (Henry Levin, 1959) and Mysterious Island (Cy Endfield, 1961) are the best of the bunch. Further down the list is Five Weeks in a Balloon. 

Loosely based on Verne's 1863 novel of the same name Five Weeks in a Balloon finds an unlikely crew of adventurers, including explorer Fergusson (Cedric Hardwicke), his youthful assistant (popstar Fabian) and US newspaper hack Donald O'Shay (Red Buttons), set sail for Africa in a hot air balloon with a gondola inexplicably shaped like a unicorn! Picking up kidnapped teacher Susan (Barbara Eden) and slave trader Ahmed (Peter Lorre) en route. Getting into scrapes involving various tribes-people, the odd slave and a pipe-smoking chimp, expect some outdated racial stereotypes and some decidedly pre-feminist representations of women. Nothing overtly offensive, however, be warned it is very much a product of its time!

Five Weeks in a Balloon was a conscious attempt by 20th Century Fox to repeat the success of their adaptation of Journey to the Center of the Earth. A decent, if not exactly starry, cast were assembled. Buttons and Eden make for attractive romantic leads. Fabian is thrown in to attract the teens, similar to the casting of Pat Boone in Journey to the Center of the Earth. A little extra gravitas comes courtesy of Hardwicke and Lorre, but nothing particularly demanding is asked of any of the performers. 

Irwin Allen would seem a natural choice for director, having previously helmed the hit adventure movies The Lost World (1960) and Voyage to the Bottom of the Sea (1961), both for Fox. Later in the decade he would provide the company with successful television sci-fi series Lost in Space (1965-68) and Land of the Giants (1968-70). Sadly, Five weeks in a Balloon would prove to be a disappointment, both artistically and commercially. It certainly isn't terrible, but it lacks the scope and grandeur of Journey to the Center of the Earth and even the more modest The Lost World.  A smaller budget is evident; while there is nothing essentially wrong with the effects, the balloon for example is impressive, it just seems light on spectacle compared to earlier Verne adaptations. 

Ultimately, Five Weeks in a Balloon is too slight a movie to be considered the epic adventure is promises to be. Neither is it the schlocky fun that so much of the Allen oeuvre is. It is lightweight entertainment, but perhaps a little too lightweight. As adventure and comedy it never quite takes flight and the end result is fun but a bit bland.

The Miracle of the Bells (1948)

The Miracle of the Bells (Dir: Irving Pichel, 1948).

The Miracle of the Bells is a sentimental RKO drama with an A list cast. 

Via a series of flashbacks, the story of aspiring actress Olga Treskovna (Alida Valli - billed here as simply Valli) is told through voice-over narration by Hollywood press agent Bill Dunnigan (Fred MacMurray). Following her early death, Dunning fulfulls her final wish by returning with the body to the small coal-mining town of her childhood. Here she is to receive a modest burial at the struggling St Michael's church, conducted by Father Paul (Frank Sinatra). We learn of Dunnigan's unrequited love of Olga as he concocts a publicity stunt to secure the release of her only film, a starring role as Joan of Ark, which producer Marcus Harris (Lee J Cobb) has held back, due to her death.

The decision to tell the story in flashback was probably a mistake and does little to help an already weak narrative. Its 120 minutes feels epically long and structuring the movie in this way only serves to delay the inevitable conclusion. When it finally arrives, the treatment of the so called 'miracle' is mawkish in the extreme. Even then the movie plods along pointlessly for another 20 minutes before the end credits roll. Despite its themes of faith and belief, The Miracle of the Bells feels patently fake. Nothing about the movie rings true, from its skewed ideas about the workings of Hollywood to the reaction of the world to the death of the previously unheard of 'star'. Even the miracle of the title is called into question by the St Michael's priest.

How such a slight movie ended up with a heavyweight cast is baffling. Yet MacMurray, Sinatra and Cobb have all given better performances in dozens of better movies. Frank Sinatra is no one’s idea of a priest and his casting here must have confused his, by then, fading Bobby-soxer audience. Modern audiences would be surprised to see Frankie third billed and in such a relatively minor role. Career revival would come for Frank with From Here to Eternity (Fred Zinnemann, 1953), but The Miracle of the Bells survives as a reminder of the legend's early career lull. He sings one number, a Polish folk tune, but the movie is not a musical.

Sometimes regarded as a Christmas movie, it isn’t, apart from a short early sequence set on Christmas Eve. It does, however, deal with religious themes. Faith can be a tricky subject to pull off on film, but it can be done; festive favourites such as It's a Wonderful Life (Frank Capra, 1946) and The Bishop's Wife (Henry Koster, 1947) are testament to this. Yet where those movies were successful in presenting spiritual themes in engaging, credible manner to a secular audience, The Miracle of the Bells is not. It feels outdated, corny and preachy. But its biggest sin of all is that it is so dull. At least 40 minutes too long, fidgeters like me will be feeling antsy about two thirds of the way through. 

With its star-studded cast, The Miracle of the Bells is not entirely unwatchable, but I cannot honestly recommend it, even to fans of such sentimental Hollywood hogwash. Give it go if you must; it will be a miracle if you make it until the end. 

We’re Not Married (1952)

We’re Not Married (Dir: Edmund Goulding, 1952).

Covering similar ground to the earlier Mr and Mrs Smith (Alfred Hitchcock, 1941), We're Not Married is a portmanteau comedy in which, due to a jurisdictional error, five couples discover they are no longer married. Seemingly starring any available 20th Century Fox contract player, the movie is of most interest today for an early appearance from Marilyn Monroe. 

On Christmas Eve, a newly appointed justice of the peace (Victor Moore) marries the first of five couples, ignorant to the fact that his appointment does not take effect until January. This comes to light a few years later when each pair is informed of the mishap. The movie follows each couple as they respond to the news in different ways. 

Although its strands are loosely connected, We're Not Married cannot overcome feeling like a series of sketches, some of which are, inevitably, better than others. For me the weakest of the bunch was the one which is granted the most screentime. Top billed Ginger Rogers and Fred Allen star as the Gladwyns, a pair of radio hosts whose contracts deem they are a married couple. I found the constant bickering between the two rather tiresome, although it does feature some neat satirical swipes at commercial radio. 

Far more appealing is the sequence with Marilyn Monroe as a Mississippi beauty queen and her stay at home husband David Wayne. Monroe's appeal, in what was one of her first significant roles, in readily apparent; easily holding her own among a cast of much bigger names. The other highlight is the episode with soldier Eddie Bracken and his pregnant wife Mitzi Gaynor. With Bracken about to be shipped to Hawaii, the sequence is a sweetly old fashioned reminder of the mores of an earlier age.

Less successful are the remaining segments, with Eve Arden as the long suffering wife of philanderer Paul Douglas and, Louis Calhern and Zsa Zsa Gabor as a warring couple on the verge of divorce. Both have their amusing moments but suffer from dated, some would argue sexist, humour.

Not a perfect movie, and some ways off from being a classic, We’re Not Married is still worth a watch thanks to some genuine high spots and its roster of vintage Hollywood stars. 

All Quiet on the Western Front (1930)

All Quiet on the Western Front (Dir: Lewis Milestone, 1930).

A pre-code WWI drama adapted from German author Erich Maria Remarque's 1928 novel, All Quiet on the Western Front follows a group of students as they enlist in the army, detailing their transformation from idealistic boys to war weary soldiers, depicting the squalid living conditions and futility of the loss of young lives with a stark realism.

Despite a lifelong love of vintage movies, until recently, I knew Lewis Milestone’s anti-war epic by reputation only. After my first viewing I am happy to report that All Quiet on the Western Front more than lives up to 90 years of hype. In short, it is a masterpiece. 

Told, unusually, from the perspective of German soldiers. At first the broad American accents are a little jarring and take some getting used to. But remember this is so early in the history of sound cinema that it is a miracle they are talking at all. Little else in the picture strikes a wrong note. Nowhere to be found are the static camera shots often associated with early talkies. With its inventive camera angels, practical special effects and hundreds of extras it presents a visual spectacle that more than holds its own against modern CGI aided blockbusters. The film is full of affecting imagery, from the sight of the rapt students stirred up by an impassioned indoctrination on the glory of serving the "Fatherland", to the poetic final frames of a butterfly on the battleground, fading to shot of a cemetery.

Its powerful anti-war message, seen by some as controversial, is as potent now as when the movie was made; so potent in fact that the feature was outlawed in Germany at the behest of the Nazis. Its plea for pacifism is all the more pertinent when one remember that the world would be in conflict again in less than a decade.

With the possible exception of Lewis Ayres, in the lead role of young soldier Paul, much of the cast is unrecognizable to modern audiences. This arguably lends the film more authority, as no preconceptions of star status are allowed to diminish the powerful performances. Director Milestone elicits sensitive, natural performances from the cast which compliments the brutally beautiful images that he and cinematographer Arthur Edeson have created. 

Almost a century after its release All Quiet on the Western Front remains probably the most powerful indictment on the horrors of war ever put to celluloid. Released a mere twelve years after the Armistice, the movie was met with immense critical acclaim, receiving the Academy Awards for Best Picture and Best Director in what was only the third year the ceremony was held. The movie is indisputably both an influential landmark in cinema history and a bona fide classic. Simply one of the greatest movies ever made.

Carefree (1938)

Carefree (Dir: Mark Sandrich, 1938).

A frothy RKO romance; the 8th pairing of the incomparable Fred Astaire and Ginger Rogers.

This one has Fred as a psychiatrist and Ginger as his patient and fiancee of his best pal (Ralph Bellamy). Things get complicated when she falls for him and he hypnotizes her to remain faithful to the groom. The movie's outcome is clearly signposted from early on, but there is considerable fun to be had on the journey, nonetheless.

With only four full-blown song and dance numbers Carefree is less a musical than a screwball comedy with the occasional break for a song. The Irving Berlin score is pleasant enough, but by the composer’s own high standards is not especially memorable. 'Change Partners' and 'I Used to Be Color Blind' are the possible exceptions; both are considerably enhanced by Ginger and Fred's fabulous footwork. The highlight is undoubtedly Astaire's solo 'Since They Turned Loch Lomand into Swing' in which he ditches Rogers to partner a golf-club, proving as adept on the fairway as he is the dance-floor. 

Allan Scott and Ernest Pagnos screenplay, while implausible, does include a fair amount of humorous moments. While director Mark Sandrich, by now a veteran of the Astaire-Rogers movies, handles the comedy and the dance numbers with equal aplomb. It is all a lot of nonsense, but all is forgiven when Fred and Ginger take the dance floor. There was never a classier screen couple than Mr Astaire and Ms Rogers and support is offered by a particularly distinguished cast, notably Ralph Bellamy and Jack Carson. Unbilled and underused in one of her many domestic help roles is the great Hattie McDaniel. 

As its title suggests, Carefree is lighthearted, featherweight stuff. Often regarded as the weakest of the Astaire-Rogers partnership, it does pale in comparison to classics such as Top Hat (Mark Sandrich, 1935) and Shall We Dance (Mark Sandrich, 1937). Still, at a little over 80 minutes, it doesn't outstay its welcome. The old adage "they don't make 'em like that anymore" certainly applies here; fluff it may be, but it is consummately produced fluff, expertly performed by its legendary cast.

The Holly and the Ivy (1952)

The Holly and the Ivy (Dir: George More O'Ferrall, 1952).

It has now been a few weeks since I watched this movie and I appear to have misplaced my notes. So, please forgive me for a review which is even lighter on insight and heavier on vague observances than usual!

Based on a play by Wynyard Browne, The Holly and the Ivy relates the story of a Christmas family reunion of the Gregory family, the patriarch of which is a seemingly stuck in his ways, traditionalist village pastor (Ralph Richardson); resented by his grown up family, who feel he has neglected them in favour of his parishioners. Tensions rise and family secrets are revealed before the expected reconciliation on Christmas morning. 

A Christmas movie that previously flew under the radar, the reputation of The Holly and the Ivy seems to have grown in recent years. With its scintillating scandals and family feuds it is little more than the stuff of soap opera, but it is high class soap opera at that. Director George More O'Ferrall handles the potentially melodramatic subject in a low-key, restrained fashion, eliciting natural, believable performances from his cast. 

At age 50, Ralph Richardson is a little too young to fully convince as the aged Reverend Gregory. It is an otherwise great performance, but the role would undoubtedly have benefited from the casting of an actor of more maturity. As his daughters, Celia Johnson and Margaret Leighton are the real standouts. Both convey their individual personal trauma with empathy and sensitivity. In an early appearance for the actor, the great Denholm Elliott also impresses as the alcohol dependent son.

The Holly and the Ivy offers little that hasn't been seen in countless other family dramas; its situations the now familiar tropes of  formulaic 'Movie of the Week' features. Yet it is told with a sensitivity generally missing from such made for TV movies. It boasts a superior cast and strong direction from O'Ferrall. It also benefits from a warm nostalgia that tempers the sensationalist aspects of the story. While perhaps not quite a top drawer festive feature, it is a minor Christmas classic nonetheless.

Murder Ahoy (1964)

Murder Ahoy (Dir: George Pollock, 1964). 

The fourth and final entry in MGM’s Miss Marple series. 

Here the amateur sleuth boards the retired battleship HMS Battledore, now used by charity Trust for the rehabilitation of juvenile delinquents, in order to investigate the death of one of the charity's trustees. It is anything but plain sailing as more crew members are bumped off and Miss Marple's own life is at risk as she uncovers embezzlement and theft on board. 

The only title in the series not directly based on an Agatha Christie novel; the opening credits bear the legend “original screenplay by David Pursall and Jack Seddon based on their interpretation of Agatha Christie’s Miss Marple”. The wording here is key as, with a markedly more comic tone, this is definitely Pursall and Seddon’s interpretation rather than Christie’s.  However, having previously adapted three Christie novels, the writers prove more than adept at recreating a murder mystery with twists and turns worthy of the author. 

Wary that the franchise was in need of a refresh, the decision to set much of the movie on board the HMS Battledore gives it a slightly different flavour from other series entries. With Miss M spending much of the film aboard ship she relies heavier than usual on her land based contact and constant companion Mr Stringer (Stringer Davis). It’s nice for Davis to have a bit more to do and this different dynamic also serves to shake up the formula somewhat. 

Again, Rutherford is wonderful as Miss Marple; nothing like the character in the books, but an excellent comic creation in its own right. There is nothing quite as priceless here as when she danced the twist in Murder at the Gallop (George Pollock, 1963), but she does get to demonstrate her considerable fencing skills! As always, a cast of familiar vintage British stars offer sturdy support, most notably Lionel Jeffries whose terrific comic performance as ship's Captain Sydney De Courcy Rhumstone almost steals the movie from Rutherford. Also keep an eye out for Brit comedy favourites Nicholas Parsons and Derek Nimmo, both of whom register well in smaller roles.

This was to be Rutherford’s last Miss Marple movie, although she and Davis did make one more appearance in character for a brief cameo in The Alphabet Murders (Frank Tashlin, 1965). This MGM attempt to repeat the success of the Miss Marple series with a similar comic Poirot series was less successful, despite a screenplay by Pursall and Seddon and a quality cast headed by Tony Randall. 

Like its predecessors Murder Ahoy is all very silly, yet also highly entertaining. Later Christie adaptations may have been more faithful but few have provided as much fun as this quartet of quality comic gems.  Purists may disagree, but this naval nonsense is hard not to warm to and concludes the series in ship shape fashion. 

Murder Most Foul (1964)

Murder Most Foul (Dir: George Pollock, 1964). 

MGM’s third outing for Agatha Christie’s amateur sleuth Miss Marple, with the incomparable Margaret Rutherford in the title role. 

Investigating the murder of a blackmailer, Miss Marple bluffs her way into theatrical troupe the Cosgood Players, with whom the victim has a previous association. The old girl knows she is on the right track as more troupe members are disposed of. Anyone of the players has possible motive for murder, and Miss Marple is soon in danger herself as the killer gets wind of her snooping.

As with the previous series entry Murder at the Gallop, this movie is based upon a novel featuring Christie’s Belgian detective Hercule Poirot, in this instance her 1952 novel Mrs McGinty’s Dead. As before, Poirot is elbowed out the picture to make way for Miss Marple. 

Once again Rutherford attacks the role of Miss Marple with relish! While nothing like the literary incarnation, she injects the role with such goodnatured bluster that its impossible not to love her interpretation. A strong supporting cast of Brit acting legends adds to the fun. Returning from previous adventures are Charles Tingwell as the long suffering Inspector Craddock and Rutherford's real life husband Stringer Davis as Miss Marple's chaste love interest Mr Stringer. Impressing among the suspects are Ron Moody, Dennis Price and James Bolam as the highly theatrical thesps and Megs Jenkins as the victim's sister. Terry Scott makes of his many appearances as a comic copper. 

As with other titles in the series, Murder Most Foul is not necessarily one for Christie purists. Great liberties are taken with the original, not just the recasting of the lead character. However, the movie is a lot of fun. Director George Pollock skillfully judges the overt comic tone with the more serious business of murder. There are genuine thrills to be found as the mystery unfolds to a neatly suspenseful, not too obvious climax. 

In truth, Murder Most Foul differs little from the two previous outings. But happily, what worked before works again and the formula still feels surprisingly fresh. Unfortunately Miss Marple doesn't delight us with her twist again, or any other fad dances for that matter. But as compensation she does perform a priceless rendition of  Robert W Service's poem The Shooting of Dan McGrew, which alone makes the movie worth a watch!

The Mob (1951)

The Mob (Dir: Robert Parrish, 1951).

A tough gangster movie-cum-film noir thriller. The Mob stars Broderick Crawford as Johnny Damico, a tough New York cop who poses as a longshoreman to bust up the corrupt union activity polluting the city's dockyards. 

Based upon the novel Waterfront by Ferguson Findlay, The Mob covers similar ground to the more famous On the Waterfront (Elia Kazan, 1954). Pre-dating the latter movie by three years it is more of a pulpy crime drama that Kazan's socially conscience classic. 

In his second outing as director, former editor Robert Parrish has crafted a hard hitting, at time brutal thriller which still packs a considerable punch seven decades later. It is a tough movie, with tough guys talking tough. William Bowers' screenplay is interspersed with some smart hard boiled dialogue, delivered in suitable pithy fashion by the excellent Broderick Crawford.

A year after his Oscar winning performance in All the King's Men (Robert Rossen, 1949) Crawford is dynamite here; perfectly cast as a hard nosed cop, ruthless in his mission to bring down the mob. Also impressing in an early role is Ernest Borgnine as thuggish mobster Johnny Castro. As his right hand man, Neville Brand is equally effective in one of many maniacal bad guy roles. 

Often categerised as a film noir, The Mob feels closer to a gangster film than a true noir; its staccato pacing and overall theme evoking the Warner Brothers mob movies of 1930s. It presents an evocative, shadowy world of backstreets and dive bars populated with shady characters It is surprisingly violent at times, especially in its realistically scrappy fist fights. 

It may not rank among the greatest thrillers of its era, but it is an exciting and engaging minor noir, or rather a gangster movie in noir clothing. Deserving of far more attention than it generally receives, The Mob is neat little crime flick with a cracking screenplay and a first rate cast. To my knowledge, the movies only official home video release is as part of Spain's Columbia Classics range. This may make The Mob a little difficult to source, but it is well worth the effort!