Cry of the City
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Time Out saysRiveting example of Siodmak's skill not only in transforming indifferent material, but in giving the feel of studio noir to location shooting. The familiar '30s theme (cop and criminal sharing the same deprived background in New York's Little Italy) acquires an almost metaphysical ring in being displaced by what turns into a literal cry of the city as the wounded gangster (Conte, terrific) goes on the run for the last few hours of his life, leaving behind him a dark trail of murder, pain and betrayal. Rarely has the cruel, lived-in squalor of the city been presented in such telling detail, both in the vivid portrayal of ghetto life and in the astonishing parade of corruption uncovered in the night (a slug-like shyster; a monstrous, sadistic masseuse; a sleazy refugee abortionist, etc).