Friday, May 23, 2014

The Asphalt Jungle (1950) **1/2

asph3

(This is my contribution to the CMBA's Fabulous Films of the 1950s Blogathon, which runs May 21-May 26. Check out all the great blog posts!)

Tight—that is the best word to describe director John Huston’s, The Asphalt Jungle (1950).  The plot, cinematography and the acting are all tightly wound together to create one of the most compelling film noir heist movies ever made.  Quite simply, it is the granddaddy of all heist movies, such classics as Rififi (1955) and The Killing (1956) and modern-day “classics” like Oceans Eleven (2001) and Inside Man (2006) all derive from The Asphalt Jungle. What is most compelling, however, about the movie is how it looks at the subterranean world of crime and how different from your typical noir it actually is. 

Adapted from W.R. Burnett’s novel of the same name, asphalt01Ben Maddow and John Huston’s Oscar-nominated screenplay is tied together by a jewel heist.  The lives of several men are determined by the success or failure of stealing and fencing diamonds and gold worth more than a million dollars (which was a lot of money back in 1950).  The mastermind of the caper is Doc Riedenschneider (Sam Jaffe, in an Oscar-nominated performance), a recently released big timer with a full-proof plan to rob a jewelry store.  He enlists a local bookie, Cobby (Marc Lawrence), to help him snag $50,000 to put a crew together.  This leads him to Emmerich (Louis Calhern), a respected local lawyer with supposedly big pockets, who is also probably the most corrupt man in town.  The audience is then educated as to what is necessary, other than money, to pull off a grand heist—a box man, the guy who breaks into the safe (Anthony Caruso), a driver (James Whitmore), and a hooligan who handles a gun and any security guards or cops (Sterling Hayden).  Once this part of the education is over, we are then treated to a painstakingly detailed view of the entire heist. Unfortunately, things don’t go as planned and a few people get shot and there is a major double-cross that throws a damper on an otherwise spectacularly planned and orchestrated crime.

Louis Calhern The Asphalt JungleThe underbelly of crime always proves compelling, and in The Asphalt Jungle it is on full display. However, the seediness is not only comprised of only career criminals but also respected lawyers and police officers as well.  For example, Cobby runs a local book that is protected by Lieutenant Ditrich (Barry Kelley), who gets kickbacks for looking the other way.  And, then there’s Emmerich, a highly respected man who both finances and represents crooks, while living in a fine house and carrying on with a woman young enough to be his daughter, or niece (played by Marilyn Monroe), while his bedridden wife (Dorothy Tree) just wants to play cards.

The story does a smart job of planting small hints about the criminals’ weaknesses and also explaining what makes them commit the crimes they do.  Doc won’t touch alcohol and has a fondness for young girls (one of which will haunt him in the end).  Dix (Hayden) only wants to make enough money to buy back his family’s horse farm but can never save enough from his robberies because he bets on the horses.  And, Louie (Caruso) has a wife and child to support.  They all just want one big score so they can get out of the life. These sympathetic, human characters don’t fit the stereotypical noir criminal, who are oftetumblr_lmlootmQoL1qhqg0dn violent and unethical.  For the most part, all of the criminals seem to follow a code of ethics, which flies in the face of Noir 101.

And, completely opposite to other noirs, there are no femme fatales anywhere to be seen in The Asphalt Jungle, which might sound strange when one considers that the perfect femme fatale-esque actress was in the film, Marilyn Monroe.  None of the male characters are obsessed with any wicked women. In fact, all of the women in the picture are highly sympathetic—even Monroe, who comes across as the most innocent mistress ever known to cinema. 

However, like any noir, The Asphalt Jungle is a shadow-filled black and white picture full of dark, atmospheric shots. Still, Huston’s framing of the film is much more open and uncluttered compared to other noirs.  He and Oscar-nominated cinematographer Harold Rosson employed high contrast lighting from start to finish, with an extended opening scene that follows Dix walking through a deserted asphalt jungle after his most recent robbery.  Perhaps my favorite scene in the film, other than the 11-minute jewelry heist, is when Doc first paces hqdefaultup and down the tight hallway of Cobby’s book parlor waiting to be introduced. One blinding overhead light illuminates the otherwise dark, grimy hallway as Doc walks toward the static camera—almost walking straight into it—and then he turns his back toward the opening door and the emerging image of Cobby. It’s a small scene, but so full of brilliant lighting and lens work. 

While Hayden may have gotten top billing, Jaffe was clearly the star of the show.  Of course, it helps that Jaffe could act galaxies around Hayden, but his character was the most interesting of the lot.  It takes skill to portray a tightly-wound but always composed character. Additionally, Calhern’s turn as Emmerich is also engaging.  Yes, it’s difficult to feel sympathy for a double-crosser and a philanderer, but when he sits down to write a letter to his wife when he’s about to be arrested and then rips it up after writing it, you almost feel sorry for him. 

Overall, The Asphalt Jungle was an important development in cinema.  It pioneered the heist film and laid the foundation for generations of heist films to come.  Additionally, it broke the barriers of film noir, and ushered in characterization and a more open and uncluttered framing into the world of noir. 

For more great Fabulous Films of the 1950s blog posts click this link: http://clamba.blogspot.com/.

18 comments:

  1. Kim, You did a great job describing this film. It's one of my favorite crime/noir films, loaded with wonderful performances. I particularly liked Louis Calhern's slimy performance but the entire cast is terrific. Early in your review you use the word "tight" to describe it. Perfect!

    ReplyDelete
    Replies
    1. Thanks, John. Since Monroe was a virtual unknown when she made this, most of the cast was comprised of character actors who knew how to own whatever parts they were given. Sadly, the least satisfying performance comes from Hayden, who was supposedly the star of the film.

      Delete
  2. Very insightful review, Kim. I agree with John - the use of "tight" was perfection - add that to smart and it pretty much sums it up. A very compelling film.

    ReplyDelete
    Replies
    1. Thanks, FC. It is a smart film--not much fluff, just substance.

      Delete
  3. I really love this movie. So well plotted and smooth pacing. "Tight," indeed. Thanks for great contribution to the blogathon.

    ReplyDelete
    Replies
    1. Thanks, Jacqueline. Everything ties together so well in The Asphalt Jungle that the pacing comes off as impeccable.

      Delete
  4. Fabulous review, Kim, of a gripping, stylish, influential film. I'm not a big Sterling Hayden fan, but he's good here (though I agree that Sam Jaffe gives the best performance in the film). Why only **1/2? By the way, the best heist, for my money, is the one from RIFIFI.

    ReplyDelete
    Replies
    1. Ah, but Rififi had the benefit of watching how a heist film should work from this. I wavered between 2.5 stars and 3 stars, but Hayden and the ending scene, which I don't discuss in my review, just put a damper on what was otherwise a really good film.

      Delete
  5. I agree that Hayden was a weak choice for this film, but the script (minus the ending), fellow cast members & cinematography more than make up for it. Great choice for the blogathon!

    ReplyDelete
    Replies
    1. Thanks. I think a lot people I agree that the ending somehow lessens the film's impact.

      Delete
  6. Kim, I'm late as usual but I finally made it.

    I'm always up for a good heist film and Asphalt Jungle holds up well. Of course with Huston and Rosson on board how could it not? You've pointed out all the things that make the film memorable and worthy of award nominations while being fair and honest with it's few flaws.

    You mention the lack of femme fatales which I didn't even notice even with Monroe in a small role.That's always a good indication, Huston or any director is on point.

    A great contribution to the Blogathon.
    I hope you're enjoying your holiday.
    Page

    ReplyDelete
    Replies
    1. Thanks, Page. The fact that Huston didn't have a femme fatale or unsympathetic characters was pretty revolutionary in the world of noir.

      Delete
  7. I haven't seen "The Asphalt Jungle" in ages, Kim, and your review refreshed my memory on so many things about it that I'd forgotten (or hadn't considered, for that matter). Great piece - a really thoughtful and balanced look into a crime classic.

    ReplyDelete
    Replies
    1. Thanks, Eve. I think this movie is often forgotten, but then people see it and remember how well made it was.

      Delete
  8. To me Asphalt Jungle along with Rififi and The Killing should be required viewing for anyone who ever wants to make a heist film. Smart, cool-headed, and very knowing about human nature. I guess I'm in the minority here for not minding Sterling Hayden. I don't know, I just enjoy his glowering screen presence and I think it works here since he gets to play off Jean Hagen. He's the brooding man withholding himself from the one decent person in his life and she's believably anguished in response. Still, regardless of Hayden, my favorite performance by far is from Louis Calhern. I think this is the movie where I first sat up and noticed him and now I always lean forward a little when I notice his name in the credits. Great review!

    ReplyDelete
    Replies
    1. Thanks, Aubyn. I think Hayden is hit or miss for many people, while most people agree that Calhern was pretty good in this.

      Delete
  9. I think you can really see John Huston's hand in this film. The way he makes his characters come alive is just outstanding. In that way there are a few parallels for The Treasure of the Sierra Madre". In somebody else's hands this could have been just another heist movie, but he made it outstanding.

    ReplyDelete
    Replies
    1. This is one of Huston's most interesting and unusual films. He was extremely versatile.

      Delete