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  • Broderick Crawford is terrific as a police detective going undercover as a longshoreman. The film begins with Mr. Crawford, while off-duty, investigating a shooting; when he arrives, he's told to watch the victim by another detective - only to be left holding the victim (so to speak). After his "error", he is assigned to undercover as longshoreman at a mob-infested dock, and locate dangerous mob boss "Blackie".

    On the docks, the film really takes off - the story gets very exciting, with hardly a misstep. The camera is a sharp match for the players and script. Note, Ernest Borgnine throws a swell party. Broderick says "Oh, please…" like he was born yesterday. "The Mob" has enough twists and turns to keep the interest brewing... to a tight ending.

    ******* The Mob (1951) Robert Parrish ~ Broderick Crawford, Richard Kiley, Ernest Borgnine
  • The title of this review says it all. In 1951, who knew who Ernest Borgnine, Richard Kiley and Charles Buchinsky were? But in this Columbia noir, made after Broderick Crawford became an unlikely star because of ALL THE KING'S MEN has the lead going undercover to investigate racketeering on the docks, we see how good actors can overcome a basically decent script overloaded with 'snappy' dialog, cheap sets and unexceptional directing. The actors are, frankly, amazing and this is as good as a movie can get with a major flaw like this -- ace DP Joseph Walker can't do much with the studio sets and back projection, but he makes a good effort with a highly mobile camera.
  • Off duty police detective Johnny Damico (Broderick Crawford) lets a killer slip through his hands after witnessing a mob hit. Damico is given a chance to redeem himself by going undercover to break up a waterfront crime racket and find the kingpin that ordered the hit. Damico under the assumed identity of small time New Orleans hoodlum Johnny Flynn, infiltrates the docks to find the 'big guy' known only as Blackie Clegg. Along the way Damico comes across an assortment of characters played by, at the time, relatively unknown actors like Ernest Borgnine, Neville Brand, Richard Kiley, and John Marley. Look for Charles Bronson in one of his earliest screen appearances in an uncredited role as a dock hand.

    Director Robert Parrish works what might have been routine police procedural crime drama into an edge of the seat mystery. A lot of the credit has to be given to writer William Bowers who Parrish teamed up with on his previous movie Cry Danger starring Dick Powell. Both enjoy a fast paced script with tongue in cheek banter, hinting of the same style that Bowers would use almost twenty years later when he wrote the script for Support Your Local Sheriff! While an actor like Powell would seem better suited for this type role, Crawford just off an Oscar win for All the Kings Men two years before, comes off surprisingly natural as a wise cracking undercover cop.

    The Mob though listed as film noir really isn't noir in the classic sense though it does have some of the elements. The Mob is an enjoyable 1950's style mystery crime drama. The run time of 87 minutes breezes by and keeps you guessing. Fans of the genre will enjoy this one.
  • Warning: Spoilers
    Broderick Crawford won the Oscar for Best Performance for ALL THE KING'S MEN(Columbia, 1949). This crime drama, THE MOB, was undoubtedly planned as a vehicle tailor made for him.

    We see that this film is classified as Film Noir, of which it does seem to have the dark, brooding and the impossible situations for there to be any successful conclusion/happy ending. But this ending is sort of up beat, and it's even one that would fit as the fade-out finale of one of the Chester Morris/Columbia Pictures' BOSTON BLACKIE entries.

    The beginning of the movie is done in a somewhat slowly revealing, deliberate and methodical scene that keeps the audience guessing about the integrity of main character,Police Detective,Johnny Damico(Broderick Crawford). His quick paced banter with a jeweler over a diamond ring and its value is just vague enough to lead us to believing It to be some sort of shady deal. Ultimately we learn that Det. Damico and Mr.Jeweler are well acquainted, even friends. The Detective is shown to be a man and an Officr of the Law who has good, decent beliefs and behaviour.

    Quite by accident, Det. Damico runs into an on-view shooting. The shooter identifies self as a Police Detective Lieutennant and presents Shield and ID to Damico. It is dark, rainy and the "Lieutennant" manages to split from the scene.

    After all is found out, the Police Commissioner assigns the Detective to go underground to ferret out the cause of recent killings, including including that of the real Police Lt. whose shield was used by the unknown killer.

    At this point, the story really takes off as Damico feigns the role of a trouble making bad guy from New Orleans. The undercover role takes him to the Waterfront and taking the position as a Longshoreman.

    Now at this point, it appears that the film was a story of Labor Racketeering and the corruption that flows from the scene of such an unsavory operation. It sort of resembles, ever so briefly, the not yet made ON THE WATERFRONT(Columbia,1954).

    But no dice, once again the Director and production shifts gears and the storyline skews toward resemblance to the Detective Stories that populated the Pulp Magazines and those Radio Dramas which were adapted from the Pulps.

    Once again, we see a variant on the theme as the new source of inspiration appears to be the Comic Book cops-n-robbers story as exemplified by Will Eisner's THE SPIRIT.* The chase and the eventual revealing of the Hide-Out HQ and, especially the true identity of the Underworld big shot are especially reminiscent of an Eisner written and illustrated story.

    But, then again, we see another aspect of this story in the inclusion of some ultra modern,"Super Scientific",electronic crime-bustin' technology. They seem to take a queue from the James Cagney starring film, WHITE HEAT (Warner Brothers 1949). At a late point in the story, tracking a vehicle via the use of infra red light and pinpointing a location by radio Tri Angulation is introduced.

    The film has an interesting cast of people who DON'T look like movie stars. They look very ordinary and much like a cast of characters that you would see in the real world. But that does not mean that there was not talent on display. The Acting Abilities of the cast members are super abundant, as shown by the rise in prominence of so many of the players in the subsequent years.

    So, we are treated to performances by the likes of: Mary Kierman, Richard Kiley,Otto Hulett,Matt Crowley**,Neville Brand, Ernest Borgnine, Charles Bronson, Frank DeKova, Lawrence Dobkin and others.

    And, please don't you think that it the purpose of this writer to pan or degrade this film, far from it. The only thing that I can say is: "Hey 'MOB', where have you been all my Life?"

    * Much like THE SPIRIT, this offers its moments of levity and the Story is propelled along at a good clip, powered by some clever, witty and even funny dialog.

    ** Is this the same Matt Crowley who enjoyed a fine career as a Radio Actor, portraying among others, BUCK ROGERS?

    ADDENDUM: 9/23/09. The answer is (after all this time is a most emphatic "YES!" It turns out that the multi-media actor was active in Radio (BUCK ROGERS), the Movies (THE MOB), Broadway Stage (THE FRONT PAGE)as well as a multitude of TV Shots too numerous to list here.
  • I saw The Mob at Cinevent in 2013 and it was the best film of the weekend. This tight noir is filled with great one-liners and unexpected twists.

    Broderick Crawford plays a cop who goes undercover as a hoodlum to try to take down a crime ring. We constantly question whether he is totally legit because his mouth is just as tough as the criminals' he's working to put in jail. The story keeps moving and if you blink you might miss something, but the plot never quite gets away from the viewer. This is realism done with panache. It is unfortunate that this movie has had no formal release because it is certainly worth seeing.
  • Warning: Spoilers
    This was a good film because (1) it was fairly fast-moving; (2) had some humorous and clever dialog; (3) was nicely photographed; (4) and had solid acting. It's tough to ask for a whole lot more.

    I'm surprised this film has never been issued on VHS or DVD, at least not to my knowledge. It has well-known actors: Broderick Crawford, Ernest Borgnine, Richard Kiley, Neville Brand and others.

    The beginning was very original. Our cop hero, "Johnny Damico" (Crawford) comes across a killing and stops a man in the pouring rain who is standing over a dead body. The upright man has a gun in his hand. Damico stops him, but the man pleads "Don't shoot; I'm a cop" and shows him his badge. "Okay," says Damico, and hands the man back his badge and gun. He then tells him to go over to the nearby drug store and phone this one in while he stays with the body. That's the last our man sees the "cop" who, it turns out, had a fake badge and really was the killer. Unfortunately, the good guy never really got much of a look on the bad guy, too.

    Damico, being spared walking the beat for the rest of his life or being demoted to kindergarten monitor - or just plain being kicked out of the force for his (understandable) mistake - is given the option of atoning by infiltrating the local longshoreman's union and getting the goods on the big mobster in town. That part is nothing new in films but it was interesting to see how Crawford talked his way deeper and deeper into the mob.

    Also, the characters in this film were colorful. The amount of wisecracks, insults and the like also added greatly to the enjoyment of this film. There were excellent film-noir-type lines in here.Yet, this movie had more of a straight drama or crime film than "noir." The only thing that was odd was when one of the "dames" in here told Crawford a couple of times how cute he was. Broderick Crawford "cute?" Now, there's a first!
  • The Mob is directed by Robert Parish and adapted to screenplay by William Bowers from the novel written by Ferguson Findley. It stars Broderick Crawford, Betty Buehler, Richard Kiley, Otto Hulett, Matt Crowley, Neville Brand, Ernest Borgnine and Jean Alexander. Music is by George Duning and cinematography by Joseph Walker.

    Cop Johnny Damico (Crawford) is fooled by a mob killer during the slaying of a witness and is chastised by his superiors. Sent undercover to infiltrate the waterfront organisation to flush out the killer, Damico faces danger at every turn.

    He's a cop who is hell bent on atoning for what could basically be a career ruining error. It's this core essence that really oils the pistons of this tough and under seen slice of crime cinema. Awash with characters so shifty it's hard to locate a moral compass in the mix, director Robert Parrish (Cry Danger) takes a standard under cover plot and elevates it to a riveting tale of corruption, paranoia and the search for redemption at any cost.

    William Bowers' script positively pings with the sort of dialogue you could cut a joint of beef with, with most of it spat from the mouth of the excellent Crawford. No matter what the situation, what the danger, Damico has a quip or a put down to always exude a calm and carefree menace, he literally is a sardonic miserablist who is unflappable. It's a wonderful characterisation that's helped enormously by a screenplay that contains some surprises, with a nifty plot line standing out that sees Damico hired by the mob to enact a hit on himself! Wonderful.

    Parrish keeps the atmosphere side of things on the boil, always ensuring that Damico could be snuffed out at any moment, while Walker's (The Velvet Touch) photography is tight to the plotting. Around Crawford are a raft of familiar faces from film noir, with the villain roll call considerably boosted by Borgine and Brand. From the quite excellent opening murder played out in the nighttime rain, story unfolds in a whirl of sarcasm, set-ups, machismo, stand-offs and mobster machinations. The Mob, under seen and under valued, add it to your "to see lists", especially if you be a fan of Brod Crawford. 8/10
  • Broderick Crawford plays a cop who goes undercover to infiltrate the mob. And to make them think he's "their kind of guy" he comes into town with a major attitude and a willingness to slug anyone who gets in his way. However, this is no routine assignment, as there are lots of dangerous twists and turns and repeatedly it appears he's about to buy the farm. I particularly loved the very tense and rather violent ending in the hospital---you just have to see it to understand.

    This film has one of the most important ingredients of Film Noir down pat--it has one of the ugliest casts in film history!! True lovers of this gritty genre know that actors in such films can't be "pretty boys" but ugly and cold-blooded killers. That's why when I saw this film starred Broderick Crawford (king of the hard-drinking ugly actors), Ernest Borgnine and Neville Brand (the scariest looking thug in film history) I was thrilled to see it. Now this ISN'T meant as an insult--I am just stating a fact necessary for a good Noir film. Great Noir abounds with ugly mugs like Edmund O'Brien, John Ireland and John McGraw--though the cast in THE MOB is among the ugliest and therefore best in genre history. In addition to ugly and menacing men, the film also features realistic and gritty violence, tough dialog, lots of great shadows and camera angles as well as a taut script--and all are in THE MOB in spades. All the elements needed for exceptional Noir--so it certainly wasn't a surprise that I really enjoyed the film.

    If you love Noir, you will love this film. If you don't, then watch this film anyways!! Then, try some other great Noir films like THE KILLERS, DOA, KISS OF DEATH and ASPHALT JUNGLE--then you, too, will most likely be hooked!!
  • Broderick Crawford plays a cop in this excellent crime drama. (I wouldn't call it a film noir but I'd say it got to the location of "On the Waterfront" first. And, in my very humble opinion, pulled together a better story.) The dialogue has a snappy edge that isn't found much in gangster movies of this period. The guys -- and it's mostly all guys here -- have a sarcastic way of communicating. They talk like athletes or construction workers. I've been both and I know. A lot of calling each other cheerleaders and other ways of joking about their masculinity. But it's done in a good-natured, blue collar. There is no hint of anti-gay sentiment.

    Broderick Crawford generally seems so different from his mother it's hard to imagine they were related in that way. But here we pick up his casually comic timing.

    Crawford is excellent as a policeman who goes undercover on the docks. Richard Kiley shines as one of the guys -- giving nothing away, here -- he deals with. And Matt Crowley is fine as another. (I checked on him and he played Walter Burns in a TV version of "The Front Page in 1945. Wow! I didn't know there WAS TV in 1945.) The actress playing Crawford's girlfriend isn't bad. She plays a nurse and she seems wholesome. Wholesome and dull. She seems to have few film credits.

    This has an authentic feel. And it's different, too. It's definitely a keeper.
  • I got to ask -- because so much of the plot of "On the Waterfront" is here. Broderick Crawford is first rate (not as good as in "All the King's Men"); because Crawford has none of the depth and range of Brando. Plus, this is not a longshoreman's movie -- it's the cops' movie. The police are the key players; they get the full camera foreground and background. But how could "On the Waterfront" (1954) have existed without "The Mob" (1951)? All the character and story leads are here -- plus our hero gets a threatening backseat ride in the car with a gun pointed at his gut. The police forensic details are excellent; not hokey (and probably based on WW2 techniques?). It's surprising this movie isn't better known. Again, quality-wise, it's not "A+" as a film -- more like "B+". It's got long, excellent passages that are then followed by filler, Hollywood product (like the scenes with Ernest Borgnine). But what's great about "The Mob" is how when it works it rings true about the life and struggles of blue collar Americans just after the victory of WW2. Where's their victory? Except for the cops. In sum, tough minded doozie of a film.
  • Three years before 'On the Waterfront' Broderick Crawford was already there busting the rackets in this tough little thriller backed by a big police operation with advanced surveillance technology at its disposal, a wisecracking script by William Bowers, atmospheric photography by veteran Columbia cameraman Joe Walker and a creepy supporting cast of ugly young faces including Ernest Borgnine, Neville Brand, Charles Bronson and John Marley to give big Brod a friendly reception...
  • Consistent with its simplistic title, "The Mob" is a straightforward cops vs. mob story starring the reliably tough Broderick Crawford. He goes undercover among the longshoremen after being 'suspended' from his police-detective job. He's trying to find the big cheese controlling extortion and payoffs on the docks, and meets up with several shady (or actually criminal) characters along the way. Crawford is his usual no-nonsense self, working his way into the scene with an abrasive coating over a good-cop personality. Neville Brand and Ernest Borgnine have a few scenes as mobsters, and Crawford's dockside pal is played by Richard Kiley. The only confusing part for me was that the TCM description stated that Crawford's character goes "from California to New Orleans" to discover the mob crime, but as far as I can tell, he leaves "town" (wherever that is) briefly, then returns by ship in his undercover mode to the place where he started. Overall, a good-quality crime-fighter movie, worth watching on Saturday night for a B/W movie fan.
  • This is a very underrated film noir, cops vs. crooks type movie. Broderick Crawford was a great actor in these types of films and this is one of the better scripts he had to work with. It's a good story that's not too predictable, there's some other good actors and the mood of the movie is actually quite good start to finish with a nice pace to the story.
  • When the Decade of the 1950's Kicked in, Film-Noir Purists are asked to Except the Conceit of New Wrinkles such as Upbeat Endings and Authorities (Police and Government) as the Saviours and Benevolent Overseers of Mankind.

    In this Underseen, Underrated, and Overlooked Entry Broderick Crawford Delivers some Stinging Zingers and is a Perfectly Cast Noir Hero that is a Burly, Brawling, Beefy, Mountainous Man that is Able to go Undercover to Ferret Out the Mob Boss and can Hold His Own Amongst the Equally Ugly and Street Level Gangsters and Longshoremen.

    After a Killer Opening Drenched in the Dark City Milieu of Encroaching Buildings and Shadowy Streets, Crawford's Police Superiors Order Him to Narc Up and Send Him into the Lion's Den. There is a Rogue's Gallery of Now Familiar Faces and a Blue Collar World of Corruption Filled with Fisticuffs, Frame-Ups, and Seedy Bars.

    The Dialog, Character Actors, Direction by Robert Parrish, and the Noir Photography with Gloomy and Dilapidated Sets, a Twist at the End, and an Overall Depressing Tone make this Fifties Film-Noir a Must See.
  • The YouTube uploader seemed to want to fool some of us by ID'ing this movie as starring Broderick Crawford and Charles Bronson but Bronson only appears for a minute with only one line with no credit in this-one of his earliest film appearances. And he would have been credited as Charles Buchinski if he was billed. Anyway, Crawford is a cop who botched a police action setting in the beginning sequence so is assigned to infiltrate some crooked dealings at a dock to straighten things out. Besides Bronson, look also for early roles for Richard Kiley, Neville Brand, and Ernest Borgnine. I'll just now say The Mob was a nice surprise of a police drama from this period.
  • Warning: Spoilers
    If one didn't know better, it looks like this might have been a training film for future police detectives. How'd you like the way the cops planted a phony picture of Johnny Damico (Broderick Crawford) in the paper with a phony story to back it up? Or the wise guy banter Johnny used in his guise of Tim Flynn to ingratiate himself with big time gangsters? And what about rigging Smoothie's (Matt Crowley) car with the dripping liquid that glowed in the dark under a fluorescent lamp? Can you really do that? I thought it was pretty clever.

    I wasn't quite ready to give this movie credit as a film noir because there are really no sultry femme fatales to speak of, but in this case I don't think it matters. There are all kinds of shady characters prowling around with the likes of Ernest Borgnine, Neville Brand and Richard Kiley as part of the main event, and if you're sharp, you'll pick up on quick cameos by character actors Harry Lauter, Don Megowan and a still unknown Charles Bronson, a real treat for gangster film fans.

    The picture has it's share of neat twists, as in Richard Kiley's Clancy character turning out to be another undercover cop, and the dopey bartender Smoothie proving to be the mastermind criminal Blackie Clegg. Crawford makes the picture with his snappy dialog that's quick witted and off the cuff, and he's good with his fists when he has to be, and sometimes even when he doesn't. The ending comes off as a bit forced with the rooftop snipers waiting for bad guy Blackie, but the best has to be the way Clancy sets up Johnny for the closing scene. You'll just have to check it out for yourself.
  • mossgrymk7 December 2020
    If you're expecting a B level "On The Waterfront" you'll be grievously disappointed. However, if it's a solid, early 50s crime drama (at no point does it ever bleed into the more interesting genre of noir) that you're after then you've come to the right place. The pace is rapid and the action well handled by director R.G. Springsteen, the dialogue from scenarist William Bowers is properly laconic and wise cracky, and the acting, from an old pro like Crawford and great character thesps just starting out, like Borgnine, Brand, Kiley, and Marley, is also first rate. In short, one helluva entertaining cop/gangster film. Solid B.
  • user-3558319 November 2020
    This film rises above standard noir. The writing is exceptional for the genre and the cinematography top notch. Crawford owns every scene he's in and prowls and scowls his way through this story of an undercover cop investigating the mob influence on the local longshoreman union. Worth your time.
  • OK, there are a few hackneyed phrases, some of the scenes are dated, and it is a bit over the top. So what. It is pure noir; no frills. If you like your meat raw, then this film is for you. Crawford gives his usual gruff, effective performance, and he is helped by an excellent supporting cast. Keep an eye out for the one line and one scene Charles Bronson is in. Good stuff.
  • Warning: Spoilers
    A Great Action Cop Movie ... Lots Of Suspense And A Thriller As Well ... Broderick Crawford Turns In A Great Performance As Officer Damico ... Followed By A Great Performance By Ernest Borgnine As Joe Castro The Number 2 Man In The Waterfront Rackets ... Damico Makes Friends With A Dock Worker (Tom Clancy) Who Isn't Whom He Appears To Be ... This Is So Early In Charles Bronson's Career He Appears On The Screen For Less Than 2 Minutes ... A Bit Of A Mystery As Everyone Tries To Find My Big ...A Good Old Fashioned Cop Movie With A Thrill A Minute Thrown In ... Great Performances, Solid Story And A Bit Of Humor (Damico's Sarcasm) Turns This Into A No Let Down Movie ...
  • Rarely has a movie had as many impersonations as "The Mob." Let's starts out when a cop shoots a hood but it turns out that the cop wasn't a real policeman, just a gunzel with a stolen badge. And the hood was actually an undercover detective. So Broderick Crawford is sent to the waterfront to investigate, disguised as a longshoreman from New Orleans. That brings him together with Richard Kiley who isn't the dock worker he pretends to be, a bartender known as Smoothie who's leading a double life and even a local cop with an alternate identity. The odd thing is that despite the impostures, it's a very entertaining movie with a tough, brash performance by Crawford and first-rate support from Richard Kiley, Neville Brand and Ernest Borgnine.
  • Warning: Spoilers
    **SPOILERS** Police detective Johnny Damico, Broderick Crawford, messes up big time when he lets a cop killer, as well as the murderer of a government whiteness, get away Scot-free when he conned Johnny into thinking that the cop killer was a cop himself.

    Facing the loss of his job among other things Johnny agrees to go undercover in the longshoreman's union to get the goods on who's responsible in the two murders, Police Let. Marie and government witness Ed Jensen, that he's now to put his life on the line for. The police give Johnny a phony criminal record as well as new face in the newspapers, his Uncle Hecliff, and name petty hoodlum Tim Flynn from New Orleans as he ends up at this flea bag hotel, the Royal, on the docks looking for Mr. Big for a job in his crooked dock union.

    It doesn't take long for Johnny to make a name for himself as he gets a real easy work assignment driving a forklift that has the previous driver Culio, Frank DeKova, not at all that happy with him. After laying Cuilo out after he tried to pull a hook on him Johnny is invited to see the big man who runs the dock Joe Castro, Earnest Borgnine, who has his doubts about Johnny's real intentions.

    Trying to set Johnny up on a murder rap Castro's henchman Gunner, Neville Brand, works him over taking his gun and then using it to knock off Culio making Johnny, who had a fight with him that afternoon, the prime suspect. It turns out that Johnny suckered both Castro and Gunner by having two different guns on him, one that Gunner missed when he frisked him, that saved Johnny from being charged in Culio's murder.

    As things now start to get hot for Johnny he now has to come up with Let. Marie's and Jensen's killer the omnipresent as well as faceless Mr. Big not Joe Castro who's only one of his stooges before his cover which isn't that convincing to begin with is blown. It just happens that one of Johnny's colleagues on the docks, whom he suspected of being Mr. Big, turned out to be government agent Tom Clancy, Richard Kiley, who's also undercover. This gives Johnny some breathing room to track down the very elusive Mr. Big before Mr. Big finds out just who he is.

    The big break in the case comes when Johnny gets in touch with the Royal Hotel bartender Smoothie, Matt Crowley, who turns out to be a real smooth operator as well as being Mr. Big's middle or in between man. Smootie tells Johnny that his boss, or boss of bosses, Mr. Big is willing to pay him $10,000.00 to knock off a cop who's been giving him and his boys major headaches over the last two weeks. It turn out that the cop that Mr. Big wants Johnny to knock off is Johnny himself!

    Exciting but not that all believable ending with Johnny finally getting to face Mr. Big who's, unknowingly to him, got Johnny's girlfriend nurse Mary Kierman, Betty Buehler, as a hostage. It turns out that Mr. Big found out that Mary is the girlfriend of the cop whom he wants to knock off, Johnny Damico, and can identify him. What Mr. Big doesn't know is that cop is standing right in front of him using the name Tim Fylnn and is anything but happy, to the point of putting a slug between his eyes, the way he's and his henchmen are treating Mary!
  • SnoopyStyle14 November 2020
    One rainy night, police detective Johnny Damico (Broderick Crawford) is on his way home when a man claiming to be a police detective shots and kills Tony Rogers. The man walks away unnoticed. Tony Rogers turns out to be a witness for a gang related case. Damico is officially suspended. In reality, he is the only one who has seen the unknown murderer and his bosses send him undercover to investigate. He is given a fake identity to infiltrate the underworld.

    I love the start and the general premise is pretty good. In general, I like the plotting. Crawford is fine as a cop. The fake identity is supposed to be working at the docks. I'm glad that he shaved the moustache and used his uncle's picture. He does transform himself into a rougher character and that's very commendable. Maybe if he could get more scruff. His face is a little soft. Otherwise, it has the violence and grim to give a sense of the docks and the criminal world. It's a compelling noir in tone, style, and performances.
  • Warning: Spoilers
    Broderick Crawford is playing and Sgt in the police who gets conned big time. He witnesses a shooting and then believes another policeman did the shooting. He takes a look at the badge from the other guy, and lets him walk into a store to phone it in. Only he walks out the back of the store and gets away.

    The next day, he is officially suspended from the force and goes undercover to try and catch the killer. This leads him into a seedy world where his life is in danger. His relationship with his girlfriends and his life is put on hold.

    There is a lot of good drama and some pretty fair action in this one. Guest cast includes Ernest Borgnine before he becomes real famous later in Marty. There's a fairly good cast for a film that is pretty much B quality with some A level cast and some A level camera work. The script is pretty decent too.

    In a way, this one leads to another feature later where the mustached Crawford would play a mob boss name Lupo who would indeed be the evil side. Broderick does a fine job playing the cop and the mob guy. Check out that other film later to see him show it. (That one features Anne Bancroft)
  • After Broderick Crawford won his Oscar for All the King's Men, Columbia Pictures put him into a potboiler called Cargo to Capetown. AFter that he did the second role that is identified with him on screen in Born Yesterday. After that one, Harry Cohn once again gave him a potboiler noir about a police lieutenant going undercover to clean up the docks.

    In the beginning of the film Crawford happens to be on the scene of a murder and when the actual killer flashes a badge at him, Crawford lets him go. Turns out the deceased was a key witness in a mob investigation.

    Instead of hanging him out to dry with Internal Affairs which would be what really would happen as all devoted watchers of NYPD Blue know, Crawford is assigned to go undercover to ferret out the mysterious boss of the rackets plaguing the docks.

    Call me picky, but I would think the last guy they would send undercover would be another material witness to a homicide. Yet that's what happens here.

    The premise is so dumb, I can't give this film a higher rating. But in fact The Mob is blessed with an incredible cast of name players just starting out. Neville Brand, Richard Kiley, Ernest Borgnine, even an easily recognizable Charles Bronson who has only one line of dialog are all in this film. Fifteen years later this cast would have cost Columbia Pictures a small fortune and wouldn't be wasted on a black and white B film, souped up for Broderick Crawford.

    If you're expecting On the Waterfront, don't be looking at this film.
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