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  • Union corruption serves as the McGuffin for Chicago Confidential, but the movie's really a big-city cops-and-robbers story with some stalwarts and set-ups left over from the noir cycle that had just about run its course by 1957 (and it shows).

    A union official about to sing winds up shot and sunk in Lake Michigan; the honest union president (Dick Foran) is framed for the murder, stands trial and is convicted. That's quite a feather in the cap of District Attorney Brian Keith, who has gubernatorial yearnings.

    But Foran's girlfriend Beverly Garland, discredited on the witness stand by means of fabricated evidence and suborned perjury, wins over Keith through her persistent loyalty. But as Keith begins to unravel the skein of lies that helped him win his case, the union's ambitious and corrupt vice-president (Douglas Kennedy) grows more desperate, and the body count starts to look like the city's in the roaring ‘20s. Among the victims is a stumblebum called Candymouth (Elisha Cook), used as a cat's paw in incriminating Foran, but even Keith and Garland find themselves in jeopardy....

    The plot involves a bigwig lawyer left over from the Capone organization, `B-girls,' an impressionist, and oscilloscopes. But it moves quickly enough that the loose ends don't matter much (Why wasn't the tape recording analyzed before the trial? Why are the B-girls being shipped to Manila?). Director Sidney Salkow gets some of locales right (a sleazy bar called Shanghai Low among them) but doesn't bring much of an eye or an ear to the enterprise. Still, he keeps the movie jumping from one thing to the next, and that's at least something.
  • The mob has infiltrated a union and are about to be ratted out to the state's attorney. They rub out the songbird and make a patsy out of the union's leader. Things look bad for the condemned man, but his girlfriend never gives up trying to exonerate him. Good film with lots of old familiar faces.
  • A cast of familiar faces appear in Chicago Confidential, a 1957 B movie. The stars are Brian Keith, Beverly Garland, Dick Foran, Elisha Cook Jr., John Hamilton, and Phyllis Coates. The latter two stars were in the TV "Superman" in case you don't recognize their names.

    The story is told with a narration, semidocumentary style. This type of film was popular for a time, but to me, it's very dry and too "Dragnet." A union accountant who has been keeping two sets of books calls DA Jim Fremont (Keith) and announces he is bringing in proof that the mob has infiltrated the union and is stealing from it. As could have been predicted as he starts walking to the DA's house in the dark, briefcase and folders in hand, he doesn't make it.

    The bad guys set up one of the good union guys, Artie Blaine (Foran) to take the fall for the murder, and they do a decent job of it, using a drunk (Elisha Cook, Jr.) who finds the murder weapon as a witness to go to the DA once they clean him up. Then they discredit Blaine's fiancée (Garland) on the witness stand. The noose tightens.

    Fairly formulaic, with a couple of interesting things - one is an impressionist, and the other is the use of a machine that recognizes speech patterns.

    I interviewed Beverly Garland some years ago, so I always try to watch her films. She was a vibrant, funny, wonderful lady with a million stories. It makes me sad that she's no longer with us, but at least we can enjoy her film and TV work. For me she's a bright spot in "Chicago Confidential."
  • Warning: Spoilers
    ***SPOILERS*** Hard hitting movie about the mob or "Syndicates" attempted takeover of the biggest union in Chicago the Workers National Brotherhood, or WNB for short. This devious plan is cooked up by disbarred lawyer and former Al Capone gang member Alan Dixon, Garvin Gordon,who plans to turn the WNB into a front for the Syndicates illegal activities; loansharking gambling and prostitution.

    The man running for president of the WNB the beloved and respected, by all the union members, Arthur "Artie" Blaine, Dick Foran, is about to get a boost from his friend the accountant of the union Mickey Partos, John Morley, who's to turn over the crooked and mobbed up president Ken Harrison, Douglas Kennedy, cooked books to Chicago's districts attorney Jim Fremont, Brian Keith. It just happens that Mickey is kidnapped and murdered by Harrisons hood's who plant evidence, the murder weapon, at the scene of the crime implicating the innocent Artie Blaine.

    Harrison and his boss the behind the scenes Alan Dixon are now ready to pull off a "Hat Trick" in their planned takeover of the WNB union. Get rid of of Mickey Partos, which they did, frame Artie Blaine for his murder and then, with Artie's reputation as an incorruptible union leader go straight down the toilet, pave the way for the mob-controlled Harrison to get re-elected unanimously, with no one running against him, by the hapless and disgruntled union members. There's was just one thing that both Dixon & Harrison didn't plan on a drunken rummy, and former WNB union member, Candymouth Duggan, Elisha Cook Jr, who staggered on the scene and found the gun that killed Mickey Partos; the gun that his best friend Artie was supposed to have killed him with!

    Despite Harrison screwing up it didn't take long for him and his boys to get Candymouth to change his story telling the D.A, Jim Fremont, that he found the gun in Partos' car ,which was at the bottom of Lake Michigan at the time Candymouth came on the scene, tying Artie to Partos' murder. Harrison also had a key witness, Artie's next door neighbor, Sylvia Clarkson, Beverly Tyler, change her testimony which at first cleared Artie of the crime. With all the evidence pointing at him Artie is convinced of first degree murder and slated to have a date with the state of Illinois' electric chair. Feeling that he's now on a roll D.A Fremont is a shoe-in to be elected the next governor by having Artie Blaine sent to the death house. Still Artie's girlfriend Laura Burton, Beverly Garland, refuses to give up on Artie's innocence and it's her bulldog like determination to get the truth out that in the end saves Artie's life and puts Harrison & Co. either in the city morgue or behind bars in the state penitentiary.

    Documentary-style crime flick has all the ingredients of a great film noir classic but gets a bit carried away with the violence which makes it just another crime shoot-him-up movie. It's hard to believe that the Chicago D.A Jim Fremont would go out on his own risking both his and his wife's Helen, Phillis Coates, lives in tackling the "Chcago Syndicate" almost single handed. This without using the entire Chicago Police Force as well as, with Harrison & Dixon also involved in tax fraud, the FBI which were easily at his disposal!

    Fremont does in the end get the job done and has Artie Blaine freed and restored back to being the president of the WNB Union but he could have done it a lot easier if he only let the Chicago Police and US Justice Departmet do the job themselves. Not by trying to be a hero and go solo and very possibly end up together with the late Mickey Partos sleeping with the fishes. But then the movie wouldn't have been as exciting as it turned out to be.

    P/S Besides Phillis Coates who played Lois Lane in the Adventures of Superman TV series there's also in the movie "Chicago Confidential" John Hamilton playing Artie's defense attorney Emory Morgan. Hamilton was also a member of the Superman TV cast as the city of Metropolis' newspaper The Daily Planet's editor Perry "Great Caesars' Ghost" White.
  • Warning: Spoilers
    This United Artists release in 1957 was certainly a timely one for the headlines. I well remember back in the day the Labor Racketeering hearings in the US Senate headed by John McClellan with Robert F. Kennedy as the counsel and his brother and next president also sitting on the committee. Organized crime's involvement with labor unions was a big news at the time.

    In the fictional union talked about in this film which we never learn what it is or what industry it is for, honest president Dick Foran is framed for the murder of his friend whom he was sending to the state's attorney with information. The mobbed up vice president Douglas Kennedy then takes over and the strong arm tactics against the membership and the businesses begin.

    Fortunately for Foran the state's attorney is Brian Keith who is a man of conscience who actually wants to see justice as opposed to rolling up convictions. Even though he's being mentioned for governor Keith starts questioning his own conviction first with a voice identification of Foran.

    Said identification was bogus the product of comedian Buddy Lewis who works in mob clubs. Also derelict Elisha Cook, Jr. After giving perjured testimony is killed. It's a race against time as the mob starts plugging up potential leaks in their usual fashion.

    Besides those mentioned three women have prominent roles. Phyllis Coates as Keith's wife and Beverly Garland and Beverly Tyler as a pair of B girls who are witnesses against Foran.

    Chicago Confidential is a well paced B picture with an impressive cast giving a good ensemble effort. A historical curiosity as well given the time the film was made.
  • I'm really glad that crime movies of the B or lower grades are showing up. Hence the six stars. But this movie felt flat. It never drew me in.

    It's one of those in which an unseen narrator tells us about the crime that was sweeping big cities and the police/government officials/fill in the blank who were wiping it out.

    Brian Keith could be a fine noir hero but his performance feels uninspired. The movie boasts some great actresses of the tough-girl school. They too seem underused.

    The narration is almost a self-parody. It is so stern and humorless it presages the announcer on "Laugh-in" and some later intentional funny movies.

    I didn't buy this movie. Not sure why. But thanks for bringing it out of the vault, anyway. And keep 'em coming!
  • One of several late-noirs about Union corruption, for a basic seventy-five-minute programmer, CHICAGO CONFIDENTIAL has just about everything, from murderous thugs to their sophisticated bosses to courtroom drama involving a wrong man to all heavies eventually being hunted down, Brian Keith stars as a lawyer fighting to get wrongly-accused union boss Dick Foran off the hook from an ON THE WATERFRONT style rudimentary stool-pigeon murder (care-of usual Noir torpedo Jack Lambert) that happens right off the bat...

    Giving CONFIDENTIAL a tight, edgy and at the same time breezily entertaining pulse where the best sequences take place beyond expository offices and into the shadowy streets or else inside a smoky nightclub that harbors sultry and experienced b-girls led by an equally vulnerable Beverly Tyler (along with alcoholic Linda Brent), stealing scenes not only from Keith's picture-pretty housewife and lead ingenue (Foran's secretary) Beverly Garland, but the men as well.
  • drjgardner5 March 2017
    The film shows the evils of unions, but it's no "On the Waterfront". It's more like a TV movie, probably because the film's director, Sydney Salkow, was busy making TV crime and western films at the time.

    Dick Foran (the singing cowboy from the 30s) plays an honest Union President, and sexy Beverly Garland plays his girlfriend. Brian Keith gets top billing as an ambitious DA (this is his first starring role in a film) and there are plenty of competent character actors including Elisha Cook Jr. (the "gunsill" from Maltese Falcon), John Hamilton (Perry White from TV's Superman) and big Douglas Kennedy ("Steve Donovan, Western Marshall").

    This isn't a terrible film, but when you think about what else came out in 1957 - "Bridge on the River Kwai", "Sayonara", "Three Faces of Eve", "Pal Joey", "Funny Face", "Witness for the Prosecution" - it's clearly weak.
  • planktonrules4 November 2023
    "Chicago Confidential" is an excellent crime film and much of the reason is the taught script and the acting of Brian Keith, a man who was an excellent movie actor but who is known much more for his light television faire.

    Organized crime is trying to take over the unions in Chicago. But instead of just muscling in, this group using some muscle...but brains as well. Instead of just killing the honest leaders of the union, they kill one and frame the other for his murder. It's evil...but also very clever...so clever that the honest District Attorney (Keith) falls into their trap and convicts an innocent man. Later, however, he learns that he might have been used by the mob and the DA springs into action to uncover the truth.

    Keith is great and the script is very good. But there is one glaring logical problem...why would the DA put himself into such dangerous situations without a police escort?! Even when the DA is attacked and killed by these crooks, he STILL seems to be on a one-man crusade...which is not logical at all. But, despite this, the film is never dull and is well worth your time.
  • Warning: Spoilers
    There's nothing particularly original about this story of corrupt unions on one side and the "chief attorney" on the other. The stark but unimaginative lighting and photography stems from the fagged out noir cycle. The story could easily have been out of a Warner Brothers drawer with George Raft in the lead. The performances are routine, the direction flat, and even the set dressing perfunctory. (An alley is shown by a single plaster wall of simulated brick. It has one poster on it. The poster says, "Post No Bills.") We are introduced to the story and some of the characters by a portentous narrator who informs us that, while most unions work hard and honestly to advance the causes of their members, a few are corrupt. But we don't really get to know much about the unions or how they operate, although I suppose they were fair game after the success of "On the Waterfront" a few years earlier. Here they're just a peg to hang the tale on. The real ring leader is a disbarred lawyer who runs things through three or four thugs. The District Attorney (or whatever he is) finds out, like Dana Andrews did in "Boomerang," that the wrong man (Dick Foran) is charged with a murder and he spends the rest of the film almost alone, digging up evidence of Foran's innocence. He gets into fist fights and shoot outs like any inexpensive movie private eye.

    Brian Keith is the D.A. He's shown some insinuating displays of talent elsewhere, but here he spends most of the time speaking quietly and staring at the floor. Elisha Cook, Jr., is a likable rummy but can't do a good drunk. Beverley Garland is okay but is undermined by the direction, which has her gawking in a night club when she should be furtive. The remainder of the cast would be suitable for a TV series.

    And nobody is helped by the writing. When a "B girl" is about to be shipped by the union mob to the Filippines, someone advises her that she only has to learn a few words of Spanish. "I only know one word," she says, "Si. Yes." The writers have not trusted the audience to know that "si" in Spanish means "yes." The plot is clumsy and has holes in it. Keith visits a witness in her flat over a night club. He enters the door and has a gun shoved in his back by a yegg, but he outwits the heavy and knocks him out. Then the orders someone to call the police. The rest of the scene, played out at some length in the night club downstairs, forgets all about the police and they never show up, nor are they expected by anyone.

    It's nothing to be ashamed of, and some people might enjoy it, but there is similar stuff, better done, elsewhere.
  • The "Confidential" part was meant to piggy-back on the popular appeal of the lurid magazine of the same name, while the labor racketeering theme tied in with headline Congressional investigations of the day. However, despite the A-grade B-movie cast and some good script ideas, the movie plods along for some 73 minutes. It's a cheap-jack production all the way. What's needed to off-set the poor production values is some imagination, especially from uninspired director Sidney Salkow. A few daylight location shots, for example, would have helped relieve the succession of dreary studio sets. A stylish helmsman like Anthony Mann might have done something with the thick-ear material, but Salkow treats it as just another pay-day exercise. Too bad that Brian Keith's typical low-key style doesn't work here, coming across as merely wooden and lethargic. At the same time, cult figure Elisha Cook Jr. goes over the top as a wild-eyed drunk. Clearly, Salkow is no actor's director. But, you've got to hand it to that saucy little number Beverly Garland who treats her role with characteristic verve and dedication. Too bad, she wasn't in charge. My advice-- skip it, unless you're into ridiculous bar-girls who do nothing else but knock back whiskeys in typical strait-jacketed 50's fashion.
  • Warning: Spoilers
    It was only 3 years since the award winning "On the Waterfront" dealt with union corruption. In 1957 we see it again in this film.

    An honest official is framed for the murder of the secretary of the union. Has the underworld really taken control of the union! They use it for all sorts of corruption including the importation of call-girls.

    As the D.A. with designs on becoming governor, Brian Keith begins to have his doubts regarding the verdict.

    The bodies really begin to pile up here as the underworld will eliminate just about anyone who knows the truth.

    This is certainly a timely film dealing with subject matter that was relevant in the years to come and may very well be relevant in today's world.
  • tangmusi18 August 2023
    Unlike with the City that Never Sleeps, I didn't recognize a single Chicago location, unless you count still photographs. I think this was made in LA, and I'm bummed because I watched it to see old footage of my city.

    It's well acted, and well structured, but the story hinges on a plot point, and some pseudoscience, that are so loopy they would be camp, if it were not for how straight everyone plays it, like a police procedural. If you get a kick of how old science plays out in old movies, or dated, or incredibly fictional science, that might be fun for you.

    Plus, the State's Attorney re-examines something on the flimsiest possible basis. We're all used to that, every time someone says they have a hunch in movies, sure. But this is more like "someone who is biased yelled at me," and "leave no stone unturned to the point of being ridiculous."

    So, this is a well acted, well structured movie that hinges on a couple of incredibly goofy plot points.

    However, it's a blast to see Jack Lambert in this. I always think of him as the Lee Marvin who never made it big. He's similarly born to play toughs.
  • Chicago Confidential (1957)

    * 1/2 (out of 4)

    Boring, low-budget crime drama about racketeers forcing their way into unions. In this case, a D.A. (Brian Keith) swears to bring them down by ends up locking away an innocent man (Dick Foran) and with the help of his girlfriend (Beverly Garland) they try to get the real killer. CHICAGO CONFIDENTIAL is trying hard to be dark, cool and serious but it pretty much fails on all three levels. To be honest though, this here really isn't any worse than the countless "B" crime pictures that were released around this time as they all feature the same limitations. Some of those are obviously the budget but I think a good director and cast can turn this into a benefit. That really doesn't happen here and what we're left with is just one clichéd scene after another and it all boils up to a climax that you'll see coming from a mile away. What made this film so hard to get through was the Dragnet-like voice overs that narrate the entire film. I always found this routine to be rather cheap and pathetic for a number of reasons but the biggest one is that it really tells the viewer that they're too stupid to understand what's going on. That's what happens the majority of the time but this film goes a step further by not even bothering to have the action in the film do anything and instead we're just told what should be happening with the narration. The plot of this film is so weak because it seems they didn't try to have anything happen in front of our eyes and instead we're told everything. Keith, Garland and Foran are fun to watch but even they can't save this film. Elisha Cook, Jr. plays a drunk who holds some key evidence.
  • Warning: Spoilers
    I'm grounded in watching this and "Chicago Syndicate" back to back, I didn't notice much of a difference other than the fact that this plot line surrounds corruption within a union as opposed kill the director mob bosses of "Chicago Syndicate". It features the same type of melodramatic narration, corrupt mob boss's running the union from behind the scenes and the frame of a murder on the union leader Dick Foran who is clearly innocent. It's up to district attorney Brian Keith to clear Foran and find the evidence to pin on the sinister Douglas Kennedy, and with the help of Firenze girlfriend (the always terrific Beverly Garland), he will definitely do his best to accomplish that.

    Once again, this relies on cliched dialog, mostly cardboard characters, some great location footage and of course the obligatory chase sequences and shootouts. But the narration rings false, dramatically presented without conviction to try to make the audience think this based on a true story. Had there not been dozens of these movies made throughout the 1950's into the 1960's, some of these would have seemed a bit better than your typical early TV crime drama.