99 River Street (1953)
Posted: October 20th, 2009, 6:23 am
99 River Street (1953), a rarely seen Phil Karlson film featuring one of John Payne and Evelyn Keyes' best performances, is available in a beautiful black and white print online at hulu, beginning here. (Btw, the site has a completely incorrect plot description posted for this film).
One of the worst looking movie posters ever may not have helped this little movie's marketability.
Is it a perfect movie or director Karlson's best work? Perhaps not, but Payne's capacity for creating an appealing character afflicted with a crippling paralysis of self-confidence and more than a touch of self-pity (seen in some interesting flashes in films as diverse as The Dolly Sisters, Sentimental Journey, The Razor's Edge and Kansas City Confidential), may never been better on screen. This may have been due in part to Payne as well as Karlson's contributions to the script, credited to George Zuckerman for story and Robert Smith for screenplay. A big, athletic looking lug, Payne's doughy, slightly hangdog face and capacity for bursts of violent action are put to good use throughout this movie as he builds a fairly nuanced character nearing the end of his tether. One quibble: would John Payne's character of Ernie ever trust another female again, given his experiences in this film? You decide, but I have my doubts, though that niggling question adds somewhat to the suspense and tension of this story.
A careworn and anxious John Payne as the former heavyweight contender, Ernie Driscoll.
The film, photographed exquisitely by cinematographer Franz Planer mostly at night, tells the story of a washed-up former heavyweight fighter Ernie Driscoll (Payne) who can no longer get in the ring without damaging his already impaired optic nerve, though he can still relive his moment of defeat via the television replay, in a neat opening sequence. Ernie's visions of the future have shriveled along with his marriage to former showgirl, Peggie Castle, though he still harbors a small dream of owning his own service station, much to Peggie's mocking disgust.
Peggie Castle as Ernie's dissatisfied wife, may think that her frustrated dreams might be satisfied by that slick operator, Brad Dexter.
Nursing his wounded spirit and hauling around an unhealthy sense of bitterness, Payne drives a cab now, mumbling to himself about his dashed dreams. When he's not brooding, Payne spills his troubles at an all night coffee shop, seeking some rather simplistic marital advice from his former trainer turned dispatcher, Frank Faylen, who recommends trite patches such as flowers, candy and getting his wife pregnant to shore up a marriage that is rapidly taking on water. Impulsively visiting his wife at her job at a high end florist, Payne is rapidly disillusioned about his wife's loyalty and he understandably begins to behave impulsively like a man without a future or hope.
Dispatcher, sounding board and friend Frank Faylen passes out advice and guidance to his buddy, Payne.
Another loiterer at the cafe is a shopworn, would-be Broadway actress, Evelyn Keyes, whose desperation over her life and career receives some support from Payne, who also lends the actress small amounts of money and a friendly ear. Payne and Keyes are an odd pair, whose slight friendship and eventual alliance grows out of mutual underlying despair and their tacit recognition of their spiritual kinship. Are they a romantic pair? I'd like to know your take on that aspect of this script.
Evelyn Keyes acting her way through real life.
As the story progresses, even as his own troubles threaten to overwhelm him, Payne's tentative bond with the struggling actress takes a compelling twist that reveals his character's underlying generosity and compassion even if it strains credibility. Despite committing an act that might permanently alienate a lesser man, the twosome share their eventual pursuit of those who are responsible for shattering Payne's threadbare life further. Perhaps Payne's forgiving nature and distracted state of mind allow him to let Keyes' rather duplicitous character near him again, but her character's turnabout seems a bit unlikely, even if her capacity for being all things to all men make her a useful companion in this hunt for Brad Dexter, who plays a jewel thief and cold-hearted adulterer. Dexter, who is usually a limited actor with little impact on screen, is used well by the director in this film. His slick appearance, stylish manner and tough guy veneer perfectly conveys his character's shallowness and menacing presence.
Life throws Ernie (John Payne, seen with Evelyn Keyes) one unexpected curve after another.
I don't want to spoil the experience you might have watching this very well made B movie, but suffice it to say that John Payne's character and acting is exceptionally good and quite complex as he finds some meaning in his largely pointless existence as his adrenalin-fueled journey into darkness progresses. As his desperation grows with each new assault on his self-esteem and ragged hope for the future, one chaotic event after another and the violence that accompanies them gradually rouses him from his isolated injustice collecting and goads him to take action to right things at any cost. Throughout this nocturnal effort to find his way out of the maze of his life, he is supported ably by Keyes as a born manipulator (or is she?), Faylen as the always believable salt-of-the-earth helper, Brad Dexter in an even better role than he enjoyed in The Asphalt Jungle, and, to top things off, a wonderfully expressive Jay Adler, as a pet shop owner/fence, whose remark that he "doesn't do business with women" triggers some unexpected action.
Above, Jay Adler and Brad Dexter try to come to terms.
Below, Adler is helped by the always reliable heavy, Jack Lambert, who pummels Payne in several scenes.
As to the themes of this movie, it has quite a bit to say about violence, (which is treated in a realistic way, with every blow, whether psychological or physical, leaving a mark), handling life's roller coaster ride, and in one of the most scathing sequences, has much to say about the blurring of the line between acting and reality in "real life".
One of the worst looking movie posters ever may not have helped this little movie's marketability.
Is it a perfect movie or director Karlson's best work? Perhaps not, but Payne's capacity for creating an appealing character afflicted with a crippling paralysis of self-confidence and more than a touch of self-pity (seen in some interesting flashes in films as diverse as The Dolly Sisters, Sentimental Journey, The Razor's Edge and Kansas City Confidential), may never been better on screen. This may have been due in part to Payne as well as Karlson's contributions to the script, credited to George Zuckerman for story and Robert Smith for screenplay. A big, athletic looking lug, Payne's doughy, slightly hangdog face and capacity for bursts of violent action are put to good use throughout this movie as he builds a fairly nuanced character nearing the end of his tether. One quibble: would John Payne's character of Ernie ever trust another female again, given his experiences in this film? You decide, but I have my doubts, though that niggling question adds somewhat to the suspense and tension of this story.
A careworn and anxious John Payne as the former heavyweight contender, Ernie Driscoll.
The film, photographed exquisitely by cinematographer Franz Planer mostly at night, tells the story of a washed-up former heavyweight fighter Ernie Driscoll (Payne) who can no longer get in the ring without damaging his already impaired optic nerve, though he can still relive his moment of defeat via the television replay, in a neat opening sequence. Ernie's visions of the future have shriveled along with his marriage to former showgirl, Peggie Castle, though he still harbors a small dream of owning his own service station, much to Peggie's mocking disgust.
Peggie Castle as Ernie's dissatisfied wife, may think that her frustrated dreams might be satisfied by that slick operator, Brad Dexter.
Nursing his wounded spirit and hauling around an unhealthy sense of bitterness, Payne drives a cab now, mumbling to himself about his dashed dreams. When he's not brooding, Payne spills his troubles at an all night coffee shop, seeking some rather simplistic marital advice from his former trainer turned dispatcher, Frank Faylen, who recommends trite patches such as flowers, candy and getting his wife pregnant to shore up a marriage that is rapidly taking on water. Impulsively visiting his wife at her job at a high end florist, Payne is rapidly disillusioned about his wife's loyalty and he understandably begins to behave impulsively like a man without a future or hope.
Dispatcher, sounding board and friend Frank Faylen passes out advice and guidance to his buddy, Payne.
Another loiterer at the cafe is a shopworn, would-be Broadway actress, Evelyn Keyes, whose desperation over her life and career receives some support from Payne, who also lends the actress small amounts of money and a friendly ear. Payne and Keyes are an odd pair, whose slight friendship and eventual alliance grows out of mutual underlying despair and their tacit recognition of their spiritual kinship. Are they a romantic pair? I'd like to know your take on that aspect of this script.
Evelyn Keyes acting her way through real life.
As the story progresses, even as his own troubles threaten to overwhelm him, Payne's tentative bond with the struggling actress takes a compelling twist that reveals his character's underlying generosity and compassion even if it strains credibility. Despite committing an act that might permanently alienate a lesser man, the twosome share their eventual pursuit of those who are responsible for shattering Payne's threadbare life further. Perhaps Payne's forgiving nature and distracted state of mind allow him to let Keyes' rather duplicitous character near him again, but her character's turnabout seems a bit unlikely, even if her capacity for being all things to all men make her a useful companion in this hunt for Brad Dexter, who plays a jewel thief and cold-hearted adulterer. Dexter, who is usually a limited actor with little impact on screen, is used well by the director in this film. His slick appearance, stylish manner and tough guy veneer perfectly conveys his character's shallowness and menacing presence.
Life throws Ernie (John Payne, seen with Evelyn Keyes) one unexpected curve after another.
I don't want to spoil the experience you might have watching this very well made B movie, but suffice it to say that John Payne's character and acting is exceptionally good and quite complex as he finds some meaning in his largely pointless existence as his adrenalin-fueled journey into darkness progresses. As his desperation grows with each new assault on his self-esteem and ragged hope for the future, one chaotic event after another and the violence that accompanies them gradually rouses him from his isolated injustice collecting and goads him to take action to right things at any cost. Throughout this nocturnal effort to find his way out of the maze of his life, he is supported ably by Keyes as a born manipulator (or is she?), Faylen as the always believable salt-of-the-earth helper, Brad Dexter in an even better role than he enjoyed in The Asphalt Jungle, and, to top things off, a wonderfully expressive Jay Adler, as a pet shop owner/fence, whose remark that he "doesn't do business with women" triggers some unexpected action.
Above, Jay Adler and Brad Dexter try to come to terms.
Below, Adler is helped by the always reliable heavy, Jack Lambert, who pummels Payne in several scenes.
As to the themes of this movie, it has quite a bit to say about violence, (which is treated in a realistic way, with every blow, whether psychological or physical, leaving a mark), handling life's roller coaster ride, and in one of the most scathing sequences, has much to say about the blurring of the line between acting and reality in "real life".