NIGHT AND THE CITY [1950 / 2015] [The Criterion Collection] [Blu-ray] [USA Release]
Based on the Crime Thriller novel “Night and the City” by Gerald Kersh!
The Criterion Collection, a continuing series of important classics and contemporary films, presents ‘NIGHT AND THE CITY’ where a Two-bit hustler Harry Fabian [Richard Widmark] longs for “a life of ease and plenty.” Trailed by an inglorious history of go-nowhere schemes, he tries to hatch a lucrative plan with a famous wrestler. But there is no easy money in this underworld of shifting alliances, bottomless graft, and pummelled flesh and Harry Fabian soon learns the horrible price of his ambition. Luminously shot in the streets of London while Hollywood blacklisted actors back home were closing in on director Jules Dassin. ‘NIGHT AND THE CITY,’ also starring Gene Tierney, is “film noir” of the first order, and one of Jules Dassin’s crowning achievements.
FILM FACT: Director Jules Dassin later confessed that he never read the novel the film is based upon. Jules Dassin recalls that the casting of Gene Tierney was in response to a request by Darryl Zanuck, who was concerned that personal problems had rendered the actress suicidal, and hoped that work would improve her state of mind. The film's British version was five minutes longer, with a more upbeat ending and featuring a completely different film score. Jules Dassin endorsed the American version as closer to his vision. The film contains a very tough and prolonged fight scene between Stanislaus Zbyszko, a celebrated professional wrestler in real life, and Mike Mazurki, who before becoming an actor was himself a professional wrestler.
Cast: Richard Widmark, Gene Tierney, Googie Withers, Hugh Marlowe, Francis L. Sullivan, Herbert Lom, Stanislaus Zbyszko, Mike Mazurki, Charles Farrell, Ada Reeve, Ken Richmond, Derek Blomfield (uncredited), Clifford Buckton (uncredited), Ernest Butcher (uncredited), Peter Butterworth (uncredited), Edward Chapman (uncredited), Clifford Cobbe (uncredited), Patricia Davidson (uncredited), Maureen Delaney (uncredited), Aubrey Dexter (uncredited), Thomas Gallagher (uncredited), James Hayter (uncredited), George Hirste (uncredited), Hamilton Keene (uncredited), Kay Kendall (uncredited), Hubert Leslie (uncredited), Arthur Lovegrove (uncredited), John Mann (uncredited), Lew Marco (uncredited), Gibb McLaughlin (uncredited), MacDonald Parke (uncredited), Charles Paton (uncredited), Chunky Pattison (uncredited), Eddy Reed (uncredited), Betty Shale (uncredited), Ray St. Bernard (uncredited), C. Denier Warren (uncredited), Brian Weske (uncredited) and Russell Westwood (uncredited)
Director: Jules Dassin
Producers: Darryl F. Zanuck (uncredited) and Samuel G. Engel
Screenplay: Austin Dempster (uncredited), Jo Eisinger, William E. Watts (uncredited) and Gerald Kersh (novel)
Composers: Benjamin Frankel (British version) and Franz Waxman (American version)
Cinematography: Mutz Greenbaum (Director of Photography)
Image Resolution: 1080p (Black-and-White)
Aspect Ratio: 1.37:1
Audio: English: 1.0 LPCM Mono Audio
English: 2.0 Dolby Digital Stereo Audio
Subtitles: English SDH
Running Time: 95 minutes and 101 minutes
Region: Region A/1
Number of discs: 1
Studio: 20th Century-Fox / The Criterion Collection
Andrew’s Blu-ray Review: ‘NIGHT AND THE CITY’ [1950] is an excellent title for a “film noir” night-time scenes and cityscapes are two of noir's iconic elements, after all. It also describes Hollywood during the years of communist hunting and blacklisting that began in the late 1940s and persisted for more than a decade, wrapping the entertainment industry in dark clouds of suspicion. Jules Dassin was directing ‘NIGHT AND THE CITY’ in location in London when he found that he'd been placed on the infamous blacklist, and the excellence of the 1950 production is a testament to his capacity for doing superb work under pressure. By any standard, ‘NIGHT AND THE CITY’ ranks with the best of the best “film noir” ever made.
In the late 1940s, Hollywood director Jules Dassin made a string of fine “films noir” films like ‘Brute Force’ [1947], ‘The Naked City’ [1948], and ‘Thieves’ Highway’ [1949]. However, Jules Dassin was blacklisted in Hollywood and, as quickly as he could, travelled to London to continue his film career, until he passed away in March 2008 in France. Before he left America , Twentieth Century Fox producer Darryl Zanuck apparently put a book in his hand and told him it was his next film. The book was Gerald Kersh’s 1938 novel “Night and the City,” and indeed it was Jules Dassin’s next film, filmed entirely on location on the beautifully dark streets of London. Today, The Criterion Collection has now upgraded their old inferior DVD release of the ‘NIGHT AND THE CITY’ film, which is now with an even more stunning image quality on this new Blu-ray disc release.
The ‘NIGHT AND THE CITY’ film takes place in London, and the protagonist, who is someone feel we want cheer for, is a desperate American named Harry Fabian [Richard Widmark]. Harry Fabian knows how to talk the talk, but there’s just something missing, Harry Fabian has never had success so his plans from the perspective of other people can’t help but sound very hollow. The only good thing in Harry Fabian’s life is something he cannot and doesn’t seem to recognise or appreciate, and that is the love of his life and especially the honest Mary Bristol [Gene Tierney]. But what does Mary Bristol see in Harry Fabian? Why does Mary exercise even a bit of hope that he’ll get some money and come around so he can discard this frantic search for fame and fortune? Sadly Mary is too kind hearted and is definitely a bit naïve.
Not so naïve are the other characters in ‘NIGHT AND THE CITY’ who “know” Harry Fabian too well and an old acquaintance named Helen Nosseross [Googie Withers] and her husband Phil Nosseross [Francis L. Sullivan], who knows all too well that his wife Helen Nosseross does not really love him, and has never loved him, and would leave him if she only had the ability to support herself in this dog-eat-dog community that they are all part of and definitely they have a two way love hate relationship.
It’s a community that comes alive at night, where Phil Nosseross owns The Silver Fox night club and spends a lot of time in his office that overlooks the room. Helen Nosseross manages the floor under his watchful eye. Periodically Harry Fabian shows up hoping they’ll finance something else he’s dreamed up while wandering the dark streets. At this time, he’s wandered into a wrestling match. There Harry Fabian chances upon an uncomfortable conversation between a father and son. The father is the great Greco-Roman wrestler, Gregorius [Stanlislaus Zbyszko] (who really was a famous wrestler). With forever an open eye for the next mark, Harry Fabian blends into London's underbelly like a human chameleon, though his schemes are wearing a little thin. Harry Fabian dreams he is on his way up to the big time when he meets Gregorius [Stanislaus Zbyszko], an aging but proud Greco-Roman wrestler, and Nikolas (Ken. Richmond), his young and sturdy protégé. Gregorius despises his shady entertainment-oriented wrestling promoter son Kristo [Herbert Lom].
Gregorius son Kristo is another wealthy ruler of the night life and Gregorius is ashamed that his son has put on this particular unsavoury wrestling match, which goes against the venerable tradition of Greco-Roman style wrestling in which his father Gregorius was celebrated for his style of wrestling. But Harry Fabian sees a golden opportunity to use this dispute to his advantage and sets the scene for outcome that eventually has a tragic finale of this film. Harry Fabian attentively notices the dynamics of the father-son relationship, and again sees a golden opportunity to compete with Kristo's with his circus-style wresting shows. Gregorius believes Harry Fabian truly admires the skill and dignity of competitive Greco-Roman wrestling, but of course all Harry Fabian really cares about is hopefully getting his financial freedom. Harry Fabian's materialistic drive is shown to be eventually totally destructive to himself and everyone else who crosses paths with him. In his own way, Harry Fabian is ambitious and hard-working, but lacks the resources and alliances necessary to succeed on the very competitive playing field he has chosen. He is reprehensible alright, but not a totally unlikable guy. The film contains a very tough and prolonged fight scene between Gregorius [Stanislaus Zbyszko] and the Strangler [Mike Mazurki], who before becoming an actor was himself a professional wrestler, which unfortunately and sadly leads to the death of Stanislaus Zbyszko's character in the film, which Richard Widmark thought, was for real.
‘NIGHT AND THE CITY’ supports Marxist concerns about the dark side of capitalism, especially in the context of the urban jungle's thriving night life and sprawling the City of London streets connected by black cab rides, stairways, docks and the Hammersmith Bridge. It is an unforgiving milieu where you do not dare attempt to escape your existing position in society. The mere thought of such an endeavour is laughable. In one of the film's greatest sequences, potential backer Philip Nosseross [Francis L. Sullivan] who steals every scene in which he appears in, laughs uncontrollably when Harry Fabian describes his plan to become a successful professional wrestling promoter. Thanks to an especially strong performance from Richard Widmark, Harry Fabian earns our sympathy during this awkward exchange. Despite his best efforts, however, Harry Fabian proves himself completely outmatched with the insider’s business of a world dominated by ruthless creeps like Philip Nosseross and Kristo. Another serious problem with Harry Fabian is the devious way he gets the honourable man Gregorius, to be dragged into the dishonest world of moral decay and forgotten values and it is also with disgust Gregorius sees that his own son Kristo thrives in this environment of sleazy fakery and corruption; a place where the drunken goon wrestler the Strangler [Mike Mazurki] takes centre stage amid unfortunate appreciative cheers.
The Silver Fox (a sort of seedy Gentleman’s club) is the other major focal point of organised corruption and dirty money. It is a place where you never know who your allies are, and relationships are based on selfishness and deceit, especially within the incredibly dysfunctional union of marriage as evidenced with Helen Nosseross [Googie Withers] and her husband Philip Nosseross. The two appear inseparably condemned to each other, with neither deriving any satisfaction and with the film ‘NIGHT AND THE CITY,’ we really see the underbelly idealised imagery contrasts with the reality of deceptive relationships and totally void of eventually seeing a potential disaster in the end.
As the film progresses, we find out that it is a very dangerous game, though in fact, about half way through the film we eventually find it is totally doomed from the very start. Harry Fabian is an irritant little man and men like Kristo and Philip Nosseross are at the top of their world and game because they have learned how to work in the shadows and the system. There is never a moment when we think Harry Fabian has the upper hand, except when he eventually gets Gregorious in his corner and in the hope his venture is going reap great rewards Harry Fabian has always dreamed of. But of course, this is only the start of more tragedy; especially when we see Harry Fabian exploit the honest Mary Bristol in a most devious way and we know Harry Fabian is capable of simply exploiting this very honourable young lady that will eventually ends with Harry Fabian a broken man and his eventual downfall. But of course we all feel like an uncomfortable voyeur, especially watching all of these despicable characters stab each other in the back for money and power, but not knowing it, we see Harry Fabian has started a chain reaction that hits his enemies in the heart, which at the same time is a very sad and intense dramatic “film noir,” especially with the really beautiful stunning Black-and-White images, which is a real tour-de-force film that has so much passion and drama to keep you on your edge of your seat from start to finish, and The Criterion Collection organisation has given this brilliant acted “film noir” has be given a new lease of life for a new generation of fans of this type of film.
NIGHT AND THE CITY MUSIC TRACK LIST
HERE’TO CHAMPAGNE (uncredited) (Written by Noel Gay) [Performed by Gene Tierney and voice dubbed by Maudie Edwards]
THE RIGHT KIND (uncredited) (Music by Lionel Newman and Charles Henderson) [Played at the Silver Fox]
DON’T FENCE ME IN (uncredited) (Music by Cole Porter) [Played at the beginning of the American Bar scene] (US version)
I’M LOOKING OVER A FOUR-LEAF CLOVER (uncredited) (Music by Harry M. Woods) [Played when Harry steers the Americans to the Silver Fox] (US version)
AGAIN (uncredited) (Music by Lionel Newman) [Played when Philip gives Helen a silver fox wrap (US version)
SHE WAS POOR BUT SHE WAS HONEST (uncredited) (Music by R.P. Weston) [Played on the accordion at the bar when Harry meets Helen] (US version)
THERE’S YES! YES! IN YOUR EYES (uncredited) (Music by Joseph H. Santly) (US version)
YOURS (Quiéreme mucho) (uncredited) (Music by Gonzalo Roig) (US version)
IT HAPPENS EVERY SPRING (uncredited) (Music by Josef Myrow) (US version)
Blu-ray Image Quality – Jules Dassin’s classic Black-and-White “film noir” ‘NIGHT AND THE CITY’ receives a brand new Blu-ray upgrade featuring a new 1080p high-definition presentation created from a new 4K restoration. Like the original film on The Criterion Collection original inferior DVD disc, that was only just so, but with this new The Criterion Collection Blu-ray disc, I have found that it just clearly is blown away by this new transfer. This Blu-ray disc is presented again in its original aspect ratio of 1.37:1 on a dual-layer disc. The restoration was done from a new scan of the original 35mm camera negative. The Blu-ray is so much crisper, and is so much smoother and natural in motion, so much cleaner, and far more filmic, the film looks absolutely fabulous and has a noticeable improvement in definition the image now delivers the fine subtle details far better. Contrasts with the black levels look totally terrific, the grey levels have a superior smooth transitioning from light to dark, and blacks are perfectly inky. The Criterion Collection Blu-ray offers a far more natural filmic look and is the best I’ve yet seen the film on home video for quite some time.
Blu-ray Audio Quality – The Criterion Collection Blu-ray of ‘NIGHT AND THE CITY’ 1.0 LPCM Mono Audio is still very impresses quality despite its age. It is 100% clean with no noticeable noise or distortion, the track is nicely mixed with excellent volume levels and obvious range. Dialogue is also very clean and sounds fairly natural, though the music can sound slightly edgy some times when it tries to go for the higher moments, and the sound effects sometimes come off slightly hollow on occasions. But overall the audio sounds again are excellent despite its age and I think The Criterion Collection people have still done a brilliant clean-up job and perfect restoration that they should be very proud in producing to a very high standard as usual.
Blu-ray Special Features and Extras:
Audio Commentary with film scholar Glenn Erickson: Recorded by The Criterion Collection in 2004. This special audio commentary features Glenn Erickson, who is the author of “Film Noir Reader” essay on ‘NIGHT AND THE CITY’ and is also the editor of the website “DVD Savant.” The audio commentary by film scholar Glenn Erickson gives a fairly thorough history to the film’s production, from Jules Dassin’s blacklisting to the two alternate versions that came about from what was filmed. Also with the Glenn Erickson audio commentary he informs us of his observations about the film’s look and style, the film’s locations, and also Daryl F. Zanuck’s “input” into the film, comparisons to the original novel, which is totally very different, he also discusses the novel by Gerald Kersh that inspired Jules Dassin to direct ‘NIGHT AND THE CITY,’ especially the shooting script by Austin Dempster and Jo Eisinger, showing us some of the major differences between the director's preferred American Version of the film and the longer British Version. Though in another special feature we get to hear that Jules Dassin never actually read the book, and how Gene Tierney came to be involved. Glenn Erickson does again make comparisons to the British version and also talks about many sequences exercised from the original script. Glenn Erickson informs us by says ‘NIGHT AND THE CITY,’ stretches “film noir” conventions, themes, and philosophies to the limit and its bleak and violent ending has never been topped. We also have brief bios of the cast and crew members, along with an analysis of the narrative and Jules Dassin's “film noir” style, a chronicle of Jules Dassin's career and troubles during the Communist witch hunt that swept through Hollywood in the late 1940s, and some bits of trivia. Glenn Erickson also remarks on the mixed critical reaction to the film at the time of its release. Despite the fact that Glenn Erickson is obviously reading from notes and sounds like he tends to be faking his enthusiasm in places, but despite this Glenn Erickson still performs an excellent commentary track. To listen to this audio commentary while viewing the film, please press the AUDIO key button on your Blu-ray remote control hand set anytime and happy listening folks!
Special Feature: The British Version [1950] [1080p] [1.37:1] [101:00] After director Jules Dassin was blacklisted in Hollywood while filming ‘NIGHT AND THE CITY’ in England, the film was assembled into Two different differently edited and scored versions, one in London and one in Hollywood. Although Jules Dassin was not present for either editing sessions, but despite this he much preferred the American release and is the version Jules Dassin said was closest to his vision. So here for the first time is the full British longer version of the film, where we find the British version is different and tonally opposite ending, as well as a different film score and The Criterion Collection lets you decide which version you prefer.
Special Feature: Two Versions, Two Scores [2005] [1080p] [1.37:1] [23:54] This is a special documentary made for The Criterion Collection and one of my favourite of all the supplements, in which film music scholar Christopher Husted examines the comparison in particular the ways in which the scores for the British and American versions of the film and the effect of their meanings, Chris Huston talks us through the scores for the British and American version of the film. Beyond the score, Christopher Husted talks about how the two films are quite different in other ways as well, especially characterisation, though both come from, mostly, the same footage. This is a fascinating look at the elements that make a film, and how choices about those elements can really affect the outcome. At the start of this special feature Christopher Husted introduces himself and informs us that in 2003 he wrote an essay for the unique CD Soundtrack Album, that was presented with the two film scores for the same film ‘NIGHT AND THE CITY,’ and talks how the American version compared to the British film version differed so radically, in not only in the music score, but in characterisation and meaning, which was done for the two markets, and especially meaning the American and British audiences. Christopher Husted feels the difference between the two music scores are extraordinary, where he feels the Franz Waxman’s music score is much more dramatic, because he used a larger orchestra and also feels the music score has some romantic touches, as well as very melodramatics, with occasional jazz themes. But with Benjamin Frankel music score reflected the style of music the was prominent in the UK in the 1950s, because it was not so dramatic as the Franz Waxman’s music score, because Benjamin Frankel used a smaller orchestra, plus the music score was used more sparingly throughout the film. Christopher Husted eventually gives us an example of the different music scores at the start of the American and British films, and you get a very dramatic effect of the music scores and really show up the difference style of music presentation. One interesting fact we get to hear is that both composers had a lot in common, and that is both were born in 1906, Benjamin Frankel was born on 31st January in London and Franz Waxman was born on the 24th December in Germany and between them they have both scored over a 100 compositions. Christopher Husted asks that there is a natural tendency to ask which music score is best or which film is better, but Christopher Husted suggests that to do so would miss the point entirely, though both versions were created almost identical material, but still have a purpose, because each music score reflect their distinct style in filmmaking. But Christopher Husted feels the end of the American version is more cynical, despite Hollywood’s reputation for rampant romanticism, but ironically the British version which chooses the romantic view of the aftermath of Harry Fabian’s demise. One totally fascinating information we hear from Christopher Husted, is that the song “Here's to Champagne” (uncredited) that is sung in The Silver Fox night club was specifically penned and written by Noel Gay, which as we see is performed by Gene Tierney (voice dubbed by Maudie Edwards) in The Silver Fox nightclub. So ends a totally fascinating special feature from Christopher Husted, who does such a brilliant and professional job explaining the difference between the American and British versions of the film and Christopher Husted certainly has a deep affection for the film ‘NIGHT AND THE CITY’ and is well worth viewing.
Special Feature: Exclusive Interview with director Jules Dassin on ‘NIGHT AND THE CITY’ [2005] [1080p] [1.37:1] [17:50] In this special interview, conducted by The Criterion Collection, director Jules Dassin (who sadly passed away just a few years later in March 2008, at the age of 96). Here Jules Dassin discusses why ‘NIGHT AND THE CITY’ [1950] was made in London and how much he loved the cast, and under certain circumstances it was almost as tense as the drama in the film itself. Knowing Jules Dassin was about to be blacklisted during the Communist witch hunts of the McCarthy era, director Jules Dassin fled to London, where he briskly made the film for Twentieth Century-Fox. In this interview with the filmmaker, which was recorded specially and where Jules Dassin recalls those days, and also confesses a rather surprising secret about making the film. He is an excellent story teller, seeing quite a bit of humour in the history of cinema and it was much later on, when he finally read the book or at least skimmed it that he realised the book was quite different from the film. Jules Dassin also informs us that when the picture was in the can, Jules Dassin discovers that he was now blacklisted and forbidden to set foot in the studio and this prevented him from supervising the editing, which is terrific anyway and overseeing the music for the film. Jules Dassin also informs us that Benjamin Frankel composed the original score, and was informed by Twentieth Century-Fox that the music composition for the British film was replaced with the composed music by the great Franz Waxman for the United States release and the picture was also shortened by a few minutes for the American audiences. Jules Dassin has a great deal of love for the craft of filmmaking and for those who worked with him. This is a great interview and well worth viewing, because Jules Dassin is a really fascinating person. The interview was carried out by Issa Clubb and Bruce Goldstein.
Special Feature: L’invite du Dimanche [1970] [480i] [1.37:1] [25:24] In this excerpt, that was broadcast on the 14th July, 1970 for the French INA [Institut National de l'Audiovisuel] Television Service entitled “L’invite du Dimanche” where interviewer Paul Seban asks director Jules Dassin about his Hollywood years and what was it like in 1939 and of course his relocation to Europe after being blacklisted in Hollywood. Jules Dassin was one of the unfortunate souls who experienced the cruelty of McCarthyism first-hand and his career in Hollywood was abruptly ended because of after finding out the news of his blacklisting, and so the director re-located to France and spent the remainder of his life there which made perfect sense, and this interview deals extensively with the American film system and it’s impersonal, star-vehicle productions. Jules Dassin amusingly begins the discussion by detailing his time on set with Joan Crawford, who, allegedly, was not a fan of hearing the word “cut.” Sadly the quality of the video is very grainy and very washed out, plus some of the white subtitles nearly disappear off the bottom of the image area. [English Subtitles].
Theatrical Trailer [1950] [480i] [1.37:1] [2:22] This is the Original Theatrical Trailer for ‘NIGHT AND THE CITY.’ The film's original preview trailer opens with the image of a stopwatch and promises the next 120 seconds will bring you more action and excitement than most people experience in a lifetime. The film trailer does proceed at a breakneck pace and highlights the film's action elements and looked to me that it was promoted for an American audience.
PLUS: The Blu-ray disc comes with a beautifully designed illustration fold-out poster featuring a nice illustration by Owen Smith. Also included is an exclusive in-depth essay by film scholar and critic Paul Arthur (1949 – 2008), entitled “IN THE LABYRINTH” that takes a looks at ‘NIGHT AND THE CITY’ in the context of other “film noir” interpretations of a city that is quite so hellish, so imbued with the stench of morality, as the City of London is depicted in ‘NIGHT AND THE CITY.’ It also reveals that the “film noir” visualisation where certain Cities that are death traps, where spaces from which there can be no escape. Paul Arthur was a professor of English and film studies at Montclair State University, and was also a regular contributor to Cineaste and Film Comment and co-editor of Millennium Film Journal. Also included information entitled: ABOUT THE TRANSFER; SPECIAL THANKS; ACKNOWLEDGEMENTS and PRODUCTION CREDITS. Plus some black-and-white images from the film.
BONUS: The Blu-ray disc comes with a beautifully designed Blu-ray Cover illustration by Owen Smith. Owen Smith’s illustrations have appeared in Rolling Stone, Sports Illustrated, Time, Esquire, and the New York Times. Owen Smith has created 19 covers for The New Yorker and recently illustrated a third book for children. Owen Smith has done illustrations for the recording artist Aimee Mann and helped win a Grammy for Best Recording Package. Owen Smith has received recognition from The Society of Illustrators New York, Illustration West, American Illustration, Communication Arts, Print Magazine, Creative Quarterly, and the bi-monthly magazine Lürzer’s Archive. Owen Smith lives with his wife and two sons in the San Francisco Bay Area and is currently the Chair of the Illustration Program at California College of the Arts.
Finally, here we get to view one of the nastiest, most realistic, and most thrillingly constructed “film noir” of Hollywood's Golden Age, ‘NIGHT AND THE CITY’ maximizes the genre's gritty elements as it explores the twisted desires and tangled schemes of a gaggle of ruthless underworld characters. Director Jules Dassin captures the shady side of London with a keen eye, and his rough-and-tumble portrait of a petty hustler's bid to become the kingpin of pro wrestling is a showcase for the underrated talents of actor Richard Widmark and a host of excellent supporting players. The Criterion Collection new dual-layered Blu-ray version of ‘NIGHT AND THE CITY’ comes to us by way of an outstanding 4K digital restoration of the USA theatrical presentation director Jules Dassin which he as we find out preferred this particular version. I have always held this film in high regard, but thanks to the folks at The Criterion Collection, I now recognise ‘NIGHT AND THE CITY’ as an undisputable masterpiece of Black-and-White “film noir.” Also selectable and of significant interest is the British version of the film, though it was not the object of the same careful restoration work that distinguishes the United States cut. The British rendition runs approximately 5 minutes longer than the United States version, but the differences between the two are not limited to additional footage; both versions feature footage absent from the other. Key scenes unique to the British cut include: An alternate introductory sequence with Harry Fabian and Mary Bristol, with an attempt by Helen Nosseross to steal from Philip Nosseross. Harry Fabian and Helen Nosseross embrace in view of Philip Nosseross. Mr. Hoskins [Edward Chapman] confronts Harry Fabian about unpaid hotel accommodations. Kristo's legal representation Fergus Chilk [Aubrey Dexter] and his goon Yosh [Russell Westwood] grill Adam [Hugh Marlowe] and Mary Bristol about Harry Fabian's whereabouts. We witness a romanticised conclusion between Adam and Mary Bristol. Some of the above additions lighten the British film's tone in comparison with the grittier USA version. The entirely different film music scores also contribute to the slightly different viewing experience of each version provides a seedy setting and mostly unlikable characters. ‘NIGHT AND THE CITY’ paints an intriguing and fascinating tale and the film keeps us involved as we invest in the dark circumstances. But overall this Blu-ray disc from The Criterion Collection is totally unique and you will be blown away by the stunning Black-and-White images, plus all the informative set of supplement material, will give you many hours of pleasure and all “film noir” fans will be thoroughly thrilled with the film ‘NIGHT AND THE CITY’ and once again The Criterion Collection has given us something that is well worth purchasing and something that is always given a very professional presentation, all of which helps this searing, brutal film earn from me a top 5 star rating and will give you endless hours of viewing pleasure. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
