The Captive City (1952) User Reviews

We are not helpless.

[dbdumonteil · 7/10 · 29 September 2001]

It's strange how this Wise movie influenced "Invasion of the body snatchers".The construction is exactly the same:a car belting with a couple inside:close shots on their faces,full of fear.They take refuge in a police station,and the man begins his story which he records on a tape.Like in "body snatchers",there's a description of Kennington,a peaceful town,but little by little,the witness,a journalist, reveals us what lies beneath.And by the way,in 1945,Wise made a movie called "the body snatcher"!

The town seems to be under Sirak's thumb,a local tycoon who has a hand in shady and illegal business.The police is totally corrupted,and ,it's the last analogy with "Body snatchers" ,ordinary people seem contaminated too (the car salesman),or about to be(the journalist's partner).

A private eye tried to spill the beans,but he was murdered soon after having asked for the journalist's help.The murder scene is masterfully directed by Wise whose editing science is astounding:the private,driven back against a dead end street,in a symphony of black and white,by a mysterious car which will come back as an ominous messenger of death,then,abruptly,a trumpet bellowing out in a nightclub.Violence always takes place in the night,in Wise 's world (remember the end of "odds against tomorrow",or even the rumble in "west side story").

The characters are realistic to a fault.No stereotype,no real baddie (except for the gangsters whom we hardly see;their presence can be felt everywhere though,that is to say how great Wise is!)It seems that Sirak is actually overtaken by events.Characters of secondary importance are wonderfully depicted:Sirak's wife,whom we see only twice in the movie appears at first as an indifferent woman,then ,a fearful,pitiful one,an alcoholic at that.

The main message of the movie is that we are not helpless,as the private detective's wife told the journalist soon after her husband 's death.If the gangsters took over the town ,it's because of people (ordinary people) who are too afraid of getting mixed up in a fight against the strong and the mighty,or worse,because bribes make ends meet.

In 1952,with no star,a low budget,and a great modesty,Wise showed the way to modern film noir.

A simple and effective crime drama

[planktonrules · 7/10 · 9 October 2008]

John Forsythe stars in this excellent crime drama directed by Robert Wise. Unlike most movies involving the mob, this one is quite a bit different, as you never actually get to see many of the crooks and the menace is much more implied than actual. This isn't bad, as it makes the film seem less predictable and more realistic.

Forsythe is a newspaper owner in a small town where you'd never expect the mob. When a local private detective comes to Forstythe with stories of mobs and payoffs, the newspaperman can't believe it and only does a cursory investigation. But, when a bit later this detective is killed, Forstythe starts to wonder if there really is more to the story. Unfortunately for him, when he digs deeper, he puts his life on the line as well.

Senator Kefauver (who made a name for himself crusading against organized crime) gives an epilogue in which he says the story is true. I'd really like to know more, though IMDb doesn't have any information about the case. If anyone can give me more info, I'd appreciate it.

A Pervasive Threat To Society

[seymourblack-1 · 7/10 · 15 October 2013]

In 1950, Senator Estes Kefauver headed a special committee to investigate organised crime and the committee's hearings (which were televised live), soon provoked a great deal of interest. This was the first time that most members of the general public had been made aware of the nature and extent of organised crime in the United States and although the committee's findings revealed a serious threat to society, they also became a source of fascination for many people. "The Captive City" is based on the actual experiences of Time magazine crime reporter Alvin M Josephy Jr (who co-wrote the screenplay) and is one of a number of movies (such as "The Enforcer" and "The Racket") which exploited the strong interest that existed in crime syndicates in the early 1950s.

Jim Austin (John Forsythe) is the editor and co-owner of the local newspaper in a small town called Kennington and is surprised when a private investigator tells him that he's inadvertently discovered the existence of a major gambling operation that's run by one of the town's most prominent citizens. More shockingly, Clyde Nelson (Hal K Dawson) adds that the police and local politicians are also involved and it's for this reason that he's recently been harassed by having his telephone tapped and his investigator's licence withdrawn. Jim finds Nelson's claims hard to believe and after receiving some assurances from Police Chief Gillette (Ray Teal), takes no further action. After Nelson is killed in what's claimed to be a hit-and-run incident, Jim becomes suspicious and starts to make his own investigations.

In a series of articles which Jim writes, he criticises the local police for their lack of action in pursuing Nelson's killer and soon finds that his actions bring him into conflict with the police and business people who stop advertising in his newspaper. The newspaper's press privileges are suddenly withdrawn and an attempt is made to tap his telephone. Furthermore, it becomes apparent that he's being followed by a car with Florida licence plates that fits the description of a vehicle that was known to have followed Nelson in the days shortly before his death.

Jim's investigations confirm the veracity of Nelson's claims and reveal that the level of corruption in his town is widespread with most people either being directly involved in the gambling operation or at least supportive of it. He also finds other information that makes it far too dangerous for him and his wife to remain in Kennington and so they race off to Washington with the intention of giving evidence to the Kefauver committee.

"The Captive City" is a low budget docu-noir and the inclusion of a narration, scenes shot on location and a solemn message delivered by Senator Kefauver are typical of such movies. Similarly, the use of a mixture of scenes that are well-lit and others which have the more orthodox noir look is also consistent with the docu-noir style. The story, which is told in flashback, emphasises how pervasive the influence of the mob is and how easily the corruption that it generates can become an acceptable part of everyday life.

Jim Austin's struggle against what seem like insuperable odds is made riveting because it's fact-based but also because he's continually in mortal danger. Furthermore, Robert Wise's no-nonsense direction adds so much clarity and pace to the action that its intensity remains high throughout.

Riveting Noir Sleeper

[Kalaman · 7 November 2003]

Possible Spoiler.

"The Captive City" is a tense, modest, and scarcely appreciated noir sleeper, starring John Forsythe in his debut and directed with considerable skill and panache by Robert Wise. Supporting cast is primarily NY stage troupe, including Joan Camden, Harold Kennedy, Marjorie Grossland, Victor Sutherland, and the familiar Route 66 Vet, Martin Milner. In 1951, Estes Kefauver opened hearings in Congress into organized crime. This film, about an ambitious and crusading newspaper editor Jim (Forsythe) and his discovery of crime and corruption in small town America is a reflection of its era. Hollywood crusading editors were considered trite by many, although when you come to think of it just how many such films of that ilk can you recall?

In this little sleeper, as in most socially-conscious films of the 50s, facts which are commonplace even today (i.e. numbers rackets, police corruption, and sports betting) are revealed to be an integral part of middle town America. The Florida mob has moved in to take over, and someone rats them out to the editor Jim. Soon all hell breaks loose, with "respectable" members of the business community approaching Jim to lay it off and take it easy. Jim's partner wants to buy him out and get out of the business, because they're losing money and ad revenue. One night, Jim and his photographer Phil (played by Milner) sneak out to get a shot of the mob guys at their wire joint. Later, unsurprisingly, Phil is severely beaten and another friend a drunk is "accidentally" run over at night by a black Cadillac, one of the film's most brutal scenes.

The score by Jerome Moross is hauntingly melodic, then it turns sour, then strident (similar to Dmitri Tiomkin's in many ways), and adds just the right note of despair and panic to the film noir texture of this film. Almost nowhere is this film predictable or corny (except for the now familiar first-person narrative technique so often used in films like this one).

Riveting and near-perfect, "Captive City" deserves to be appreciated.

Vice and corruption go hand in hand.

[michaelRokeefe · 6/10 · 4 September 2012]

Robert Wise directs this drama about crime in a small city. John Forsythe plays Jim Austin, a small town newspaper editor that is a crusader for all that is right, and is not afraid to fight what is wrong. A local private detective, Clyde Nelson(Hal K. Dawson), is working on a simple divorce case and uncovers something way more important. Nelson discovers a major gambling ring operating in the city. He believes that a small time mob boss Murray Sirak(Victor Sutherland) has his thumb on bookie joints that occupy almost every corner in town. Nelson brings this to Austin's attention, be doesn't put faith in the story until the detective is killed in a hit-and-run accident. Austin gets a somewhat cold shoulder when he goes to the police Chief(Ray Teal); its now up to him and his paper to rid the corruption and bring honest and respectable elements to his city. Other players: Joan Camden, Paul Brinegar, Ian Wolf and Martin Milner.

With the endorsement of Senator Kefauver

[bkoganbing · 6/10 · 19 January 2020]

Shot on a shoestring budget The Captive City features the starring film debut of John Forsythe. It also has the endorsement of Senator Estes Kefauver who was busy running for president at the time when it made it's debut on April 11, 1952.

Forsythe plays the editor of a smalltown newspaper who gets a story from a private investigator on a divorce case. He's representing the wife of a local bookie suing for divorce and he's being hassled by some very big muscle way out of proportion. When the PI is run down by a car, Forsythe pursues the story.

Against the advice of one and all. But what has happened is that this local bookie played by Victor Sutherland has taken on the syndicate as a partner. These folks make all kinds of threats laced with intimidation.

Forsythe does a nice job as the crusading editor whose only real support in the town is his wife Joan Camden. A few familiar faces like Martin Milner, Ray Teal, and Ian Wolfe are in the cast, but the performance best remembered will be that of Marjorie Crossland as Sutherland's wife. She's a truly frightened woman and has reason to be.

Estes Kefauver chair of the special Senate committee investigating organized crime introduced and provided a conclusion for the film. Kefauver was also running for president and racking up a string of primary victories when this film was released. The Captive City turned out to be a great campaign commercial. His party drafted Adlai Stevenson to stop him and in 1952 America liked Ike best of all.

Still The Captive City is a fine film, a good suspenseful noir,.

corrupt town

[RanchoTuVu · 6/10 · 28 March 2005]

John Forsythe plays a small city newspaper editor in this in this humorless depiction of corruption and vice in paranoid post WW2 America. At one point, after discovering that the chief of police (Ray Teal) is going to cave in to the mob, he's reduced to beseeching the town clergy, as if they could stop the incipient corruption taking place under their noses. With a couple of convincing murders to give the film a modicum of tension, most notable being that of private eye Clyde Nelson (Hal K Dawson) who gets backed into a dead end street and then smashed by a Buick (I believe), the picture manages to convey a diminished essence of the threat the poor town is facing. Mostly though, we're taken on a moral crusade, which in the end goes to a US Senate hearing chaired by Estes Kefauver, who tries to give the film some more weight with an epilogue in which he assures us that the real life editor is alive and a credit to his profession. Directed by Robert Wise, this is no "The Set Up", but a borderline trite piece of pro-government Hollywood propaganda which has as its main villain a Jewish insurance broker (Murray Searak played by Victor Sutherland) whose small time numbers racket gets taken over by the Mafia, who are doing the same thing in countless other endangered smallish American cities of 30,000 or so. Some effective photography and a brisk pace that goes nowhere tend to keep you watching all the way to the disappointing finish.

Mafia takeover of small town America

[sol-kay · 7/10 · 1 July 2010]

***SPOILERS*** Coming after the Senator Estes Kefarver Crime Committee hearings "Captive City" shows how organized crime reached not only into the major US cities like New York Chicago and Miami but small towns like Kennington. pop. 300,000, as well in the heart of middle America.

This cancerous tumor in the American heartland was originally exposed by private detective Clyde Nelson, Hal K. Dawson, who at first didn't quite realize what he was getting himself and his wife , Geraldine Hall, into. It was Nelson's snooping around and talking too much that cost him as well as his old lady's life before the movie "Captive City" wasn't even half over! It was the local Kennington Journal editor Jim Austin, John Forsythe, who picked up the ball that Nelson dropped, by at first not heeding his warnings about police and political corruption, that finally got results. But only after a number of other people willing to testify against the criminal goings on in town ended up losing their lives like Mr. & Mrs. Nelson.

Hard hitting documentary style expose that according Sen. Kefavrer himself, who's seen at the conclusion of the movie, really happened! With Jim Austin and his wife Marge, Joan Camden, running for their lives as their being chased by members of the Mafia Fabretti, Victor Romito, Mob all the way from Kennington to Washington D.C some 600 miles away! Fabretti a Miami mobster and former member of the notorious Brownsville Brooklyn Murder Inc. has taken over Kennington and installed a number of bookie joints in town who were being camouflaged behind legitimate business fronts. One of the bookie parlors was run out of insurance man Murray Sirak's, Victor Sutherland, storefront office. It was Clyde Nelson's bad luck to uncover what was going on behind the scenes at Sikak's place that had him go to the town's police chief Gillette, Ray Teal,that lead to his murder! Nelson didn't know that Chief Gillette was in on the corruption by being paid off, and in the pocket, by the Fabretti Mob.

****SPOILERS**** Now on the run Jim & Marge Austin's only hope is to get to Washington D.C in time to testify against the mob that Fabrrtti is a member off in order to stay alive! That's before Fabretti's goons get them first. One of the first Hollywood movie that actually used the word "Mafia" a word that was never mentioned once in the 1972 mega mobster hit "The Godfather", that was released twenty years later, in describing the hoodlums that were trying to both undermine corrupt and finally takeover peaceful and crime free little Kennington USA. It was brave people like Clyde Nelson and later newspaper editor Jim Austin who put their lives on the line and in many cases lost them that put the likes of Fabretti with the help of the Kefarer Committee out of business and behind bars!

This Could Happen In YOUR Town!

[rmax304823 · 6/10 · 13 October 2013]

An earlier reviewer had it right. It was directed by Robert Wise, to whose later "Invasion Of The Body Snatchers," this bears a certain structural resemblance. John Forsythe and his wife driving madly along a highway pursued by an ominous black car. They frantically pull into the nearest town, rush into the police station, and beg for help from an uninterested authority. Forsythe does everything but shout, "You're NEXT!"

There's a big difference though. "Invasion of the Body Snatchers" is a chipper, tense, vision of 50s paranoia. This is the story of a newspaper editor who discovers that some organization called "the mafia" is behind a lot of bookie joints in the small town of Kennington. The police are helpless. The town's church fathers are resigned. Two witnesses are murdered. Is there no hope at all?

Okay, homicide is a devalued act, and nobody should gamble except on the stock market. But you can see that this story is light years from an insidious invasion by pod people. It's a weak story. At times it drags. We never get to meet any Mister Bigs, just their flunkies and goons, and even THEY aren't especially frightening.

They're not frightening because they haven't been given any subtlety in their lines. Everybody says things like, "Jeez, lay off, will you?" John Forsythe and Kevin McCarthy (of "Invasion") have something in common in that they're both blandly handsome. But this is McCarthy's kind of role, not Forsythe's. McCarthy really lets us know when he's in extremis. He can act. Forsythe's is a soothing presence, perhaps a supporting player, a family friend or a concerned doctor.

It would be interesting for someone who has seen neither movie to watch them in sequence. After that, they should watch "Phoenix City Story." And, if they're still awake, try something a bit recherché -- take a look at "On the Waterfront."

A study in local corruption with journalism for once to advantage

[clanciai · 9/10 · 30 August 2019]

This is a true story of moral heroism, as a lonely journalist struggles headstrongly against all odds and all advising against it to expose the firm grip of a town by a mafia, which apparently is expert at committing murders and getting away with it. The mood of the film is slightly paranoic, but, as usual with Robert Wise's films, it is efficiently made and keeps a firm grip on the audience to the bitter end, which comes as an unexpected relief. John Forsythe never became a great star, maybe he was to intense in his roles of exposed risk-takers to ever advance from that stage, but his films are always worth watching. The music, also as usual in Robert Wise's films, is exquisitely well suited and keeps up the drama. The message of the film is almost universal: this could happen to you and in any town, and the warning message is to always keep alert and never flinch at the truth.

Kinda dull

[rdoyle29 · 7/10 · 26 December 2022]

Small town newspaper publisher John Forsyth runs afoul of gangsters when he investigates the death of a private investigator who was trying to help main gangster Victor Sutherland's ex-wife. Forsyth discovers that pretty much everyone in town is somehow involved in Sutherland's gambling operations and he attracts the ire of the local police. He eventually has to flee town with his wife (Joan Camden) and seek refuge with a US Senate committee investigating organized crime.

One of several films made to capitalize on the public interest in Estes Kefauver's investigations of organized crime, this film even has his personal endorsement. Kefauver pops up at the end to lecture us on the evils of illegal gambling. Not exactly a big surprise since this kind of feels like the sort of film that would end with a lecture from a US Senator. It starts out well with Forsyth and Camden fleeing for their lives and taking refuge at a police station where the story unfolds in flashback, but once the plot really kicks in, it feels very repetitive. Forsyth asks for help ... he doesn't get it ... wash, rinse, repeat.

Later Period Film Noir Well Done

[AudioFileZ · 8/10 · 30 December 2011]

In reviewing "The Captive City" one must acknowledge the great director Robert Wise. Wise will always be remembered for "The Sound of Music", "West Side Story", and "The Day the Earth Stood Still". But, for this viewer The Captive City fell through a crack as I'd never seen or heard of it. Until now, that was my loss…However, it's always a joy to find an old film in the noir vein with some "meat-on-the-bone", and this definitely qualifies.

Following on the heels of the excellent sci-fi drama "The Day the Earth Stood Still" may have hurt this film in the annals of time a bit. I can't say that I know what it did to the box office at the time, but it certainly had slipped through my grasp in the intervening years. It certainly had a limited budget as evidenced by the "C-list" cast, yet John Forsythe puts forward an admirable lead that the good story was hung on. I couldn't find out for sure how the screenplay was concocted, but I definitely get the feeling it was a composite of real events occurring at the time in many places in a post-war USA. In other words: The Captive City was based on fact if dramatized. I'd say it did a good job of coming off as just that. It reminded me of "The Phenix City Story" in many ways as a town was in the midst of increasing graft whereby "the mob" wanted a bigger cut with more control. Something needed to be done as things began to take a murderous turn. Enter newspaper editor Jim Austin played by the aforementioned John Forsythe. Austin is contacted by a private investigator whose simple divorce case turned ugly when the woman who hired him estranged husband's associates apply pressure on him to back-off. The investigator contacts Austin since the police are part of the problem. He feels he must turn to the "power of the press" in hopes he can make public outcry turn against the criminal element. The only problem is that Jim Austin thinks he's living in an idyllic town and he initially thinks the investigator is a bit of a crackpot sensationalist. Just about the time Austin has a gnawing suspicion that he's wrongly pegged the man he is found dead with the cause being a hit and run accident complete with no witnesses. The story predictably from here as against large odds Austin pressures the police department for not having an interest in solving the case. Even if you've guessed the rest it doesn't matter too much because the movie moves along nicely and keeps the viewer interested.

Wise has made a latter day excellent film noir drama with "The Captive City". The camera work is fantastic as it frames the subjects in a very involving and immediate way. Wise is one director with a wonderful eye for composition and he certainly chose correctly in using black and white in which to present it. You will not help but notice the depth of field in every shot, a technique learned from the great Orson Welles and augmented with the use of the special Hoag lenses whose focal length seemed to go on forever. Though not quite as overall involving as "The Phenix City Story" it is still quite good and highly recommended (in no way an embarrassment over half a century later). Wise was one of the finest directors of any time and even with a limited budget he proves it here. Also, of note is the introduction of young Martin Milner, who we would later come to love in the TV-series "Route 66" (reruns for me), as the Forsythe's staff photographer.

Competent

[christopher-underwood · 5/10 · 12 March 2014]

Robert Wise directs but without much enthusiasm and Lee Garmes, the cinematographer has little opportunity to show his skill. Indeed, this little B movie, I hesitate to use the much overused 'noir' tag, is most uninspired. Prompted, apparently, by the real life Senate Committee on organised crime and even sporting an afterword by the real life head of that committee, Senator Estes Kefauver, urging American citizens to play their part in stamping out such crime in their neighbourhoods, this still lacks a bit of 'life'. John Forsythe doesn't help with a lacklustre performance as the lead and Joan Camden even less so as his wife. The thing here is that this was clearly intended as a well meaning do good kind of a film, setting out the problem and urging everyone to help solve it. To help things along at one point the wife asks her husband, 'What is the mafia?' so there's little doubt at what level this film was aimed. Competent but far too uninteresting a story and with no violence the 'real life' message is about all this has.

It Could Happen in Your Town

[dougdoepke · 20 October 2008]

When newspaper editor John Forsythe and wife rush into the police station with an urgent tale told in flashback, I thought Invasion of the Body Snatchers (1956). In fact, there are a number of similarities between the two films. Here, however, the menace is not seeds from outer space but plain old organized crime. The story is told in grippingly fluent fashion by versatile director Robert Wise. I really like the way the film uses unfamiliar faces in the important supporting roles, giving the docu-drama a more authentic appearance.

Actually, the movie is rather educational since it reveals the various pressure points within a community where criminal influence can make a difference. Note how newspaper policy can be manipulated by advertising revenue; how church involvement can be influenced by congregation size; how police policy can be set by civic elders instead of the law. That is the point of the movie-- to show how a community can be corrupted by exploiting these various pressure points. At the time (1951), the Kefauver Committee on Organized Crime was making national headlines, accounting for the Senator's public service epilogue.

Surprisingly for a crime drama with noirish overtones, the violence and menace are mostly understated. Menace consists mainly of warnings to crusading editor Forsythe from ordinary-looking people. For me, however, the scariest part was neither the beating nor the hit-&-run, but the sudden transformation of affable used car salesman Andy (Jess Kirkpatrick). In social scenes showing the town's normality, Andy comes across as the typical friendly, outgoing salesman, but later, when the pressure's on, he slides into a startlingly sinister personality-- one of the many parallels with Body Snatchers.

Filming on location in grainy black&white amounts to a real plus for an authentic feel. Forsythe and Camden are excellent in their central roles, without going over the top. There's a low-key intensity to the narrative that rivets interest, but never reaches the emotional pitch of the sci-fi classic. In my book, this is one of those polished little B- productions that Hollywood used to turn out with some regularity. Too bad that they have no counterpart in today's over f-x'ed cinema.

Small Town Corruption

[richardchatten · 8/10 · 26 October 2020]

An atmospheric dramatisation of the revelations about the activities of the mafia in the United States investigated by Senator Estes Kefauver; who set his seal of approval on the venture by putting in a special appearance as himself.

The sensitive subject matter meant raising even a shoestring budget took more time and effort than actually making the film itself; but enhanced the atmosphere of the film itself with glacial documentary-style deep focus location work by veteran cameraman Lee Garmes.

Bernard Herrmann was keen to score it but they couldn't afford him, hence the incongruously playful music recognisably the work of 'Big Country' composer Jerome Moross.

Captivating

[susand1108 · 9/10 · 10 March 2020]

A riveting film about a small town newspaper editor who simply won't quit seeking justice. I was struck by the remarkably good acting from mostly no-name actors. Also, you will certainly notice the cinematography. The use of the new Hoge lens allowed an unusual depth of focus and interior shots in low lighting. Every scene, inside and out, was shot in Reno, Nevada. The score is also noteworthy. Definitely worthwhile viewing!

It's always a dark and shadowy night in this town.

[mark.waltz · 8/10 · 24 March 2024]

What makes this film so gritty and sinister is the fact that the actors outside of John Forsythe in the lead (a newcomer at the time) are extremely obscure, basically unknowns. The town of Kennington (no state mentioned from my recollection) is filled with corruption, and as the newspaper editor, Forsythe gets wind of it through an informer who is quickly murdered, although the local law calls it an accidental hit and run. The man's widow recalls him talking about a car with Florida license plates in the area, and sure enough, when Forsythe begins his investigation, the same car is seen following him too.

The risk of danger to Forsythe and herself doesn't scare his wife, Joan Camden, who encourages him to do what's right. Another witness is Marjorie Crosland who comes to Forsythe for help, fearing thar her ex-husband is involved. Another death, marked as suicide, indicates that the corruption of vice goes way up high, and many people in town turn their back on Forsythe, mainly out of fear, but some on guilt.

This goes into the sub noir category of corrupt towns under the thumb of racketeers, certainly not as glamorous as mob epics like "The Godfather", but closer to "Goodfellas" where the crooks lived moderate suburban lives and not in gated communities. It's aided by the scenes at night where something sinister is certain to happen, subtle in insinuation but pretty obvious as to who's hiding involvement as they're questioned by the very courageous Forsythe. Quite good with a different point of view than most crime dramas of the time, another triumph for director Robert Wise.