A city that never sleeps (film, 1953)

Against the background of the city panorama, the voice-over Voice of the City says that we will talk about one night in the life of Chicago. Then the “Voice of the city” introduces the viewer to some of its residents. One of them is former actor Gregg Warren ( Wally Cassell ), who plays the role of a "mechanical man", luring visitors with a performance in the window of an expensive Silver Fun nightclub. Another resident of the city is Johnny Kelly ( Gig Young ), who is experiencing a mental crisis, who came to the club to meet Sally Connors ( Mala Powers ), "a free and smart dancer of 21 years with an angelic face." They hug and discuss plans for the future. Some time ago, Johnny invited her to go to California together and start a new life there, but he is still tormented by moral doubts about his wife Katie. Sally declares that she has already quit tomorrow and will not be able to go back, since another dancer has already been taken in her place. And if Johnny does not dare to go with her, then she will leave with Gregg. And without reaching a definite decision, they kiss in a sign of separation, and Johnny leaves.

At the Continental Hotel, The Voice of the City represents yet another resident - Hayes Stewart ( William Talman ), who dearly loves his former rabbit magician , who became a criminal, "for whom greed is more than his conscience." Then, “The Voice” introduces the “brilliant criminal lawyer” Penrod Biddell ( Edward Arnold ), who, together with his young beautiful wife Lydia ( Mary Windsor ), conducts a photo shoot for the press. Penrod "in the eyes of the whole world is an example of success, wealth and a good life." At this moment, Johnny calls Penrod, agreeing to listen to his proposal. They make an appointment this evening at Penrod’s apartment.

At home, Johnny hangs up and, having thrown Penrod's business card on the table, sits down to write a letter, constantly listening to the grumbling of his mother-in-law that his wife Katie works late and earns more than him. After several drafts thrown into the trash, Johnny finishes the letter and seals it in an envelope, inscribing on it the address of his boss, the head of the district police station in Chicago. Having taken the letter, Johnny is about to leave, but he meets Katie (Paula Raymond), who has returned from work, at the door and asks him to stay and talk, but Johnny says that they already discussed everything last night, “and your mom just said the rest,” kisses her on the cheek and leaves.

Finding Johnny thrown over a draft of the letter, the concerned Katie calls John "Pop" Kelly (Otto Hewlett), detective and Johnny's father. She tells him that from a draft of Johnny’s letter to his boss, you can understand that he wants to resign from the police. Pop does not believe in this, but still promises to talk with his son. Johnnie catches Pop at the station when he rolls over to the garage after the roll call. Johnny explains that he does not like his job because of low earnings. Pop asks: “Are you all dreaming of California and a fishing boat?” Then he says: “Katie loves you and is worried,” to which Johnny replies: “She also loves her job and her high position.”

The garage attendant tells Johnny that his partner is sick. However, going up to the car, Johnny meets an old sergeant in the form of a policeman who just looks like Joe ( Chill Wills ) and says that he will be his partner tonight. Having left for the city, Joe discusses how big this city is and how many people are in it and how many different affairs and problems they have. Then Joe asks Johnny why he became a cop. He replies that he did not want this and his father pushed him towards this, who had served in the police for 27 years.

On the way, Johnny stops for a few minutes to call on Penrod. He argues that in his life he helped many people and can make a big man out of Johnny. At this moment, Lydia calls him into the bedroom to say goodbye, saying that she is leaving for her friend. Returning to the living room, Penrod says that he wants to help Hayes, who was once a pickpocket, and at one time he stole a wallet and a briefcase with documents from Penrod, after which he tried to blackmail him. Hayes could not be handed over to the police, and Penrod took him to work for himself. Since then, Hayes acquired gloss, good manners and began to look like a gentleman. But, Penrod continues, Hayes has become very ambitious and wants to become independent. Tonight, Hayes will try to steal one document from the safe of Penrod, the "declaration of independence", and the lawyer asks Johnny to take it in theft. Johnny advises calling the police, but Penrod does not want to be arrested, since Hayes can "sing" about his affairs there. He wants Johnny to take Hayes in a police car to the border with Indiana , where he is being sought for manslaughter, and he faces 1-2 years in prison there. Penrod says he wants to teach Hayes a lesson, but not destroy it. Hayes will sit in Indiana for 2 months, and then Penrod will achieve his release. "He will be grateful, and relations will be restored." Penrod gives Johnny $ 5,000. Johnny says he is in the service today and will be able to complete the order only tomorrow. However, Penrod says it will be too late tomorrow, as Hayes is influenced by Stubby (Ron Hagerty), Johnny's younger brother. While Stubby is not involved in anything, but very soon Hayes will involve him in his affairs, and then Johnny will have to detain his brother. After that, Johnny agrees and asks where to take Hayes. Penrod calls the place and asks where Johnny can be found tonight. He replies that you can keep in touch through Sally at the Silver Fun Club.

In the car, Johnny gives Joe a letter of resignation and asks to give it to the head of the station tomorrow morning. Then they drive up to the club with a protruding "mechanical man" in the window. Through the front door, Johnny heads for a coffee, where he looks at Sally's number. The bartender tells Johnny that the “mechanical man” is going crazy with Sally and advises Johnny to act quickly. After going with Sally to her dressing room, Johnny reports that he filed a dismissal report and that all their plans will come true. They are hugging. Sally says she suffers in this city, she wanted to become famous, but the city grind it. Johnny asks her to be ready tomorrow morning, to which Sally replies that she is ready.

In the patrol car, Johnny and Joe get their first assignment - they take delivery right on the street at the woman who did not have time to get a taxi to the hospital. Johnny says that this is his third such birth in the last two months.

Hayes comes to a hotel room admiring Stubby. Hayes tells him not to tell his brother about their relationship until he asks him about it. At the request of Stubby Hayes agrees to take him to the first case. They drive a car to the business building where Penrod’s office is located, two hours before the robbery that Penrod told Johnny. Opening the hatch on the sidewalk, Hayes enters the technical floor, through which he enters the lobby of the building. While the building attendant is not in place, Hayes takes the elevator to Penrod’s office. The attendant on duty sees that someone has taken the elevator and turns on the siren heard by Johnny and Joe passing by nearby. Hayes enters Penrod's office and tries to open the safe. Johnny and Joe drive up to the building and begin to inspect it floor by floor. Finally, Hayes opens the safe, but there is nothing in it except a note: “You are a complete fool! With whom do you think you are dealing. ” Hayes calls someone on the phone, saying that there is nothing in the safe and making an appointment in the near future "in their place." Just before the cops showed up at the office, Penrod Hayes ran down the stairs. In the lobby, posing as a duty detective, he goes out through the main entrance.

Not finding anything suspicious in the building, Johnny and Joe return to the car, where Johnny tells his partner that he has been married for 3 years and 4 months, and then confesses that he is leaving not only the police, but also his wife, deciding to start all over again. Joe thinks Johnny's main problems are inside him.

Katie meets with Pop, saying that the main reason for their family problems is that she earns more than Johnny. She says: “I did not understand that it was important, that it offended his pride. I'll fix it, quit tomorrow. We will live on his salary. " She then shows Pop the lawyer Penrod Biddell’s card, which she found at home, asking what Johnny can do with him.

Unexpectedly for Penrod, Hayes comes to his house, reminding him that he is a magician, and surprises should be expected from him. Recalling that Penrod pulled him out of the slums and made him a man, giving responsible instructions, Hayes says that he was tired of doing all the work, to which Penrod replies: “You have become too ambitious. All the work is done in my head, and you are just muscles. ” However, Hayes claims that he will work independently, as he already got the necessary papers, which Penrod did not hide in the office, but in the safe in his bedroom. Penrod checks the safe and sees that there is the same note that he left in the safe of his office. When asked by Penrod what he did with the documents, Hayes replies that “we started 3 years ago with this. In my hands are documents that allow you to be imprisoned for 99 years, only then I did not understand this. For the promise that you will make me a big man, I returned to you 99 years of your life. And now I want for this 100 thousand dollars in cash today. I will be waiting for you with money in my hotel room in two hours. Otherwise, all documents will go to the prosecutor. ” To the perplexed question of Penrod, how Hayes turned the whole thing, he replies that he did everything with the help of an accomplice - the wife of Penrod Lydia.

In search of Johnny Penrod arrives at the club to Sally and asks her to urgently find him and arrange an appointment. Meanwhile, Johnny and his partner are on their way to another call, where they have already detained the fourth time in a month for a sharpie who organized an illegal dice game on the street and takes him to the police station. At the club, Gregg persuades Sally to make a joint comic number, but she is not interested. He dreams of paradise life in the Caribbean with Sally, and then says that without Sally his number will not work. At that moment Johnny was on the phone and Sally informed him that an upset Penrod had arrived and left the following note for him: “The meeting has been rescheduled to the Continental Hotel, Hayes Stewart’s room.”

In the room, Lydia and Hayes hug and kiss, lying on the couch. Lydia is delighted with him, saying that “his black magic is better than money”, that he is the best. Penrod enters the hotel, about which Stubby is signaling from the lobby by Hayes. He quickly tidies himself up with the words: "I stole a lot in my life, but I never stole someone else's wife." His words will confuse Lydia with his conscientiousness. When Penrod appears, Lydia immediately determines that he has no money. Penrod asks for an opportunity to explain something to him. He reminds Lydia that when they met, she was selling hamburgers at the train station. He had an hour of free time, and Lydia adds, "you used it to kill the years of my life." She says: "Yes, you dressed me the best in Chicago, but you reminded me of this three times a day, and told everyone you knew from what poverty you pulled your wife out." Penrod asks if I did you anything bad, or you, Hayes? Lydia replies, “What about the trip to Indiana?” Claiming that she heard him give instructions to the cop. Penrod gets up, and with the words “here is my farewell gift to both of you” he takes out a gun, but Hayes is ahead of him and shoots first. Having searched the fallen Penrod, Hayes confirms that he has no money. Lydia is outraged that Hayes shot Penrod, as they are now embroiled in something terrible. She says that an urgent need to run, as the shots could be heard, and the police will appear soon. But they won’t be able to escape so easily. Since the number is registered on Hayes, it will be quickly calculated and found. He suggests using the Penrod option and leaving the state in the police car he prepared. They decide to find Johnny, who, as Lydia heard, should be in the club. She did not see him in the face, and only knows his name - Johnny Kelly.

Meanwhile, the police dispatching instructions to Johnny patrol car to go to the Continental Hotel, where they heard shots. The hotel manager tells him that soon after the shots, Hayes and the woman quickly left. In private, Johnny interrogates the seriously wounded Penrod. He hides the name of the woman with whom Hayes hid, saying that they went to the club to find Johnny there. Johnny reports to the police station that Penrod was wounded; he was shot at by Hayes, who may have left for the Silver Fun club. Police put Hayes on the wanted list. Having heard the information of the dispatcher via radio, Kelly Sr. and his partner are sent to the club to help his son.

Before entering the restaurant, Lydia and Stubby notice Kelly Sr. arriving with a partner. Believing that this is the very Johnny Kelly with whom her husband concluded an agreement, Lydia catches up with him in the hall, introducing herself as Biddell’s wife and asks if he is looking for Hayes. She further says that their “deal has been changed” and asks to arrest Hayes, who killed her husband. Lydia sends detectives to the second floor, where Hayes is waiting for them in the hallway. With a nod of her head, she points to Hayes at Kelly. Having specified that the name of Pop is John Kelly, Hayes invites him to a separate room, where he asks if he is ready to pick it up, bearing in mind that he will take him out of the city? Pop replies that he is ready and takes out the handcuffs. Surprised Hayes asks to take him not to the border with Indiana, but to another city, to which Pop replies: “I will take you to the detective bureau. You're arrested for trying to kill Penrod. ” Hayes is surprised: “You made a deal in Biddel that you will take me out of the city”, but looking at Lydia, she suddenly decides that she set him up. Hayes takes out a gun and tries to shoot Lydia, but she runs away. Pop grabs Hayes by the hand, but he pushes Pop and shoots him, and then chases after Lydia, shooting at Pop's partner who turned up on the way.

Through the main hall of the restaurant, Lydia runs out into the street, Hayes runs down the fire escape, and catches up with her right before the entrance to the club in front of the "mechanical man" in the window. He grabs Lydia’s hand and leads her away to Stubby, who excitedly asks if anyone was hurt, fearing for his father. Pointing a gun at Lydia, Hayes says he was happy working as a performer of Penrod's orders. “But you appeared with your plans to make me the coolest bandit in the city, and you ruined everything.” Further, with the words “I once had a trick with a disappearing girl who looked like this” Hayes shoots Lydia. She takes a few steps and falls in the square in front of the club in front of the "mechanical man" in the window.

Hayes and Stubby are hiding in the building opposite the restaurant and watching the square. Soon, a Johnny and Joe patrol car pulls up, stopping at the murdered Lydia. Leaving Joe with her, Johnny enters the club, where he sees that Pop is dying, and his partner is injured. Hugging his father, Johnny hears his last words: “I have been ready for this for many years. Katie is a good girl. Take care of yourself". Priest's mate says they arrived at the club, responding to Johnny's call, and that Hayes shot his father. Sally comes up to console Johnny, he tells her that "father wanted to die that way, at the military post." Johnny asks the “mechanical man” who has entered, where the shooter disappeared on the street. Gregg replies: "I am a mechanical person - I do not see, I do not hear, I do not feel." When Sally says that they killed Johnny's father, Gregg agrees to help. He says that Hayes hid somewhere nearby, and when he realizes that "I am not a robot from wire and sawdust, but the person who saw everything, he will definitely come back." Gregg expresses his readiness to play the role of bait, so that the police can ambush the square. However, Sally fears for him and asks Johnny not to let him in, because he is “a good guy who should not die like a weirdo in a shop window”. However, despite the fact that Johnny is ready to abandon the use of "mechanical man" as a bait, Gregg takes his place in the window.

Hayes watches the square, trying to figure out if the "mechanical man" is alive or is it a robot. When Stubby persuades him to escape, Hayes stuns him with a blow to the head. Sally from behind the scenes tells Gregg that he shares his dreams of beauty and asks him to leave the window, promising even to "take part in his lovely room." It touches Gregg, and a tear runs down his cheek. This is noticed by the couple approaching the shop window, exclaiming: "Yes, he is alive." Hearing this, Hayes shoots from cover in the window, but misses. Gregg manages to hide behind the curtains.

According to the shot, the police locates Hayes and begins to pursue him. Johnny finds Stubby telling him that his father is dead. Johnny continues to chase Hayes along the stairs, chimneys and roofs of buildings, sometimes almost delaying him. From the control room, several more police cars are sent in support. Johnny sees Hayes enter the metro station and run along the railroad tracks. When Johnny chases Hayes through the overpass, the police who spotted them below from the megaphone demand to stop. To not be mistaken for a criminal in the dark, Johnny throws down his police badge. In the end, he catches up with Hayes. During the fight, Johnny pushes Hayes on the rails, and he kills with a discharge of current.

Johnny finds Stubby in the church, where he asks his brother for forgiveness. At the station, the chief returns Johnny his badge and sends him to rest. Johnny goes down to the garage to Joe, but the attendant reminds that his partner is sick today, and in the seat Johnny sees his untouched letter of resignation. Johnny is tearing this letter. On the street, Katie meets Johnny, they hug and leave together. The Voice says, "Johnny Kelly stays home."

Director John H. Auer directed about 40 Category B films during the 1930s and 1950s, most of them at Ripablic Studios, where he also often performed as a producer. The most notable Auer noir and crime scenes were the films The Crime of Dr. Crespi (1935), The Invisible Enemy (1938), The Flame (1947) and The Half-Acre of Hell (1954) ^[3] .

Gig Young was twice nominated for an Oscar for supporting roles in the films “ Come Fill the Cup ” (1951) and “ Teacher ’s Favorite ” (1958), and in 1970 won an Oscar as best supporting actor for his role in the film “ Hunted Horses Are Shooted, Don't right? "(1969) ^[4] . Although Young gained fame for his rather frivolous roles, he also played prominent roles in such crime films as Catch a Man (1950), Hours of Despair (1955), Article on the Front Page (1959), and “ Bring me the head of Alfredo Garcia ” (1974) ^[5] .

Mala Powers played her most prominent roles in the drama Cyrano de Bergerac (1950), the crime and noir films The Insult (1950), The Land of Doom (1950), and Papa Go Hunt (1969) ^[6] . William Talman is best known for his role as prosecutor in the judicial television series Perry Mason , in which he played in 225 episodes in 1957–66. He also played in the noir films The Robbery of the Collector's Car (1950), Racket (1951), Travel Companion (1953), and Prison Break (1955) ^[7] . Mary Windsor played supporting roles in 8 noir films, including The Power of Evil (1948), The Narrow Edge (1952), The Sniper (1952), The Half-Acre of Hell (1954, which Auer directed) and “ Murder ” (1956) ^[8] .

Overall rating of the film

The overall assessment of the film after its release on the screens was rather restrained. The New York Times called the film "a routine criminal melodrama" with "sluggish attempts to document Chicago at night as a" city that never sleeps. " The newspaper continues: “This film from Ripablic Studios can be seen as an indiscriminate study of the face of Chicago , apparently done under the influence of what the Naked City did in relation to New York .” The strengths of the picture by the reviewer include “a good ending with a chase, steeped in darkness and fog, as well as an executive and fairly skilled cast led by Gig Young , Little Powers , William Talman and Edward Arnold .” But, the newspaper concludes, "all this, unfortunately, is in vain ... In everything else, the city of Chicago looks extremely flat" ^[9] .

Later, critics drew attention to the genre originality of the picture, in which melodrama and thriller are combined with elements of fantasy and semi-documentary style. TimeOut magazine writes that "this is a rare, one might say, the only example of such an extravagant noir." Beginning as a simple thriller, “then the film tends toward fantasy with the advent of Chill Wills as the Spirit of the city, materializing for one night in the guise of Yang’s ghostly partner in the patrol car, who observes everything around him with a Buddhist understanding.” And if we discard the characters of Yang and Wills, then “there will remain an average satisfactory thriller, inventively filmed in winter Chicago” ^[10] . Dennis Schwartz called the film "a bizarre film noir, perhaps one of a kind." The critic believes that "narrated in a semi-documentary style," he is "no more than a satisfactory attempt to present Chicago as a special city, as the Naked City did in relation to New York." "The highlight of the film" Schwartz sees in the "introduction of Johnny's ghostly partner in the patrol car, presented as the sentimental" Voice of Chicago ", Sergeant Joe (Chill Wills), who tenderly tries to return Johnny to the true path." Noting the “ingenuity of the picture”, Schwartz nevertheless believes that “this police drama cannot hide the fact that this is an average thriller with a superficial plot” ^[11] . Craig Butler praised the picture as “an uneven crime drama that contains some fairly good points, but disappoints, because the film as a whole is not so good” and further: “the film was made thoughtlessly, but deserves attention due to some strong moments” ^[12] .

Characteristics and features of the characters of the film

According to The New York Times , the script was written "in the cardboard style of an action movie about" cops and robbers "with corresponding remarks," in which "the career and family hardships of a young police officer are intertwined with the fate of several typical night owls of a big city." However, “despite all their cool humor and adventurous fuss, these urban dwellers seem extremely far from reality ... Take the triumphant hero, Mr. Young , who was offended by his wife's bank account and lost his head because of his love for a cabaret artist. Then, there is the traditional, aging criminal lawyer Edward Arnold , his young restless wife Mary Windsor and the hero’s brother Ron Hagerty, who succumbs to the temptation of bright lights ” ^[9] . TimeOut believes that “the film collects temperamental, alarmed characters, among them: a cop tempted by an indecent love for a stripper, an aging lawyer with a bored young wife, a killer who doesn’t dare in his little rabbit, and so on. Familiar images arise: a fugitive crossing the railway tracks, searchlights, cutting lanes, an unexpected burning close-up ” ^[10] . Craig Butler points out that at first, “Young’s character seems rather complicated, it’s a cop disappointed by his fate and who may be a victim of temptation, but, unfortunately, he does not get enough development. The same thing happens with Wally Cassell , a “mechanical man”; at first, he also gives hope, which remains unfulfilled, although the very strangeness of his work really delights ” ^[12] . “All this,” summarizes Schwartz, “leads to several murders, a magnificent shot of tears of happiness flowing down the gilded face of a“ mechanical man ”during his speech, which allows viewers to understand his humanity.” And the ending of the picture is remembered by the scene in which the police officer pursues a killer rushing along the railway tracks, who killed his father ^[11] .

Evaluation of the work of the director and creative team

Critics controversially appreciated the work of director John H. Auer and screenwriter Steve Fisher, but praised the work of cameraman John L. Russell . The New York Times writes that “from time to time the director gives the events a sharp and unexpected vibration, but in general, the banal lethargy of the action and empty dialogue constantly give away cheap popcorn ” ^[9] . According to Variety , “the director is sometimes excessively keen on creating the atmosphere and nuances where direct action about“ cops and robbers ”would be more appropriate. The script of Steve Fisher suffers from the same drawback ” ^[1] . Schwartz notes that “director John Auer plays with the themes“ start all over again ”and“ how easy it is to lose humanity and get lost in a big city ”, and Steve Fisher’s script is burdened with police procedures” ^[11] . Butler believes that “Auer’s direction is uneven, but when he hits the target, this is a real hit; the scene with a tear on Cassell's face is magical, and the climax is truly breathtaking. ” The main problem of the film, "as it often happens, stems from the script, which starts promisingly." There are problems in the replicas of characters that too often sound "either far-fetched or corny, and in the plot, which eventually becomes overloaded, without reaching the necessary depth." ^[12] . According to Butler, “Auer is greatly assisted by the electrified camera work of John L. Russell with a bewitching orgy of high contrasts and deep tricks” ^[12] . “Variety” notes that “John Russell’s camera work makes good use of the streets and buildings of Chicago to create a rigorous melodramatic look for the painting” ^[1] .

Actor rating

Four actors are starring in the film: " Gig Young , playing a crazy, confused cop"; Mala Powers , a cheap restaurant dancer; William Talman , the wizard who became a gangster, and Edward Arnold , a courteous, dishonorable lawyer. "All of these actors, according to Variety , are" adequate to the script and the director's requirements. "On the other hand," Chill Wills , the main actor of the second composition, is registered in the film, it’s very vague, presumably his character represents the city of Chicago itself ” ^[1] .

The New York Times believes that "as a fugitive killer, whom Mr. Young catches without help, Mr. Talman , recently seen in The Travel Companion (1953), is the most convincing of all, conveying under the guise of restrained emotions as - truly a great performer. ” The newspaper also believes that “Chill Wills, Otto Hewlett and James Endelin in the roles of security forces of various forms, as well as Wally Cassell in the role of an actor with a broken career are really excellent” ^[9] . According to Butler, “Young is nothing more than demolished in the lead role, and Wills is often annoying, but Cassell and Tellman are wonderful” ^[12] .

• A city that never sleeps on the IMDB website  
• A city that never sleeps on Allmovie  
• A city that never sleeps on Turner Classic Movies
• A city that never sleeps on Rotten Tomatoes