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    January 14, 2010
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    January 14, 2010
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Police Lt. Leonard Diamond (Cornel Wilde) is criticized by his superior Capt. Peterson (Robert Middleton) for his obsessive but fruitless investigation of organized crime boss Mr. Brown (Richard Conte). Peterson calls it a waste of the taxpayers' money motivated by Diamond's love for Brown's girlfriend Susan Lowell (Jean Wallace). Watched at all times by henchmen Mingo (Earl Holliman) and Fante (Lee Van Cleef), and masochistically drawn to Brown, Susan is unable to walk away from him. She overdoses on pills in a suicide attempt and, in her delirium, utters the name "Alicia." Diamond follows up on that new lead, and as he gets closer to defeating his adversary, the arrogant and sadistic Brown retaliates by capturing and torturing Diamond. Meanwhile Brown's former boss but now humiliated underling, Joe McClure (Brian Donlevy), believing that Brown has gone too far in his personal vendetta against Diamond, tries to enlist Mingo and Fante in overthrowing him. However, they remain loyal, and, in a chillingly silent scene visually punctuated by flashes of gunfire, they shoot the deaf McClure after Brown removes his hearing aid. Though superficially a story of good vs. evil, Joseph H. Lewis's film noir presents a complex world, visually captured by John Alton's stark photography, in which the lines between good/evil and love/hate are not always clear.
 
Customer Rating
5 out of 5
5
Everything You Can Ask for in a Film Noir Classic!
on January 14, 2010
Posted by: Anonymous
from Los Angeles
This idea of aesthetic torture is taken to the extreme in Joseph H. Lewis’ film noir classic The Big Combo (1955). In one particular scene, crime boss Mr. Brown utilizes a jazz record and a hearing aid, among other things, as instruments of terror. Mr. Brown attaches the hearing aid to his overly obsessive pursuer, Police Lt. Leonard Diamonds' ear, cranks the volume of the record, and stuns the Lt.'s eardrum until he passes out. Pulsating lights are also a structuring motif of death throughout the entire film.
Much tribute is paid to this film, with direct references its characters, by Reservoir Dogs (1992), a film by a certain somebody named Quentin Tarantino.
What's great about it: Eary silences, Dramatic Lighting, Brilliant Execution
What's not so great: Flawless Film, It is a classic, so don't expect DVD extras
I would recommend this to a friend!
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John Huston's crime film The Asphalt Jungle arrives on DVD with a standard full-frame transfer that preserves the original theatrical aspect ratio. English and French soundtracks have been recorded in Dolby Digital Mono. English, French, and Spanish subtitles are accessible. Supplemental materials include a commentary track recorded by star James Whitmore and film noir expert Drew Casper, an introduction by John Huston compiled from vintage materials, and the theatrical trailer. This fine disc is also available as part of a five-disc box set featuring other film noir classics like Out of the Past and The Set-Up.
 
Customer Rating
5 out of 5
5
Moody Film with an Overbearing Dark Atmosphere
on January 14, 2010
Posted by: Anonymous
from Los Angeles
The Asphalt Jungle (1950) is one of the earliest and best examples of another unique sub-genre of the crime film: the caper film. A caper film is a remarkably pure narrative model that gives intricate detail to three important structural acts: the planning, execution, and resolution of the perfect crime. Films of this kind have a simplified focus, and drive towards their conclusions with the steadfastness of a march (often a death march). But The Asphalt Jungle is also noir, and the caper film was born in the dangerous trenches of this dark style.
What's great about it: Legendary classic caper film
What's not so great: It is a classic, so don't expect DVD extras
I would recommend this to a friend!
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