The Enforcer (1951)
Directed by Bretaigne Windust, Raoul Walsh

Drama / Crime / Thriller
aka: Murder, Inc.

Film Review

Abstract picture representing The Enforcer (1951)
The Enforcer is one of the toughest, most uncompromising crime dramas of its time, combining the stylisation of the classic film noir thriller with the gritty realism of the emerging police procedural.  The story is closely based on Burton Turkus's real-life investigation into the Murder Inc. crime consortium, a notorious gang of contract killers that was brought to book only after one of its members, Abe Reles, turned government witness in 1940.

Humphrey Bogart is appropriately cast as the unflinching crime investigator, bringing a hardboiled roughness, perhaps even a touch of sadism, which hadn't been in evidence since his tougher gangster portrayals of the late 1930s.   The film's realism owes much to the performances of Bogart and the exemplary supporting cast, who convey the world of organised crime in all its grim savage brutality.  This impression is bolstered by Robert Burks' stark cinematography, which combines noir expressionism with a semi-documentary realism. 

Although Bretaigne Windust is credited for directing this film, most of the work was undertaken by Raoul Walsh, hence the similarity in style with Walsh's recent hard-edged thriller White Heat (1949).  Walsh stepped in at an early stage in production when Windust fell ill but magnanimously refused to take his credit.  Martin Rackin's taut, well-paced screenplay introduced moviegoers to the lexicon of the mobsters, with words such as "contract" and "hit", and laid the foundation for a much more violent and convincing kind of gangster film, in which the demarcation between the good guys and the bad would become increasingly blurred.
© James Travers 2009
The above content is owned by frenchfilms.org and must not be copied.

Film Synopsis

For four years, District Attorney Martin Ferguson has been building a murder case against Albert Mendoza, a gangster boss who sells contract killings for cash.   Unless he can find someone willing to testify against Mendoza, Ferguson knows that he will fail to get a conviction.  He gets his breakthrough when Mendoza's right-hand man, Joe Rico, offers to give evidence against his former employer.  Convinced that Mendoza's men will kill him before he reaches the witness stand, Rico makes an attempt to escape from police custody, but dies in the attempt.   Undeterred, Ferguson decides to review all of the evidence that he has against Mendoza, hopeful that he will find a clue which will bring him to justice...
© James Travers
The above content is owned by frenchfilms.org and must not be copied.


Film Credits

  • Director: Bretaigne Windust, Raoul Walsh
  • Script: Martin Rackin
  • Cinematographer: Robert Burks
  • Music: David Buttolph
  • Cast: Humphrey Bogart (Dist. Atty. Martin Ferguson), Zero Mostel (Big Babe Lazick), Ted de Corsia (Joseph Rico), Everett Sloane (Albert Mendoza), Roy Roberts (Capt. Frank Nelson), Michael Tolan (James (Duke) Malloy), King Donovan (Sgt. Whitlow), Bob Steele (Herman), Adelaide Klein (Olga Kirshen), Don Beddoe (Thomas O'Hara), Tito Vuolo (Tony Vetto), John Kellogg (Vince), Jack Lambert (Philadelphia Tom Zaca), Richard Bartell (Police Records Clerk), Helen Brown (Landlady), Benny Burt (Bit Man), Susan Cabot (Nina Lombardo), Danny Dayton (Digger), Tom Dillon (Policeman), Ralph Dunn (Sergeant James Dolan)
  • Country: USA
  • Language: English
  • Support: Black and White
  • Runtime: 87 min
  • Aka: Murder, Inc.

French cinema during the Nazi Occupation
sb-img-10
Even in the dark days of the Occupation, French cinema continued to impress with its artistry and diversity.
The brighter side of Franz Kafka
sb-img-1
In his letters to his friends and family, Franz Kafka gives us a rich self-portrait that is surprisingly upbeat, nor the angst-ridden soul we might expect.
The very best period film dramas
sb-img-20
Is there any period of history that has not been vividly brought back to life by cinema? Historical movies offer the ultimate in escapism.
The best French Films of the 1910s
sb-img-2
In the 1910s, French cinema led the way with a new industry which actively encouraged innovation. From the serials of Louis Feuillade to the first auteur pieces of Abel Gance, this decade is rich in cinematic marvels.
The very best of Italian cinema
sb-img-23
Fellini, Visconti, Antonioni, De Sica, Pasolini... who can resist the intoxicating charm of Italian cinema?
 

Other things to look at


Copyright © frenchfilms.org 1998-2024
All rights reserved



All content on this page is protected by copyright