… Walter Matthau’s from the neighborhood and Jerry Stiller grew up right across the street [on Jackson Street] and both went to Seward Park High—as did Julius Rosenberg, I might add. When I first met him, I was expecting a decrepit old man, because he kept saying on the phone, “Well, you know I’m really, really old now, eighty-nine.” So at JFK we were on the lookout for the oldest man possible coming off the Olympic Airways flight from Athens and then we see this impeccably dressed man with a spring in his step, who turned out to be Dassin. Jules Dassin, with ever-present cigarette in hand, directs some local baleboosteh extras at the Essex Street Mark on the Lower East Side. Criterion’s transfer of Jules Dassin’s funereal noir masterpiece is as grimly dazzling as a procession of buffed-and-polished hearses. Harry wants to be big-time, and he does not care how he raises cash for his schemes. While on the set of Martin Ritt’s Edge of the City (1957), she had expressed her filmmaking ambitions to costar John Cassavetes, who promptly gave her a Bolex 16 mm camera, lenses, and a light meter. You glance at that shot of the Chinese laundry and you think, never in a million years. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. Master noir craftsman Jules Dassin and newspaperman-cum-producer Mark Hellinger’s dazzling police procedural, The Naked City, was shot on location in New York. I said, “Well, we were thinking of putting you up over the jewelry store.” He just stopped in the middle of the lobby and started laughing. An incendiary adaptation of John Ford’s Pabst-like expressionist film The Informer (1935), Uptight features an all-Black cast and transposes a tale of the Irish Troubles to the era of Black liberation. Walkers in the City: Jules Dassin and Bruce Goldstein in New York Directed by Jules Dassin • 1948 • United States Starring Barry Fitzgerald, Howard Duff, Dorothy Hart “There are eight million stories in the Naked City,” as the narrator immortally states at the close of this breathtakingly vivid film and this is one of them. This review is for the 2001 Criterion DVD. Top of page: Dassin directing Ted de Corsia on Rivington Street. The standard-definition presentation comes from a high-definition restoration, which was scanned from a composite print. Did Jules share his recollections about shooting on the Lower East Side? Life Meets Art in Uptight, Ruby Dee’s Groundbreaking Collaboration with Jules Dassin. The details on the mechanics of Dassin’s production—cinematographer William Daniels devised hidden cameras and simple, compact lighting rigs that enabled him to shoot anywhere, anytime—should be inspirational for film students and for audiences hungry for reality-based movie magic. How much did he reminisce about it with you? Suffused with her characteristic empathy, Dee’s performance embodies a complex fusion of rage and pain in the face of societal injustice. Rouben Mamoulian went inside the Times Square station and for the very first time filmed inside—and with sound yet. There aren’t that many movies that feel like they were made by people from here, not just a Hollywood crew coming into New York grabbing some good locations. I was trying to think of the earliest feature film actually shot inside the subway (we proved that the one Harold Lloyd used in Speedy twenty years before was a set), and Shane says, Applause [1929]. I mean, my father grew up on the Lower East Side, right where the climax of Naked City takes place, and he could have been in one of the huge crowds Jules shot on Delancey Street. I had been looking at Friday and Wednesday ads, because that’s when I thought movies had always opened in New York. We used our other great resource. And then Penn Station, this beautiful work of art, is torn down, and people start realizing, wait a minute, maybe we don’t want the old cityscape to be torn down. Left to right: script supervisor Mary Chaffey, technical advisor Capt. ., and on a second line, PICKLE PR . Following, Tony le Stephanois (Jean Servais), a master thief fresh out of jail, wearing a harried look and suffering ill health he refuses to be … Out now on Criterion: http://www.criterion.com/films/654-rififi And two, Jules was the world’s number-one Garbo fan. “There are eight million stories in the Naked City,” as the narrator immortally states at the close of this breathtakingly vivid film—and this is one of them. He would have gone to Loew’s Delancey, or Loew’s Clinton, or the Palestine Theatre. She shows sympathy toward Tank but is also blunt about the risks that he’s taken with the Council. In the sixties, when I was going there with my father, there was a guy who weighed at least 400 pounds, whose job was just to give out the tickets. It’s extraordinary what Daniels did with the lighting. I don’t know how he did it. In the doc I say a whole stretch of Delancey Street was torn down after The Naked City. At Katz’s Delicatessen, there’s always been a person who hands you a ticket as you go in. Director : Jules Dassin; Media Format : Blu-ray, Subtitled; Release date : September 8, 2020; Actors : Barry Fitzgerald, Howard Duff, Dorothy Hart, Don Taylor, Ted de Corsia; Producers : Mark Hellinger; Studio : The Criterion Collection; ASIN : B08B8LS46D; Number of discs : 1 He then collaborated on numerous movies with Greek superstar Melina Mercouri, his second wife. … He talked to me a lot about it, and we faxed a lot. One masked guy whizzes by on a bicycle,” Goldstein notes, in an email. But if you go up to East Harlem, Mott Haven in the Bronx, or Williamsburg, these are still old New York City neighborhoods. It might be the golden age of hip-hop, or something we never heard of. They’re not available right now because of the pandemic. When I watch the Lower East Side in the movie, I think, “This is the neighborhood he described to me.” The Lower East Side in the movie is kind of parallel to the East Harlem of his boyhood; the two were similar in many ways. I do remember driving through the East Village with Jules, and he said to me, “Wow, they really cleaned this neighborhood up.”. But I didn’t think much about the neighborhood back then, even though my father grew up there. Following the end of World War II, Dee, recently divorced, met Ossie Davis while working on a play. Dee’s screen presence lends itself to this kind of recontextualization: poignant, poetic, and strong, it resonates well beyond its era. New York magazine used to have reader competitions in the back. Dee was first introduced to Uptight as a proposal for her husband. In 2000, Dassin told me, “The only way you really prepare locations is to walk.” That method generated the evocative atmospheres not just in The Naked City and Rififi, but also in Thieves’ Highway (1949, filmed in San Francisco and Oakland), and his masterpiece, Night and the City (1950, London). Did he express any positive feeling about the film when you were with him? Following King’s murder, Johnny and his gang ask Tank to join them in stealing weapons, but Tank is drunk and distraught watching scenes of the funeral casket, followed by thousands of marchers, on TV, and refuses to join them. It’s telepathy. That’s all right. I think he loved having Daniels regale him with stories about Garbo. I went to visit him there twice. Then I went and looked at the Monday ads, and sure enough, the films mentioned in the Daily Worker article were there. You can’t be certain, but I can imagine him saying, “Let’s have an ice man, let’s have a milkman with the horse cart.” Jules once told me his favorite song was “I’m Forever Blowing Bubbles.” It was published in 1919; he would have been eight years old when it came out. What do you miss about the New York street life in The Naked City? This is followed by color footage of the aftermath of King’s assassination, which occurred after Dassin had finished most of the shooting for the film. With his debut short film, Zoo, now on the Criterion Channel, the Montreal-based filmmaker talks with us about its depiction of police brutality and independent cinema’s engagement with social issues. They married in 1948 and soon became further involved in various progressive and Black arts movements. But when the unstable Tank (Julian Mayfield), increasingly uncomfortable with the group’s militaristic direction, betrays his friends to the police, he finds himself on the run through the perilous … He was really thrilled to be back in New York. Blacklisted American director Jules Dassin's groundbreaking French film noir--with a memorable music- and dialogue-free opening scene--follows four thieves who pull off a heist at a reputedly impenetrable jewelry shop, then watch as their "perfect crime" falls apart before their eyes. “If you look quick, you can see one or two people with masks. I think the real reasons Jules pushed Daniels on Hellinger were, one, he had worked with him before [on The Canterville Ghost and Brute Force] and loved him. Almost like divine intervention. He had one of those old LPs with dialogue from the movies. How hard was it to make this film during the pandemic? He worshipped her. Dee had a hand in the process of finding the actors, and she got the local community involved. Explicit engagement with King’s legacy turns up again in a central sequence that depicts a group of Afrocentric revolutionaries called the Council meeting with elder Black city representatives, who plead for continued diplomacy. I think Jules wanted to shoot part of the film in East Harlem to go back to the old neighborhood. Boy, the pictures of him taken by Kubrick and Weegee—he’s having so much fun in the streets, getting down with the people. Dee’s interest in filmed storytelling was sustained by her television production work, which began in the 1960s, often in collaboration with Ossie Davis. In the words of the producer’s biographer, Jim Bishop, Hellinger knew that the movie “had to be so New Yorkerish that it looked like a documentary.” He renamed it Naked City after Arthur “Weegee” Fellig’s 1945 collection of sensational on-the-spot photography. We went back to the Plaza, where we’d gotten this fantastic parkside suite for him, and I noticed this jewelry store in the lobby. And as for Dee, who died in 2014, she remains an icon whose work symbolizes the humanity and artistry of the Black Power movement and women’s contributions to it. The politically trenchant Uptight was a natural extension of what Dee had been striving to do since the early days of her career: to combine art with activism. Shot by famed cinematographer, William Daniels and directed by the soon-to-be Hollywood black-listed, Jules Dassin, THE NAKED CITY turns out to be nothing more than a rather pedestrian police procedural. März 2008 in Athen) war ein US-amerikanischer Filmregisseur, Drehbuchautor, Produzent und Schauspieler. It was a Jewish neighborhood at that time, also an Italian neighborhood. The winner said, “Put more vending machines in the subway that don’t work.”. He wrote and coproduced the 2019 documentary Image Makers: The Adventures of America’s Pioneer Cinematographers. Submit. Though Uptight is an outlier in both Dassin’s and Dee’s careers it remains a remarkable example of the possibilities of poetic, political filmmaking within the context of a major studio. We had a screening at the Directors Guild Theater on 57th Street. The Academy Film Archive has preserved Jules Dassin's film Night and the City, including the British and pre-release versions. It had been staring at our faces all along, because if you look at the frame carefully, you can just make out “Hop” and then “ee” under a light bulb. They were the Starbucks of their day—everywhere! Penn Station was the wake-up call. When Davis (who was too busy because he was already scheduled to act in The Scalphunters) suggested Dee as a screenwriting partner, she embraced the opportunity and touted her ability to “see more than one side of a subject, to weigh matters and to make choices based on their value in relation to what’s at stake.”.

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