16MM FEATURE - THE NAKED CITY - 1948 - BARRY FITZGERALD - HOWARD DUFF
Item History & Price
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16MM FEATURE - THE NAKED CITY - 1948 - BARRY FITZGERALD - HOWARD DUFF
Good condition print(see screen shots). Light lines throughout. No VS. Fuji black and white stock. Complete with Universal logo. Sound. Mounted on 3x1600' reels.
I can't possibly watch every film all the way through. Only the first couple of minutes have been watched. Please ...bid accordingly. If I list a film as good condition it does not mean "excellent or mint".
PLEASE SEE FILM GRADING SCALE BELOW:
Mint or New: Means just that. It may have been run, but still physically looks mint, untouched by a projector.
Near Mint: Only the slightest signs of having been run. Appears Mint when projected on the screen.
Like New: Can be older print that was well taken care of. May have only the slightest signs of use, occasional minor light line or splice or minor cue mark, if any. Starting at this level, older prints may have a little curl to the film, which is common.
Excellent+: Very minimal wear or light lines at times with an occasional, although seldom, splice. No major repairs or missing scenes transitions from TV use.
Excellent: Will have some minimal wear or light lines and may have an occasional temporary light emulsion line, a few splices or minor repair. Possibly some short lap dissolves or minor cue marks around transitional scenes if it was used by a TV station, but highly acceptable condition.
Very Good: Will have some wear and lines, cue marks, minor repairs and usually more splices than desirable. An occasional emulsion scratch.
Good: The same as Very Good but with more scratches, wear and some spots that may be splicy from having been damaged. Still watchable.
Fair or Poor: Will need to be checked for extensive repairs before running. I usually will never even list anything in this condition, only if a desirable title.
AMG rates this feature at 3-1/2 Stars (their highest rating is Five Stars)!
This feature was nominated for Three Academy Awards, winning Two Academy Awards: Best Achievement in Cinematography (Black-and-White) For William H. Daniels and Best Achievement in Film Editing for Paul Weatherwax.
Stars: Barry Fitzgerald, Howard Duff, Don Taylor, Dorothy Hart, Ted de Corsia, House Jameson, Anne Sargent, Adelaide Klein, Grover Burgess, Tom Pedi, Enid Markey, Frank Conroy, Mark Hellinger, Walter Burke, David Opatoshu, John McQuade, Hester Sondergaard, Paul Ford, Ralph Bunker, Curt Conway, Kermit Kegley, George Lynn, Arthur O'Connell, Jean Adair, Nicholas Joy, Virginia Mullen, Beverly Bayne, Al Kelley, Celia Adler, Grace Coppin, Robert H. Harris, James Gregory, Edwin Jerome, Amelia Romano, Anthony Rivers, Bern Hoffman, Elliott Sullivan
Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City."
Thanks.
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