2 Comments

  1. Norbert Brodine’s work here was striking, but Hathaway has always hooked up with gifted cinematographers (I well remember for example the superb visual collaboration with Joseph MacDonald on NIAGARA and CALL NORTHSIDE 777 and another with Brodine, KISS OF DEATH, but yes this early appearance of the gritty realism most now associate with Dassin, did get the Hollywood jump start years before. This shimmering and shadowy, crystal clear screen caps are among the most pristine I’ve ever seen online, and I can onlt marvel yet again at your technical expertise in getting them to look this way. I know this film well, have seen it several times, and like you am struck by the compelling expressionistic visual scheme. The film’s realism is accentuated by the location shooting and the connecting the locales have to the story. I had indeed read that the FBI allowed the filmmakers some freedom, which is another element of persuasiveness in this mix.

    THE HOUSE ON 92ND STREET isn’t universally admired, as at least a few derided the goody-goody aspect and refer to it as pedantic, and technologically dated. But the last reservation is hardly a flaw, as it could just as ably applied to any other film made in past decades. It’s a non-point as far as I’m concerned.

    But most see it as a minor-classic, and Bridges and Hasson are terrific, and some bit actors who hailed from NYC are memorable.

    Even with your original and fascinating seques into various aspects of noir encased in literary, poetical, thematic and contemporary conscriptions, it’s always great to have one of your buffo conventional reviews!

  2. frank fermier

    Yes, but the House was on 93rd Street?
    I lived right around the corner, and know the building very well.

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