The Phenix City Story

Reviews

• 

  John Chard

  Feb 16, 2020

  8
  I'm not stickin' my neck out. Why should I? Phenix City has been what it is for 80, 90 years. Who am I to try to reform it? The Phenix City Story is directed by Phil Karlson and written by Daniel Mainwaring and Crane Wilbur. It stars John McIntire, Richard Kiley, Kathryn Grant, Edward Andrews and John Larch. Music is by Harry Sukman and cinematography by Harry Neumann. A crime-busting lawyer (Kiley) and his initially reluctant attorney father (McIntire) take on the forces that run gambling and prostitution in the "Sin City Of The South", Phenix City, Alabama. Karlson's uncompromising film noir is based around the real life 1954 assassination of Albert Patterson (McIntire), who after being nominated for the role of Alabama Attorney General was on a mission to rid Phenix City of organized crime. It's important to note that this is not a historical fact film as such, it's more an interpretation of the Patterson murder and how Phenix City was a cess pool at the time in focus. Print of the film I personally viewed had a 13-minute newsreel preface where newsman Clete Roberts interviews many of the actual participants of the events in the story. I wasn't prepared for it and thought I was about to watch a documentary, but then we shift to Karlson's film and it delivers quality noir film making. Karlson ("Scandal Sheet" - "99 River Street") and his team don't hold back from violence and devastating scenes. Yet somehow in spite of the dark turns that occur, where the stink of racism and organized crime resides, there's an overriding message that even though we may want to fight fire with fire, sometimes the lawful ballot box is the best option. Cast are well directed, so much so there's no weak links here, but one has to admire the class McIntire brings to the role of Patterson, while Larch gives us one of film noir's most repugnant villains. Neumann's photography is only ok, there's some flashes of expressionism here, but one can't help wishing for some chiaroscuro magic to befit the dark tones being played out. This is still a film noir enthusiast essential, on proviso that it's understood there's some poetic licence undertaken. 8/10Read more

  I'm not stickin' my neck out. Why should I? Phenix City has been what it is for 80, 90 years. Who am I to try to reform it? The Phenix City Story is directed by Phil Karlson and written by Daniel Mainwaring and Crane Wilbur. It stars John McIntire, Richard Kiley, Kathryn Grant, Edward Andrews and John Larch. Music is by Harry Sukman and cinematography by Harry Neumann. A crime-busting lawyer (Kiley) and his initially reluctant attorney father (McIntire) take on the forces that run gambling and prostitution in the "Sin City Of The South", Phenix City, Alabama. Karlson's uncompromising film noir is based around the real life 1954 assassination of Albert Patterson (McIntire), who after being nominated for the role of Alabama Attorney General was on a mission to rid Phenix City of organized crime. It's important to note that this is not a historical fact film as such, it's more an interpretation of the Patterson murder and how Phenix City was a cess pool at the time in focus. Print of the film I personally viewed had a 13-minute newsreel preface where newsman Clete Roberts interviews many of the actual participants of the events in the story. I wasn't prepared for it and thought I was about to watch a documentary, but then we shift to Karlson's film and it delivers quality noir film making. Karlson ("Scandal Sheet" - "99 River Street") and his team don't hold back from violence and devastating scenes. Yet somehow in spite of the dark turns that occur, where the stink of racism and organized crime resides, there's an overriding message that even though we may want to fight fire with fire, sometimes the lawful ballot box is the best option. Cast are well directed, so much so there's no weak links here, but one has to admire the class McIntire brings to the role of Patterson, while Larch gives us one of film noir's most repugnant villains. Neumann's photography is only ok, there's some flashes of expressionism here, but one can't help wishing for some chiaroscuro magic to befit the dark tones being played out. This is still a film noir enthusiast essential, on proviso that it's understood there's some poetic licence undertaken. 8/10