Jugu Abraham New York cops unravel a murder. Very believable tale with lots of sociological comments.The most notable aspect is that the narrator tells the viewer who made the film--the director, the actors, the scriptwriters, etc., and the real inhabitants of the city. The narrator states an important fact--the entire film was shot outside the film studios: in New York, in the streets and in real apartments.The cinematography (the final sequence), the direction and the script are all praiseworthy, keeping the viewer interested right up to the end. A rare film in which the cops are smart!Structurally, very close to what Aristotle would have approved.

poe426 It was one of those cold, wet days when movies (in the immortal words of Patton Oswalt, writing in SILVER SCREEN FIEND) "started to blend together into one massive, daymare-fueled meganarrative." First, there was THE HARDER THEY FALL, one of the greatest boxing movies ever made (Or was that one the day before...?); then, THE NAKED CITY, followed by THE ASPHALT JUNGLE and THE MALTESE FALCON- all courtesy of Turner Classic Movies, one of the few "premium channels" truly worthy of the designation. "Rain and comfortable cold," wrote Oswalt: "Paradise for a movie-freak moleman like myself." I'd never seen THE NAKED CITY before (though I'd wanted to) and it came as a pleasant surprise. For one thing, the humor caught me by surprise- and Barry Fitzgerald as "Muldoon" was firing on all cylinders. (I would've preferred it had Fitzgerald himself done the narration- it fit his character's temperament perfectly- "to a T," as in T-Men, to belabor the point...) The inclusion of another professional wrestler in a pivotal part made THE NAKED CITY very much "a Jules Dassin" movie (to me, anyway, having just recently seen NIGHT AND THE CITY). The overall feel of the film was somehow timeless and, again, I'm reminded of another Oswalt observation in SILVER SCREEN FIEND: "You are given the space of a film to STEAL TIME. And the projector is your only clock." Not a bad way to spend a cold, rainy day.

SnoopyStyle The movie proclaims that this is filmed in the real city. Two men kill Jean Dexter in NYC. One of them gets drunk and a conscience. The other one kills him and throws the body into the river. Police detectives Dan Muldoon (Barry Fitzgerald) and Jimmy Halloran (Don Taylor) are assigned Dexter's case.This is a rather dry police procedural. The real locations give it an almost neorealistic feel. The early narration give it a news report feel. The acting is nothing special. Fitzgerald is more of a character actor. Taylor is rather stiff. The investigation procedural is a little bit interesting. The most interesting aspect of this movie are the location shoots. The vibrant street life and then the final chase are all terrific.

John austin I saw this movie for the first time on TCM recently. Barry Fitzgerald was an interesting choice for the lead. He showed up most often as a supporting player in his long career, but he played the key part of the experienced policemen well.Anyone who enjoys crime dramas will enjoy this movie. It gives you a real good snap shot of life all over New York City in that post war time period and meticulously documents street-level police investigative procedure. The lead in shot over the city must have inspired the almost identical shot used in West Side Story some years later.The story involves the murder of a single woman in an apartment. Suspicion initially settles on one of her male suitors who implicates himself by a string of lies he tells the police. Later on, the detectives discover a connection to a burglary ring which leads them to the actual killer.In the end, you get exactly what you expect from a 1940s cop movie. This film is not exactly film noir, but admittedly that's a subjective statement. It's real close in tone and subject matter, so you wouldn't be wrong in adding it to your film noir library. Enjoy this movie and spend some time in Hollywood's classic era!