One of the first films to depict crime from the POV of the deviants rather than the police, this seminal film (arguably Huston's best) had a huge influence on the genre, manifest in the early work of Kubrick--and decades later Tarantino's Reservoir Dogs
The Asphalt Jungle (1950)
Runtime: 1 hr 52 mins
Synopsis: Directed by John Huston, THE ASPHALT JUNGLE is considered by many to be the defining film of the crime oeuvre. After many years in prison, Doc (Sam Jaffe), a seemingly over-the-hill and retired (i.e. rehabilitated) criminal decides upon his release to make one last go of it. His attempts at... Directed by John Huston, THE ASPHALT JUNGLE is considered by many to be the defining film of the crime oeuvre. After many years in prison, Doc (Sam Jaffe), a seemingly over-the-hill and retired (i.e. rehabilitated) criminal decides upon his release to make one last go of it. His attempts at reuniting the old gang come up against the intentions of his partner who intends to start a Kentucky horse farm with his share of the take. Doc's lecherous tendencies for young curvaceous women get him nowhere but delight the viewer with standout performances by Jean Hagen and a lusty Marilyn Monroe. The tremendous character development is aided by Huston and Ben Maddow's script, and Huston's direction. Based on a novel by W.R. Burnett. Remade in 1958 as BADLANDERS, in 1963 as CAIRO and 1972 as COOL BREEZE. [More]
Genre: Dramas
Starring: Sterling Hayden, Sam Jaffe, Louis Calhern, Jean Hagen, Marilyn Monroe
Screenwriter: Ben Maddow, John Huston
Producer: Arthur Hornblow
Composer: Miklos Rozsa
DVD Info
Release:
Jul 6, 2004
DVD Features:
- Region 1
- Keep Case
- Full Frame - 1.37
Audio:
- Mono - English
- Mono - French
Reviews
This tale of a jewel theft gone wrong is notable for its gritty procedural detail and an emphasis on the inner lives of the small time crooks, expertly played by Sterling Hayden and Sam Jaffe.
One of The Asphalt Jungle's strengths is that the crims seem about as thick as you suspect they would be in real life: no Cruise or Clooney-style braniac super-athletes here.
Huston concentrates mostly on the film's performances, but like The Maltese Falcon and The Treasure of the Sierra Madre, he uses space, shadow and a very clever mise-en-scene to physically illustrate the film's themes.
Among John Huston's most overrated works, only partially redeemed by Jaffe's brilliance and Marilyn's cameo.
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