Synopsis
The City Under the City
Recently paroled from prison, legendary burglar "Doc" Riedenschneider, with funding from Alonzo Emmerich, a crooked lawyer, gathers a small group of veteran criminals together in the Midwest for a big jewel heist.
The Asphalt Jungle
1950 Directed by John Huston
Cast
Sterling Hayden Louis Calhern Sam Jaffe Jean Hagen James Whitmore John McIntire Marc Lawrence Barry Kelley Anthony Caruso Marilyn Monroe Teresa Celli William 'Wee Willie' Davis Dorothy Tree Brad Dexter John Maxwell Mary Anderson Ray Bennett David Bond Chet Brandenburg Benny Burt Frank Cady Jean Carter Mack Chandler David Clarke John Cliff Harry Cody Gene Coogan Henry Corden Chuck Courtney Show All…
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Alternative Titles
Quand la ville dort, La jungla de asfalto, Raubmord, Giungla D'Asfalto, Mientras la ciudad duerme, 아스팔트 정글, Giungla d'asfalto, Asphalt-Dschungel, Асфальтовые джунгли, I asfaltens djungel, O Segredo das Jóias, ג'ונגל האספלט, Jungla de asfalt, Aszfaltdzsungel, 夜阑人未静, Elmas Hırsızları, Asfaltjunglen, Асфалтираната джунгла, La jungla d'asfalt, Η Ζούγκλα της Ασφάλτου, Asfaltová džungle, جنگل آسفالت, Asfaltowa dżungla, Асфальтові джунглі
Genres
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Releases by Date
Theatrical
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USANR
29 Dec 1950
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FranceU
01 Jan 1951
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Brazile 14
22 Mar 1951
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Portugale 14
Releases by Country
Brazil
01 Jan 1951
- Theatricale 14
France
29 Dec 1950
- TheatricalU
Portugal
22 Mar 1951
- Theatricale 14
USA
12 May 1950
- TheatricalNR
Popular reviews
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Criterion Collection Spine #847
"People are being cheated, robbed, murdered, raped. And that goes on 24 hours a day, every day in the year ... But suppose we had no police force, good or bad. Suppose we had ... just silence. Nobody to listen, nobody to answer. The battle's finished. The jungle wins. The predatory beasts take over."
I was going to tease that this was just the American remake of 'Rififi', but it might be the other way around since this came out 5 years earlier. The Asphalt Jungle is pretty much your standard heist flick, but I suppose it should be given credit for being one of the early entries in the genre with great performances, and the…
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Noir-November Challenge! Movie #7
A John Huston film disguised as a heist flick when its true strength is its character driven plot! Everything is seen from the point of view of the thugs or in this case hooligans!
You know it did its job well when I find myself openly rooting for the more sympathetic characters and shaking my clenched fist at the ones who truly had black hearts!
The ending was a real heartbreaker!
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we are all human, so why are some of us seen as though we are not so?
in a film that seems like a oh-so-subtle takedown of the stereotypical convention of ‘male-immortality’ in the face of extreme, gangster-related danger, Huston manages to create a perfect masterpiece for Hollywood’s golden age.
sometimes, at least for me anyway, things just feel as though they’re just not going your way. no matter how hard you try, anything you do will never seem as though it is enough for those around you, it will seem as though you’d be better off being dead rather than wallowing around in desperate attempts to please.
the sadness that pursues from this alone can feel all too much…
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The Asphalt Jungle is a very harsh noir drama that describes in minute detail a jewelry heist and the subsequent double games between the participants. It is remarkable for the psychological analysis of the characters and for the realistic description of the environment of the urban underworld. John Huston realizes a story of greed, paranoia and bad luck, wrapped in the night of an alienating and corrupt metropolis. Central part of the plot, the city is represented as an oppressive space that nullifies any desire to escape and prevents the protagonists' dreams from materializing. In addition to Huston's talent, the great result of the film is due to the quality of the novel from which it is based. William R.…
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An ensemble cast including Sterling Hayden, Louis Calhern, Jean Hagen and Sam Jaffe (with an early appearance from Marilyn Monroe) star in a noir from John Huston about the lead-up, execution and aftermath of a jewel robbery by a group of veteran criminals.
Released at the very beginning of the decade, this crystallised the heist genre into the form we know it today; in much the same way that The Maltese Falcon didn’t invent private eye movies there were lots of other films that had focused on robberies before, but it’s here that Huston set the rules and laid the groundwork for countless stories to come in his tale of an intricate theft that bit-by-bit goes drastically wrong for those…
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I have to admit that I was a bit predisposed to like this movie, I might say even giddy. It stars Sterling Hayden, and he plays two of my favourite characters in two of my favourite films; The Killing, and Dr. Strangelove. While it could be argued, successfully, that he plays the same character every time, I don’t really care. I just love his no nonsense tough guy delivery. Probably even more than James Cagney or Humphrey Bogart.
The first thing that struck me was the absence of score. Beyond the opening, there is none. The second thing that struck me was the sumptuous cinematography. This is a master plying his trade. This is the best looking and photographed Noir…
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Leave it to John Huston to turn jewel theft into an act of hope. Compared with the grim deeds populating Huston’s noir streets, it’s positively a saintly deed in comparison.
“Asphalt Jungle” slides right into Huston’s catalogue of morose people living in hopeless worlds.
Huston sought in “Jungle” to appropriate the vérité style of Italian neorealist works. Blended with stylized genre standards, Huston created a film that exists on the margins of our dreaded nightmares and also on the rim of our somber reality.
Where the neorealists took to the streets to place their films among the ruins of Europe post-WWII, Huston had no such ready-made set.
Instead, “Jungle” populated the pessimism of the American psyche — as its soldiers returned from defeating The Great Evil, and found themselves asking... what next? What happens when we are left only with the evil inside ourselves?
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62/100
Another semi-casualty (I do still like it) of my taste gradually evolving away from movies that are 95% plot. Hard to miss the theme, of course—Huston might as well have written it out in big flashing letters, Noé-style: LE HASARD DÉTRUIT TOUT—and Sam Jaffe's jukebox scene near the end encapsulates it beautifully (while also providing a proto-R&B erotic charge that even Marilyn Monroe* can't match). Other than that, though, spikes on the emotional EKG are few and far between; the two most poignant moments—Jean Hagen's heartbreakingly hopeful expression when Dix calls Doll back after she leaves his apartment, and Emmerich's wife hastily brushing her hair when she hears him returning to finish their card game—both involve women who are…
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Whenever the old guy’s mistress was onscreen I thought, “Holy mackerel, who is this actress? She looks like Marilyn Monroe!” And then I found out from the end credits that it was Marilyn Monroe.
Seven men in varying degrees of desperation take part in a jewel heist. They’ve got it all planned perfectly. And hey, maybe they’ll get away with it. Does everything really need to go without a hitch?
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