Night and the City Page #3

Synopsis: Harry Fabian is a London hustler with ambitious plans that never work out. One day, when he encounters the most famous Greco-Roman wrestler in the world, Gregorius, at a London wrestling arena run by his son Kristo, he dreams up a scheme that he thinks will finally be his ticket to financial independence. As Fabian attempts to con everyone around him to get his scheme to work, he of course only ends up conning himself. This is an interesting tale of blind ambition, self-deception, broken dreams, and how a man who always thinks he's ahead of the game ends up tripping himself very badly.
Director(s): Jules Dassin
Production: Criterion Collection
 
IMDB:
8.0
Rotten Tomatoes:
79%
NOT RATED
Year:
1950
96 min
420 Views


- Now, listen to me--

- Harry, all I got is me money.

And between me and me money is a kind of

understanding, like holy matrimony-

till death us do part.

But I can't miss, Figler!

Figler, will you listen!

I like you, Harry.

Why don't you settle down, get hold of a few

good beggars and put 'em out on the street?

I'll give you all the supplies you need--

legs, eyes, stumps.

- What are you talking about?

- You can make a nice living out of it.

I bring you a fortune,

you give me beggars!

If I had the money, I could help you,

couldn't I? Right.

And if I could help you,

I would, wouldn't I? Right.

But if you ain't got socks,

you can't pull 'em up, now, can you?

Aw, now, Googin,

you're a man of imagination.

With all the best will in the world, I'm just helpless.

Just plain, sprawlin' helpless.

But this is a golden opportunity.

One chance in a thousand.

Invest your money

where it means something.

I'm just plain,

simple sorry, Harry...

but if you want

anything else...

I can print you a passport,

birth certificate, medical license.

Just ask old Googin

and it's yours.

- And that's how it is, Harry.

- But, Anna, listen-

You're wasting your time and mine.

Anna O'Leary's got only one business.

Balance of the nylons.

Good.

I could do with

another 50,000 cigarettes.

Ah, cigarettes, stockings.

This is big, Anna!

One business, and that don't call for me

to put 200 quid into another man's game.

- But it's the chance of a lifetime.

- Anna O'Leary don't take chances.

I'm a hardworking,

hardheaded businesswoman.

Look, you don't wanna spend

the rest of your life living like this, do ya?

Shady deals?

Hiding on the river?

You come in with me, Anna,

it's a life of ease and plenty for you.

I'm takin' great pleasure

in biddin' you good night.

Helen?

Is that you, Helen?

No, it's me.

Mary.

Oh. Mary.

Why don't you go home,

Mary?

Oh, I'm just waiting for Harry,

Mr. Nosseross.

- He'll be along soon.

- Oh, yes.

Helen must have slipped out

for a breath of air.

She's got

a slight headache.

Harry's probably

still working.

No stopping Harry once he gets started.

- Hello, Molly.

- Hello, Mary honey.

Time for

a little nourishment.

- Mr. Nosseross.

- Yes, Mary?

Perhaps it's best

if I do go on home.

Would you please tell Harry

when he comes?

Very well.

I'll tell Harry when he comes.

- Good night, Mr. Nosseross.

- Good night, Mary.

- Good night, Molly.

- Good night, Mary dear.

We sell drinks here,

Harry.

Gin.

How's trade, Bagrag?

- Hmm.

- Hmm.

Say, listen, Bagrag--

No, I don't want a life

of ease and plenty.

Now, take your drink,

and drink it quietly...

and don't mess about

with my customers.

- Look, Bagrag--

- Now, look here, Harry.

Thank you,

Mrs. Nosseross.

Thank you very much

for slicing my throat.

Playing the loving wife looking out for

her husband's interests, huh?

Well, you don't fool

Harry Fabian.

I know every twist and turn in your scheming brain.

Oh, yes, looking out for her husband.

Looking out for the day he'll turn his toes up

and leave the bundle to you.

He counts his quids

while you count the days...

sitting on his grave to keep it warm for him,

watching every penny just so--

What do you think

you're doing?

- How's Mary?

- You leave Mary alone. You hear me?

She's fine with me.

You married the boss. You moved on and up.

- But I think of you.

- Yeah, you certainly showed it tonight.

"Put 200 on that desk.

My husband'll match it."

Thank you, Mrs. Nosseross, no.

Good night.

Harry.

Two hundred quid.

Now take it to Phil

and get his.

Helen, what-- He never lets you

have a shilling. Where'd you get it?

Never mind.

Just listen closely and do as I tell you.

- Yeah, sure, Helen. Anything you say.

- Show that to Phil.

He'll give you the 200 quid

that I made him promise you.

Helen, you're a wonder, and no mistake!

You won't regret this!

I promise you. I promise you that.

I promise you.

Fabian Promotions.

Fabian Wrestling. It'll be--

- There'll be no wrestling.

- What?

- I've got a nightclub.

- What?

Yes, my own. Bought a year ago.

Flamenco's old club.

Flamenco's closed down.

- Struck off by the police for two years.

- That's why I got it on credit.

In another year, all I do is put up five shillings

for a license, and I'm in business.

But I can't wait

another day.

One more year

living with that--

I've got to get away from him, Harry.

I must get away before I--

That's what the money's for-

the license.

And you're the only man I know

who can get it.

You're gonna bribe,

steal, murder-

I don't care what you do,

but you're gonna get me a license for my club now.

- But if Phil gives me the 200, it's got to be for wrestling.

- That's right.

But you'll just go through the motions

till we're ready to open the club.

- But Phil's no easy mark.

- I know. I'm gonna give you--

You're crazy, Helen.

You don't know what I've got.

I've got Gregorious! A shield!

I've got Kristo stopped cold!

I can control wrestling

in London!

I'm through hustling for nightclubs,

for you or for anybody else.

For yourself!

What do you think Phil takes in an evening?

Never less than a hundred quid.

And who runs the place for him? I do. Me.

I know

how to make a club spin.

If he can do that,

just think, Harry, think.

We're younger, stronger,

healthier than he is.

We've got more life in our little finger

than he has in the whole of his body.

Oh, Harry, we must. I've got to get away

from him. Please, Harry. Please! Please!

Helen, listen-- Listen!

You can still

get away from Phil.

This wrestling pitch is gonna mean

a lot to us. It's gonna mean the whole--

All right, Helen.

You always were

a smart girl.

Maybe you're right.

I'm always right.

Now telephone

that wrestler.

Tell him you're set.

You'll string him

and Phil along.

But night and day,

you're gonna do one thing--

rip London apart

if you have to...

but you're going to

get me that license.

All right, Helen.

- Who is it?

- We are looking for a Mr. Harry Fabian.

He's not here.

The place is closed. Go away.

Mr. Kristo sent us.

- Sorry. Forgive me.

- It is I who must ask you to forgive this intrusion, sir.

But it is imperative that I have a few words

with Mr. Harry Fabian.

I understand he is

employed by you, sir.

Well, in a manner

of speaking.

- He works on commission. But I should

hardly regard---- Ah, yes, quite.

My name, sir, is Chilk. Fergus Chilk.

I am Mr. Kristo's personal solicitor.

This is Mr. Yosh.

He also is employed by Mr. Kristo.

Well, if there's anything

I can do for Mr. Kristo--

Yes, quite. Thank you.

Mr. Kristo is disturbed.

Yes, disturbed.

Word has reached him that Harry Fabian

is about to engage in the promotion of wrestling.

It is Mr. Kristo's

opinion, sir...

that this Mr. Fabian

would find such a venture... unprofitable.

I can assure you that Mr. Kristo

need have no concern.

Tonight Mr. Fabian is pleased to regard himself

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Jo Eisinger

Jo Eisinger (1909 - 1991) was a film and television writer whose career spanned more than forty years from the early forties well into the eighties. He is widely recognized as the writer of two of the most psychologically complex film noirs: Gilda (1946) and Night and the City (1950). His credits also include The Sleeping City (1950) and Crime of Passion (1957), a coda to the films of the noir style, for which he wrote the story as well as the screenplay. Starring Barbara Stanwyck, it is a strikingly modern commentary about how women were driven mad by the limitations imposed upon them in the postwar period. Jo Eisinger started writing for radio penning numerous segments for the Adventures of Sam Spade series. He returned to thriller and private eye adventure series writing for the ITC television series Danger Man (1960–61) and the mid-1980s HBO series Philip Marlowe, Private Eye. His script for an episode of the latter show, "The Pencil", earned him a 1984 Edgar Award. Eisinger's credits also include several films that departed from his accustomed genres of mystery, adventure and crime. Among them are Oscar Wilde (1960), starring Robert Morley and Sir Ralph Richardson, The Rover (L'Avventuriero, 1967), from the novel by Joseph Conrad and starring Rita Hayworth and Anthony Quinn, and The Jigsaw Man (1983), starring Laurence Olivier and directed by Terence Young. Eisinger wrote the books on which the Broadway plays What Big Ears! (1942) and A Point of Honor (1937) were based. His novel The Walls Came Tumbling Down (1943) was adapted for the long-running radio drama program Suspense in 1944; the episode featured screen and radio actors Keenan Wynn and Hans Conried. A film version of The Walls Came Tumbling Down starring Edgar Buchanan and George Macready was released in 1946. Jo Eisinger's second marriage was to Lorain Beaumont. Eisinger used his wife's maiden name for Mr. Beaumont, one of the characters in The Walls Came Tumbling Down. more…

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Submitted on August 05, 2018

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