"House of Strangers" clearly is a film noir drama and crime story. But more than anything else, it's a showcase for the talent of Edward G. Robinson. This is a great performance by a great actor who never got so much as a nomination from any of the major groups in the film world. It always strikes me as a bit strange - maybe even a picture of a hypocritical and belatedly humiliated and humbled Hollywood, when it gives an honorary award for someone "who achieved greatness as a player, a patron of the arts, and a dedicated citizen, etc." But the person was never great enough to even be nominated once? Especially, when there's a list of outstanding films that he or she appeared in, either in a leading role or in a major supporting role.
Well, Mr. Robinson got his honorary Oscar in 1973. The fact that this took place at the March 27 Academy Awards ceremony -- two months and one day after Robinson died, further suggests the idea that the moguls of Hollywood (actors, directors and producers) were a little shame-faced and trying to save face. For posterity, the records would show that they did indeed honor this great actor. The albeit is that it was with a guilty conscience and almost in hindsight after he had died.
Edward G. Robinson has played a crook, a conman, a cop, a comic, and a crime boss. He was the consummate tough guy whether in a gangster movie, a war film, or a caper comedy.. Whatever role he had, Robinson was a fine actor and entertainer.
In this movie, Robinson plays Gino Monetti, an Italian immigrant who has made good. The uneducated tough guy worked hard to get where he is. Now he has a significant financial operation in a tough neighborhood of New York City. Many people rely on Monetti and his bank to help them in crises and their small businesses The trouble is, Gino doesn't know the rules - or the law and the regulations governing banking. So, he operates on the basis of handshakes, oral agreements and hand-scribbled notes. We see him as a kind-hearted guy helping out a widow who needs train fare for a dying relative. And, we see him taking a big cut of a loan to a street merchant who needs to buy a new horse to pull his wagon.
But the main story is about his family,. He has four sons. It's a very dysfunctional family. He treats three of the sons like dirt while favoring one of the younger of the two, Max, who has become a lawyer. The others are lackeys working as window clerks and guards in the bank.
All of this will lead to family disputes and conflicts that tear the family apart. As the matron of the family says, when times were tough and they had a barbershop they were a family and happy. But now they have nothing in the midst of plenty. After Gino dies, she says she no longer has four sons. The plot in which all of this comes about is noir and high grade drama.
Besides Robinson's central role, Richard Conte shares the limelight as Max. And, after he meets Susan Hayward's Irene Bennett, sparks of a sort fly hither and thither. Max and Irene have a running feud of words that are put-downs, insults, jabs and dismissals. So, naturally, they fall in love. Indeed, it isn't natural and it's the hardest subplot of this film to swallow. While such a relationship between two such personalities surely does happen sometimes, it would have to be extremely rare. Their spatting dialog maybe was intended to put some spice and wit into this film, but I think it's mostly a deviation from the Monetti family collapse.
Those who enjoy noir films should go for this one in a big way. Those who don't care for the sub-genre should probably skip it entirely. For other fans, it depends on what else may be appealing or not so - family dysfunction, tyrannical family head, very disrespectful treatment of a woman, etc. My eight stars are for the acting - not only by Robinson, but by most of the rest of the cast as well.
Here are a couple of the better lines in this film.
Joe Monetti, "A man who throws away money is a big worry. A big problem."
Max Monetti, "Vengeance is a rare wine, a joy divine, says the Arab."
Well, Mr. Robinson got his honorary Oscar in 1973. The fact that this took place at the March 27 Academy Awards ceremony -- two months and one day after Robinson died, further suggests the idea that the moguls of Hollywood (actors, directors and producers) were a little shame-faced and trying to save face. For posterity, the records would show that they did indeed honor this great actor. The albeit is that it was with a guilty conscience and almost in hindsight after he had died.
Edward G. Robinson has played a crook, a conman, a cop, a comic, and a crime boss. He was the consummate tough guy whether in a gangster movie, a war film, or a caper comedy.. Whatever role he had, Robinson was a fine actor and entertainer.
In this movie, Robinson plays Gino Monetti, an Italian immigrant who has made good. The uneducated tough guy worked hard to get where he is. Now he has a significant financial operation in a tough neighborhood of New York City. Many people rely on Monetti and his bank to help them in crises and their small businesses The trouble is, Gino doesn't know the rules - or the law and the regulations governing banking. So, he operates on the basis of handshakes, oral agreements and hand-scribbled notes. We see him as a kind-hearted guy helping out a widow who needs train fare for a dying relative. And, we see him taking a big cut of a loan to a street merchant who needs to buy a new horse to pull his wagon.
But the main story is about his family,. He has four sons. It's a very dysfunctional family. He treats three of the sons like dirt while favoring one of the younger of the two, Max, who has become a lawyer. The others are lackeys working as window clerks and guards in the bank.
All of this will lead to family disputes and conflicts that tear the family apart. As the matron of the family says, when times were tough and they had a barbershop they were a family and happy. But now they have nothing in the midst of plenty. After Gino dies, she says she no longer has four sons. The plot in which all of this comes about is noir and high grade drama.
Besides Robinson's central role, Richard Conte shares the limelight as Max. And, after he meets Susan Hayward's Irene Bennett, sparks of a sort fly hither and thither. Max and Irene have a running feud of words that are put-downs, insults, jabs and dismissals. So, naturally, they fall in love. Indeed, it isn't natural and it's the hardest subplot of this film to swallow. While such a relationship between two such personalities surely does happen sometimes, it would have to be extremely rare. Their spatting dialog maybe was intended to put some spice and wit into this film, but I think it's mostly a deviation from the Monetti family collapse.
Those who enjoy noir films should go for this one in a big way. Those who don't care for the sub-genre should probably skip it entirely. For other fans, it depends on what else may be appealing or not so - family dysfunction, tyrannical family head, very disrespectful treatment of a woman, etc. My eight stars are for the acting - not only by Robinson, but by most of the rest of the cast as well.
Here are a couple of the better lines in this film.
Joe Monetti, "A man who throws away money is a big worry. A big problem."
Max Monetti, "Vengeance is a rare wine, a joy divine, says the Arab."