Directed by Fred F. Sears
Produced by Sam Katzman
Story and Screenplay by Robert E. Kent
Director Of Photography: Henry Freulich
Film Editor: Viola Lawrence
Cast: Barry Sullivan (Mick Flagg AKA Mike Pierce), Luther Adler (Tony Brill), John Baer (Ted Delacorte), Adele Jergens (Gwen Abbott), Beverly Garland (Holly Abbott), Dan Riss (Frank Alton), Damian O’Flynn (Police Chief Martin Belman), Chris Alcaide (Robert Bishop), Gene Darcy (Johnny Loker)
Here’s looking at a solid little noir/crime picture from producer Sam Katzman and director Fred F. Sears — The Miami Story (1954). It’s featured in Noir Archive, Volume 1 (1944-1954), a nine-movie, three-disc Blue-Ray set Kit Parker Films.
The Miami Story has ex-mobster Mick Flagg (Barry Sullivan) lured out of retirement (he’s now a farmer) to help snag some of his old “co-workers” in Miami. Flagg’s approach to his task isn’t hampered by the kinds of things cops or the Feds have to contend with, and he turns out to be very effective at stirring up the hoods. Along the way, he gets to threaten, beat up or at least talk smack to about everybody else in the cast. A couple of examples —
Teddy (John Baer): How much of this am I supposed to swallow?
Mick Flagg (Barry Sullivan): You better take a full dose of it, kid, if you wanna stay alive.
Gwen (Adele Jergens): Don’t give me that holier-than-thou stuff, Holly. You could hoof. All I could do was shake on top and wiggle on the bottom in crummy burlesque joints.
Mick Flagg (Barry Sullivan): Big sister just told you there’s no Santa Claus and you’re all beat up about it. Relax, things’ll look a lot worse tomorrow.
The picture is filled with dialogue like this. And Sullivan is terrific at delivering it, as is Adele Jergens. Jergens gives any movie a boost, and this one is no exception. Tired of playing these kinds of tawdry parts, she’d leave the picture business a few after The Miami Story. What a shame. She’s in one of my favorites, Armored Car Robbery (1950), along with Sugarfoot (1951), Abbott & Costello Meet The Invisible Man (1951) and a couple of the Blondie movies.
The performances are solid, to be sure, but I give a lot of credit for The Miami Story‘s success to Fred F. Sears and screenwriter Robert E. Kent. Sears proved himself to be a master craftsman, churning out a string of Katzman pictures like this that are far better than they probably have any right to be. Like Sears, Robert Kent worked a lot for Katzman’s unit at Columbia, churning out scripts for stuff like Fort Ti (1953), Jesse James Vs. The Daltons (1954) and The Werewolf (1956). He also came up with the story for Dick Tracy Meets Gruesome (1947). They made so many pictures, they can’t all be great, but when their best are well worth seeking out.
The Miami Story looks like a million bucks on Blu-Ray. DP Henry Freulich, another craftsman, is well-served here. It’s sharp, with nice-looking grain and solid blacks. As the only picture in the set from 1954, The Miami Story is the only title in 1.85. This movie, and the Blu-Ray collection, come highly recommended. If this becomes your gateway to the joys of Columbia B movies, you’re in for a real treat.