The trio that brought you KANSAS CITY CONFIDENTIAL – star John Payne, director Phil Karlson, and producer Edward Small – teamed again for 99 RIVER STREET, and while it’s not quite on a par with their film noir classic, it’s crammed with enough sex’n’violence to hold your interest for an hour and a half. Karlson’s direction is solid, as is the cast (including a knockout performance by Evelyn Keyes), and the camerawork of the great Austrian cinematographer Franz Planer gives it a wonderfully brooding touch of darkness.
The story itself is highly improbable yet highly entertaining: ex-boxer Ernie Driscoll (Payne), once a heavyweight contender now reduced to driving a cab, is married to ex-showgirl Pauline (the delectable Peggie Castle), who’s two-timing him with crook Victor Rawlins (slimebag Brad Dexter ). Ernie catches them making out through the window of the flower shop Pauline works at, and his PTSD is triggered. Then when his friend, struggling actress Linda Jordan (Keyes) sets him up as a patsy so she can nail an acting job, Ernie explodes and beats up the play’s producer and crew!
Meanwhile, Victor and Pauline try to sell a load of hot diamonds to fences Christopher and Mickey (Jay Adler, Jack Lambert ), but they balk at dealing with a woman – that and the fact Victor killed a man during the heist. So the dirty douche strangles Pauline and dumps her body in Ernie’s cab. The cops are already looking for Ernie after his meltdown at the theater, and that old familiar noir downward spiral rapidly escalates as Ernie, with the help of Linda, races to find the killer at large and clear his name…
Payne does a fine job as the guy who’s taken one too many blows to the head, and although things like PTSD and Traumatic Brain Injuries aren’t specifically mentioned, it’s obvious Ernie’s troubles go deeper than just financial or marital. Good as Payne is, Evelyn Keyes totally stole the show for me as Linda. The scene where she tricks Payne into believing she’s murdered someone had not just Payne’s character fooled, I was totally taken in! Later, she impersonates a drunken floozie in a sleazy waterfront gin joint while trying to lure Dexter’s Victor out in the open. Keyes, best known as Scarlet O’Hara’s little sister Suellen in GONE WITH THE WIND and her years at Columbia (making, among other films, THE FACE BEHIND THE MASK , A THOUSAND AND ONE NIGHTS, THE JOLSON STORY, and JOHNNY O’CLOCK), never really got a chance to strut her stuff, and she certainly delivers the goods here.
DP Franz Planer makes the backlot look and feel like New York After Midnight. The veteran’s career stretched back all the way to 1919 in his native Austria-Hungary. Leaving war-torn Europe in 1937, he came to America and worked on films both large and small. Planer’s name doesn’t get mentioned a lot in the film noir conversation, but he was the man behind the camera on gems like the aforementioned FACE BEHIND THE MASK, THE CHASE, CRISS CROSS , and CHAMPION . Perhaps it’s because his other work overshadows his noir efforts: among his resume you’ll find classics such as PENNY SERANADE, ONE TOUCH OF VENUS, CYRANO DE BERGERAC, ROMAN HOLIDAY, THE CAINE MUTINY, 20,000 LEAGUES UNDER THE SEA , and BREAKFAST AT TIFFANY’S . He was working on SOMETHING’S GOT TO GIVE when that film was shelved due to the untimely death of Marilyn Monroe; it proved to be his last job, as Planer himself died a year later.
After 99 RIVER STREET, the trio of Payne, Karlson, and Small went their separate ways, though they worked together in various combinations on occasion. Pairing this film with KANSAS CITY CONFIDENTIAL would make a dynamite film noir double feature, perfect examples of what can be accomplished on a low budget with little money and a whole lot of talent before and behind the cameras.