Panic In the Streets [1950] Elia Kazan

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Panic in the Streets (1950)


http://www.imdb.com/title/tt0042832/

Panic in the Streets is a 1950 film noir directed by Elia Kazan. It was shot exclusively on location in New Orleans, Louisiana and features numerous New Orleans citizens in speaking and non-speaking roles.


Richard Widmark ... Lt. Cmdr. Clinton 'Clint' Reed M.D.
Paul Douglas ... Capt. Tom Warren
Barbara Bel Geddes ... Nancy Reed
Jack Palance ... Blackie (as Walter Jack Palance)
Zero Mostel ... Raymond Fitch
Dan Riss ... Neff - Newspaper Reporter
Tommy Cook ... Vince Poldi - Younger Brother

The film tells the story of Clinton Reed, an officer of the U.S. Public Health Service (played by Richard Widmark) and a police captain (Paul Douglas) who have only a day or two in which to prevent an epidemic of pneumonic plague after Reed determines a waterfront homicide victim is an index case. Co-stars include Barbara Bel Geddes (as Reed's wife Nancy), Jack Palance (in his film debut) and Zero Mostel — the latter two play associates of the victim who had prompted the investigation. The film was also the debut of Tommy Rettig, who played the Reeds' son.

Elia Kazan was no stranger to making pictures with social messages and moral dilemmas (“Gentleman’s Agreement” “Pinky” “A Tree Grows in Brooklyn” just to name a few) and “Panic” was no exception. Widmark gives a great speech about this potential epidemic not just being about New Orleans, but the world and how we as humans are all interconnected. May not sound like much today but this type of progressive speech was uncommon for 1950 I’d wager. The issue of freedom of press vs. public safety is a theme also touched upon as a reporter character named Neff (“Double Indemnity” nod?) is thwarted by Widmark and Douglas from scooping the story. Their reasoning is they don’t want to cause a panic and also have the killer flee town, but does the public have a right to know about this potential plague to protect their families and themselves? This plague is also a metaphor for crime as a disease and how it poisons principles and may infect many who come into its contact regardless of their moral constitution.

The shining aspects of the film manifest in several areas and the casting and acting are certainly included. Paul Douglas is solid as the police captain who reins it in from his usual comedic relief parts and Barbara Bel Geddes is fine as Widmark’s wholesome wife. She works well in some key, unconventional love scenes with Widmark where they are both longing to be close to one another but she must keep at a physical distance because he may be contaminated. Zero Mostel is perfectly cast as Blackie’s sleazy and degenerate underling and Jack Palance (in his motion picture debut) is fantastic as the heavy. He has just the right balance of menace, and believability as an underworld player who may explode with violence at any moment. This young Palance has a very swarthy, gaunt and creepy look going for him, which adds to his presence as a nefarious element one wouldn’t want to cross. Richard Widmark earns serious kudos in my book for this film, as I believe it may be his finest role. He maintains a balance of controlled distress at the potential cataclysmic events that may unfold and passionate determination in his quest to stop both a human and microscopic killer alike. Dr. Clint Reed comes off in a believable and compelling fashion because Widmark brings so much to the table as an empathetic and tough leading man protagonist that when watching him in “Panic” one forgets all about Tommy Udo (“Kiss of Death”), Harry Fabian (“Night and the City”), Skip McCoy (“Pickup on South Street”) and his other villain or anti-hero roles for which he is associated.

The aspect of this film that shines the most is Kazan’s use of the camera. In many of the shots the characters are constantly moving about in the frame creating a edginess to the scenes but Kazan makes the dance between the actors and the camera seem effortless. He incorporates these amazing long takes that may begin on a group of characters and several minutes later we have moved about them and end on a close up. Many of these extended single takes are sans dialogue and remind me of some of the silent Fritz Lang films in their mastery of telling a story with only the camera. Kazan moves the films story along visually in a way that is so impressive it must be seen to be appreciated. This was all photographed under the masterful hand of Joseph McDonald who does a fantastic job of capturing the visual flavor of New Orleans with help from the gritty, authentic locations. He and Kazan also use real New Orleans people as extras and in small parts that give the film a neo-realist quality and genuine look that Hollywood couldn’t replicate.

“Panic in the Streets” is a true gem that deserves more credit that perhaps it has received over the years. Apparently at the end of his career, Kazan felt it was one of his most well crafted and important films amongst his very impressive body of work. The script (Edward and Edna Anhalt of “The Sniper” and “The Young Lions”), filming, acting and direction that comprise “Panic in the Streets” are of the highest calibers across the board. The ending chase scene through the coffee warehouse is worth the price of admission alone; however, I practically guarantee one viewing will only make you concur with Kazan’s self-appraisal of his stellar film.

The New York Times gave the film a mixed review and wrote, "Although it is excitingly presented, Panic in the Streets misses the mark as superior melodrama because it is not without obvious, sometimes annoying exaggeration that demands more indulgence than some spectators may be willing to contribute. However, there is an electric quality to the climax staged in a warehouse on the New Orleans waterfront that should compensate for minor annoyances which come to the surface spasmodically in Panic in the Streets."

Film critic David Lee Simmons wrote, "The film noir elements come from the movie's use of post-war German Expressionist and Italian Neo-Realist techniques. Kazan admired how the Expressionists used chiaroscuro lighting to heighten emotion, and he related to the Neo-Realists' verité portrayals of those living on the margin of society. Panic offered him a chance to explore these styles further by experimenting with cinematography and casting real people. After working with some of the biggest stars in Hollywood — Dorothy McGuire, Spencer Tracy, Katharine Hepburn, Dana Andrews, Gregory Peck and Ethel Barrymore — Kazan wanted to go in the opposite direction. To suit the needs of this picture and his new approach, he recruited not only lesser stars, but also some of his rougher cronies from the New York stage scene, and on top of that several New Orleanians with varied levels of acting experience."

The staff at Variety magazine liked the film and wrote, "This is an above-average chase meller. Tightly scripted and directed, it concerns the successful attempts to capture a couple of criminals, who are germ carriers, in order to prevent a plague and panic in a large city. The plague angle is somewhat incidental to the cops-and-bandits theme...There is vivid action, nice human touches and some bizarre moments. Jack Palance gives a sharp performance."

Academy Awards, USA
1951 Won Oscar Best Writing, Motion Picture Story Edna Anhalt Edward Anhalt

Venice Film Festival
1950 Won International Award Elia Kazan
1950 Nominated Golden Lion Elia Kazan

Writers Guild of America, USA
1951 Nominated WGA Award (Screen) Best Written American Drama Richard Murphy
1951 Nominated The Robert Meltzer Award (Screenplay Dealing Most Ably with Problems of the American Scene) Richard Murphy