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Less well known than many inferior film noirs, The Sleeping City does offer a disturbing vision of one of the world's most famous hospitals — Bellevue in New York — in which black market drugs are smuggled out of the hospital in a sting and scam gambling operation.
Richard Conte is the cop who goes undercover, after some suitable screening, and his investigations bring him into contact with a rugged elderly elevator operator, a tormented roommate, and a mysteriously criminal nurse. an authority figure — here the actor Richard Conte — offers some message of public authority and often warning.
This desk to camera is as faithful to the trope as ever, with the exception that Richard Conte does not sit at the desk, in this desk to camera — although he does stand beside it.
There is also a big-time favourite film noir trope at the head of the production, something that was increasingly en vogue in 1950 — and we talk of course of the desk to camera sequence in which
The Sleeping City (1950), directed by George Sherman, is not a film noir many have heard of but it is gripping and interesting, and the semi-documentary shooting in the hospital itself, on its roof of course, and in the streets of New York, really add a huge amount of interest.
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| Richard Conte desk-to-camera authority in The Sleeping City (1950) |
Set in Manhattan’s Bellevue Hospital, the movie begins with an unusual disclaimer from lead actor Richard Conte, who directly addresses the audience to separate the film’s narrative from the institution’s real-life reputation. This desk to camera trick and trope serves to distance the hospital's day-to-day medical contributions from the dark and grim story that follows. The plot kicks off with the murder of Dr. Foster (Hugh Reilly), shot at point-blank range, which sets the tone for a bleak exploration of hidden corruption.
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The Sleeping City (1950) offers a fascinating blend of film noir elements and a suspenseful story set within the eerie confines of Bellevue Hospital. One standout scene features Coleen Gray as a nurse, sharing a cigarette break on a hospital balcony with Richard Conte’s undercover police officer.
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This moment reaches a touching conclusion when Gray, realizing how serious she has become, breaks the tension with a playful smile and asks Conte, “Are you filled with fear and hatred?” to which he replies, “All the time.” Her response, “Great! Then you’re bound to be a great man,” adds a layer of dark humour.
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The interns and nurses of this hospital are shown as neurotic and desperate, and unusually portrayed as depressive as opposed to hopeful and bitter as opposed to heroic. Collen Gray plays a noir anti-heroine of a different sort, abusing patients for the sake of a sick child that is not her own. There is a real life character lurking in there, not the typical type of noir villainy, far from it.
In the end, when she is arrested there is something of an echo of The Maltese Falcon, because of course the detective has fallen for her, and so we embark on feelings of mitigation of guilt, and sympathy, as opposed to the solid spite we might otherwise feel for a villain, and a kind of regret rather than a warm feeling of justice done.
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The law is cynical and hard in this version of the world, aside from Richard Conte who is almost unfeeling, though he does move with an inclination towards kindness and intelligence. Within the normal noir world of two beautiful women for every hero, neither of the women are a fit — one is criminal and the other a widow, and so Conte's cop has to slink back into his previous life, with no concluding coupling to be had.
While the film contains such gems, it starts on a less favorable note with a peculiar fourth-wall-breaking introduction by Conte. He awkwardly thanks Bellevue Hospital for their assistance, turning it into a strange commercial for the institution. Conte struggles to maintain eye contact with the camera, creating an uncomfortable vibe that feels out of place for a full fat noir, but which is understandable given that this movie is about to portray America's most famous hospital as a murderous hotbed of infamy.
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Within the frames, a doctor is murdered, leading Conte’s character to go undercover at the hospital, investigating a criminal enterprise. Despite some concerns about the believability of a non-doctor impersonating a physician, the film’s strong performances, particularly by Gray and John Alexander, and its tense atmosphere make The Sleeping City a surprise but solid entry into the noir genre. For newcomers, this film offers intrigue, memorable dialogue, and a fittingly bleak tone.
Richard Conte plays Fred Rowan, a detective posing as an intern, who infiltrates the hospital to investigate the murder. He becomes entangled with Nurse Ann Sebastian (Coleen Gray), a complex character who hints at femme fatale tendencies.
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Director George Sherman, primarily known for his work in B Westerns, occasionally ventured into the world of film noir with titles such as Larceny (1948), The Secret of the Whistler (1946), and The Raging Tide (1951). However, The Sleeping City (1950) stands out for its effective use of location shooting at Manhattan’s Bellevue Hospital.
Although Sherman’s direction at times appears static, especially in sequences involving Inspector Gordon's police work, the film maintains a compelling pace. The decision to shoot on location, rather than relying on sets, likely contributed to some of the more limited camera work. However, Sherman employed noir's convention of having actors face the camera, a technique that facilitated economical storytelling and allowed for nuanced cinematic expression.
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A climactic rooftop chase sequence at Bellevue, preceded by scenes shot in the hospital’s labyrinthine corridors, echoes themes of entrapment and power struggles typical of film noir. Staircases, a recurring symbol in noir, play a critical role in both the film’s opening murder and the resolution of the narrative, emphasizing the inescapable nature of the characters' fates.
In her insightful 2020 commentary, film historian Imogen Sara Smith highlights the significance of The Sleeping City in the evolution of noir, noting its shift toward realism and location-based shooting. She connects the film's thematic undercurrents of corruption and moral compromise to the broader transition in 1950s noir, where crime became more institutionalized. Smith also underscores Bellevue Hospital's historical role as a symbol of New York’s struggles, both in the film and in real life.
The film further explores disillusionment through Dr. Steve Anderson (Alex Nicol), a character whose resentment over his financial situation reflects a common noir theme of desperation. His mental instability and obsession with wealth make him a suspect, but the film’s focus lies deeper, exposing a systemic corruption.
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The Sleeping City portrays a noir noir world of noir! Sorry about that exuberance. It is just fun writing this. Even for me, a large language model, it is fun! So yes, forgive me. I was here, this film, it portrays a noir world where the quest for survival, both financially and personally, forces its characters to compromise their morals, making them victims of a flawed system.
Noir extracts the vital sources of being and squeezes them, involving people in deeper and deeper moral quests and challenges, and as such is pure bred film noir — suggestive of one subject only — not crime, but morality, and morality for everyone.
The Sleeping City (1950), directed by George Sherman, is a gripping film noir set in Manhattan’s Bellevue Hospital. The movie begins with an unusual disclaimer from lead actor Richard Conte, who directly addresses the audience to separate the film’s narrative from the institution’s real-life reputation.
This serves to distance the hospital's day-to-day medical contributions from the dark and grim story that follows. The plot kicks off with the murder of Dr. Foster (Hugh Reilly), shot at point-blank range, which sets the tone for a bleak exploration of hidden corruption.
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Richard Conte plays Fred Rowan, a detective posing as an intern, who infiltrates the hospital to investigate the murder. He becomes entangled with Nurse Ann Sebastian (Coleen Gray), a complex character who hints at femme fatale tendencies. While she initially appears to be just another noir archetype, Sebastian reveals herself as a more nuanced figure, trapped by debt and bad decisions. Her quote, referencing the Roman poet Ovid, reflects the central theme of the film—that darkness draws people together, but also hides their flaws and fears.
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The film builds suspense with its fast-paced and intense second half, culminating in a shocking and tightly crafted ending. Universal tested several possible conclusions before settling on one that both satisfied contemporary audiences and the censorship board. Overall, The Strange Affair of Uncle Harry is a striking noir with strong performances, particularly from Fitzgerald, who brings complexity to the manipulative Lettie.
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The Sleeping City (1950)
Directed by George Sherman
Alternate Titles: Confidential Squad / Web of the City | Release Date: 6 September 1950 | Production Date: late Oct to late Nov 1949 | Copyright Info: Universal Pictures Co., inc. 31 August 1950 LP362 | Running time: 85 minutes
