The Case Against Brooklyn (1958)

The Case Against Brooklyn (1958) is a crooked cop police procedural crime-syndicate corrupting city officials style of late film noir cycle rookie-cop-taking-on-the-system style of bribery thriller drama from Paul Wendkos, who went on to direct many a cop and comedy TV and movie thriller up until the 1990s, and indeed many other kind of 80s and 90s era TV movie fare.

The 1958 noir film The Case Against Brooklyn offers a semi-gripping portrayal of systemic corruption within the police force and the criminal underworld. Directed by Paul Wendkos and based on a real-life article by investigative journalist Ed Reid, the film is a film noir sensational guarantee that Hollywood will pretend to offer a reminder of the ethical dilemmas and personal sacrifices involved in exposing organized crime.

The Case Against Brooklyn follows the story of rookie police officer Pete Harris, played by Darren McGavin. Harris is tasked with going undercover to investigate illegal betting operations and police corruption in Brooklyn.

The character’s journey mirrors the real-life challenges Reid encountered while uncovering a gambling ring protected by corrupt officers. The film’s authenticity stems from its inspiration: Reid’s investigative work for the Brooklyn Eagle led to a Pulitzer Prize for Public Service in 1951 and laid the groundwork for this gritty narrative.

The movie’s plot is tightly woven, capturing the high stakes and dangers of Harris’s mission. Harris infiltrates the criminal network by befriending a grieving widow, Lil Polombo (Margaret Hayes), whose late husband had ties to the mob.

The relationship becomes a poignant subplot, highlighting the personal toll of undercover work. As Harris’s professional and personal lives collide, the strain on his marriage adds depth to his character and underscores the sacrifices demanded by his mission.

Margaret Hayes delivers a standout performance as Lil, portraying a woman caught between two worlds. Her vulnerability and resilience make her a compelling figure, and her growing realization of Harris’s duplicity adds emotional complexity to the story.

Hayes’s nuanced performance elevates the film beyond a standard crime drama, offering a window into the human cost of corruption and deceit.

While McGavin’s portrayal of Harris is central to the narrative, the film’s supporting cast also shines. Warren Stevens plays a menacing enforcer for the mob, providing a palpable sense of danger throughout the film.

The dynamics between the characters create a tense atmosphere, reflecting the precarious balance between justice and survival.

Surveillance tech in The Case Against Brooklyn (1958)

The film’s visual style aligns with the noir tradition, employing stark lighting, dramatic shadows, and gritty urban settings. Wendkos’s direction is both efficient and evocative, capturing the essence of Brooklyn’s underworld.

The climactic scenes, marked by betrayal and violence, draw comparisons to Fritz Lang’s The Big Heat, solidifying the film’s place in the noir canon.

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Although made on a modest budget, The Case Against Brooklyn resonates with its unflinching portrayal of corruption and the moral ambiguities faced by those who confront it. The film’s narrative, rooted in Reid’s investigative journalism, ensures its relevance as a critique of systemic flaws in law enforcement and society.

For fans of noir cinema, the film stands as a testament to the enduring power of stories that illuminate the darker corners of human nature, and tells of production values soaring floorward as the TV flavour developed out of the dark nights of noir into the funlight of the TV age.

Throughout the years, co-authors Ed Reid and Ovid Demaris built esteemed careers as investigative journalists and authors, specializing in organized crime across the United States. In the pre-internet era, their work required painstaking source development, document research, and the storytelling prowess to captivate readers with vivid and intriguing details.

Their collaboration on the controversial book The Green Felt Jungle remains one of the most significant contributions to the public's understanding of the intersection between organized crime and Las Vegas' burgeoning casino industry.

Ed Reid began his career as a reporter for the Brooklyn Eagle, where he distinguished himself with groundbreaking investigative work. His efforts led to the exposure of an illegal gambling ring shielded by corrupt police officers, earning the newspaper the Pulitzer Prize for Public Service in 1951.

This success solidified Reid’s reputation as a fearless journalist unafraid to confront powerful criminal networks.

Reid’s article for True magazine, “I Broke the Brooklyn Graft Scandal,” served as the basis for this hereupon discussed 1958 film The Case Against Brooklyn. This noir drama, while fictionalized, depicted the gritty realities of police corruption and organized crime, reflecting the real-life risks and ethical dilemmas Reid faced during his investigative pursuits.

After leaving the Brooklyn Eagle, Reid joined the Las Vegas Sun as an investigative journalist. In 1954, during his tenure at the Sun, Reid embarked on a series of articles exposing the extent of organized crime’s grip on the rapidly growing city.

In his first-person account of the challenges he faced, Reid described Las Vegas as a hotspot where “the most hoodlums concentrated in the smallest space.” At the time, the city’s population had surged from 8,000 to 50,000 in just a decade, drawing criminals eager to exploit the lucrative gaming industry.

While researching a story at the Desert Inn—a resort later replaced by Wynn Las Vegas—Reid encountered violent pushback. On one fateful night, he reported seeing notable mob figures, including West Coast syndicate operative Jack Dragna, alongside local law enforcement such as Clark County Sheriff Glen Jones.

When Reid left the casino, he was brutally attacked by two men, one of whom was allegedly connected to Dragna. The incident left Reid bloodied and his glasses shattered. Although the assault drew significant attention, a Clark County grand jury declined to pursue charges.

To Reid, the attack epitomized the lawlessness and corruption permeating Las Vegas.

In 1963, Reid and Demaris co-authored The Green Felt Jungle, a scathing exposé of the corruption and criminal underpinnings of Las Vegas. The book’s vivid portrayal of the city’s ties to organized crime made it an instant bestseller, topping nonfiction lists nationwide.

However, the book’s sensationalism and reliance on anecdotal evidence also sparked controversy.

Hank Greenspun, publisher of the Las Vegas Sun and Reid’s former employer, criticized the book’s accuracy. Greenspun had a unique perspective, having worked as a publicist for gangster Benjamin “Bugsy” Siegel during the early development of the Flamingo Hotel.

When Reid shared the manuscript with Greenspun before publication, Greenspun reportedly found it rife with “half-truths, innuendoes, and lies.” Refusing to revise the content, Reid was fired from the Sun.

Despite the fallout, the book’s impact was undeniable. While Greenspun sought to counter its claims through media appearances, The Green Felt Jungle indelibly shaped public perceptions of Las Vegas. For Reid, the book was a culmination of his fearless commitment to exposing the dark side of organized crime, even at the cost of his professional relationships.

Reid’s co-author, Ovid Demaris, was a prolific writer who published dozens of books over his career, many of which focused on organized crime. With a sharp eye for detail and a knack for storytelling, Demaris brought additional depth to The Green Felt Jungle.

His works provided a broader context for understanding the mechanisms and figures behind criminal enterprises, further cementing his reputation as a leading voice in crime journalism.

The book’s sensational success underscored the public’s fascination with organized crime and its infiltration of legitimate industries. Las Vegas, portrayed as a city teeming with “unsavory characters from all over the United States,” became emblematic of the era’s moral ambiguities.

However, The Green Felt Jungle also faced criticism for its reliance on anecdotal evidence and lack of rigorous corroboration. Critics argued that the book blurred the line between investigative journalism and tabloid sensationalism, a charge that Reid’s own career reflected in moments of both brilliance and controversy.

Reid’s earlier exploits in Brooklyn served as the inspiration for this hereupon and-in-the-now discussed 1958 noir film The Case Against Brooklyn. Directed by Paul Wendkos, the film dramatized the investigation of gambling rackets and police corruption. Darren McGavin starred as Pete Harris, an ambitious rookie cop who infiltrates the criminal underworld at great personal cost.

While fictionalized, the film captured the gritty reality of Reid’s original reporting and highlighted the ethical complexities of undercover work.

Though filmed on a modest budget, The Case Against Brooklyn received praise for its taut storytelling and strong performances. Margaret Hayes delivered a standout portrayal of Lil Polombo, a widow manipulated by both sides in the fight against corruption.

The film’s climactic moments drew comparisons to Fritz Lang’s The Big Heat, further cementing its place as a significant entry in the noir genre. Reid’s real-life experiences provided the narrative’s foundation, blending drama and authenticity to create a compelling exploration of systemic corruption.

Reid’s career, spanning from Brooklyn to Las Vegas, demonstrated his unwavering commitment to uncovering the truth, regardless of personal risk. Whether exposing gambling rings in New York or chronicling mob influence in Nevada, Reid’s reporting illuminated the darker corners of American society.

Yet his work also sparked debates about the ethics of journalism and the balance between sensationalism and factual accuracy.

The Green Felt Jungle remains a kind of exciting shining light in the history of investigative journalism, emblematic of an era when organized crime dominated headlines and shaped public consciousness. For Reid and Demaris, the book was both a professional triumph and a lightning rod for controversy, encapsulating the challenges and rewards of uncovering hidden truths. Their legacy endures in the enduring fascination with the stories they told and the courage it took to tell them.

The Writers Guild of America will correct the credits on 24 films written during the blacklist era, replacing pseudonyms or “fronts” with the true writers of the pics.

Including the latest corrections, the guild has changed the credits on 34 pictures from the McCarthy era, relying on deal memos, production records and the writers and fronts themselves for evidence.
Many of the movies — ranging from classics such as “Inherit the Wind” and “The Robe” to lesser-known titles such as “Zombies of Mara Tau” — were made or developed during the height of the blacklist era in the 1950s and early ’60s.

“The Case Against Brooklyn” (1958), screenplay by Bernard Gordon. Screen story by Daniel B. Ullman. Based on “I Broke the Brooklyn Graft Scandal” by Ed Reid. Original credit: screenplay by Raymond T. Marcus. Based on “I Broke the Brooklyn Graft Scandal” by Ed Reid.
“Chicago Confidential” (1957), screenplay and screen story by Bernard Gordon. Based on the book by Jack Lait and Lee Mortimer. Original credit: screenplay and screen story by Raymond T. Marcus. Based on the book by Jack Lait and Lee Mortimer.