House of Strangers (1949)

Director:

Joseph L. Mankiewicz

Writers:

Philip Yordan (screenplay)
Jerome Weidman (novel)

Release Date:

1 July 1949 (USA)

Genre:

Film-Noir | Drama

Plot:

Max Monetti is consumed with vengeance against his brothers after their betrayal of his father Gino...

Plot Keywords:

Bank | Beautiful Woman | Witness Tampering | Trial | Hatred

Awards:

1 win

Cast

  (Complete credited cast)

Edward G. Robinson	...	Gino Monetti
Susan Hayward	...	Irene Bennett
Richard Conte	...	Max Monetti
Luther Adler	...	Joe Monetti
Paul Valentine	...	Pietro Monetti
Efrem Zimbalist Jr.	...	Tony Monetti
Debra Paget	...	Maria Domenico
Hope Emerson	...	Helena Domenico
Esther Minciotti	...	Theresa Monetti
Diana Douglas	...	Elaine Monetti
Tito Vuolo	...	Lucca

Also Known As:

East Side Story (USA) (working title)

Runtime:

101 min

Country:

USA

Language:

English | Italian

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

USA:Approved (certificate #13652) | Finland:K-16 | Spain:18 | Sweden:15

Company:

Twentieth Century-Fox Film Corporation

Movie Connections:

Version of The Big Show (1961)

Soundtrack:

La donna è mobile

A TRIUMVIRATE OF SUPERB ACTING

"House of Strangers" features three of my all-time favorite actors--Edward G. Robinson, Susan Hayward and Richard Conte--all at the very top of their form, as well as moody, almost noirish direction by the great Joseph L. Mankiewicz, in moody black and white. Those ingredients alone should indicate that a fine work is in store for the viewer, and such, happily, is the case here. The tale is told mainly in flashback, in which we learn how the four sons of Lower East Side banker Edward G. became enemies after their Pop got into some legal trouble. Susan Hayward, never more beautiful, plays a high-class dame who becomes involved with lawyer Conte, despite Conte's engagement to a proper Italian girl from "the old country." The relationship between Hayward and Conte is very adult for the restrictive late '40s. By the film's end, we really come to care about these two and hope that they can survive as a couple. As usual, Edward G. gives a bravura performance, this time as the domineering patriarch of his Italian clan. I believe his performance received a well-deserved award at Cannes that year. Conte and Hayward, both of whose careers are ripe for reevaluation and rediscovery, match him every step of the way. Luther Adler is fine also, in his role as Conte's elder brother, who feels he never got the respect he deserved. Deborah Paget, in one of her earliest parts, looks fine in a decorative role. For me, though, the main lure of this picture is the triumvirate of superb acting by the three leads. What a pleasure it is to watch these three great talents do justice to the well-written script here. I just love this movie, and suspect that a real treat is in store for the first-time viewer. Check it out, by all means!