Word: cops
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Dates: during 1950-1959
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...beer while Brando strides about with an alley cat swagger, convincing the town and audience he harbors a grudge against the world in general. Center of his interest is Mary Murphy, playing a tousled, mixed-up waitress, who asks "Isn't it all crazy?" As her father, the local cop, Robert Keith sometimes seems to worry more about his part than his inability to cope with the disturbance. But he does well as a man who can see a problem yet is unable to do anything about it. Local profiteers anxious to make an extra buck and vigilante-minded citizens...
...beginning of. a Congress, when many of the elevator operators and Capitol policemen are new on their jobs. McConaughy. 38, and a big six-footer with a shock of grey hair, is often mistaken for a Congressman himself. For a few days he enjoys the luxury of a cop stopping traffic and waving him through a red light, or an elevator operator whisking him directly to the floor he wants. Then he becomes an ordinary correspondent again, pounding his marble-floored beat and listening to debate...
...script makes a couple of pious passes at pointing a moral; it says that the community-the greedy tavernkeeper, a weak cop, some hotheaded and vicious citizens-is as much to blame for what happens as the young delinquents are, but it is hard to believe in such talk...
...Texas for only four years, but he died last week a famous man. Before taking office, Hodges was just an ordinary sort of fellow; he grew up in a little cow town named Aubrey, spent a year at Texas Christian University, got a Depression job as a cop in the county seat, went to war as a coast guardsman, came home and started running for sheriff. He made it the second time...
...dogged probing of the personalities involved. Kantor's wordy persistence is partially rewarded. Joan Lorring emerges as an earnest simpleton who so yearns for freedom that she risks her life in return for a brief holiday from jail. Lloyd Bridges painfully grows in stature from a conniving cop to a man ready to count his world well lost for love. But, as often happens in the theater, it is Villain Gregory with his unrepentant, double-dealing philosophy who comes most alive on the stage: the only unconvincing note in his performance is his being outwitted by the hero...