With fear of communism running rampant, Hollywood scripts of the 1950s often
dealt with Soviet plots to undermine the American way of life. One example is
United Artists' A Bullet for Joey (1955), starring Edward G. Robinson as
a police inspector on the trail of a spy who plots to kidnap an important
American atomic scientist. George Raft co-stars as the gangster who is hired to
carry out the abduction - but balks when he learns what is at stake and helps
the G-man keep the world safe for democracy.
Robinson had personal experience with the Red Scare in the early 1950s when columnists and other writers began to imply that he was either a communist or a communist sympathizer. The witch-hunting publication Red Channels listed him as having been connected with 11 alleged communist fronts. To clear his name, Robinson appeared before the House Un-American Activities Committee three times beginning in 1950. The HUAC eventually cleared him with this finding: "According to the evidence of this committee, you are a good, loyal and intensely patriotic American citizen." But in paranoia-prone Hollywood, damage had already been done to Robinson's career. With no offers forthcoming, he turned to European films and the Broadway stage. Eventually he was able to rebuild his Hollywood career with such films as Vice Squad (1953), The Violent Men (1955), and A Bullet for Joey.
Theatrical Release: April 15th, 1955
DVD Review: MGM - Region 1 - NTSC
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|Distribution||MGM Home Video - Region 1 - NTSC|
Average Bitrate: 6.33 mb/s
NTSC 720x480 29.97 f/s
NOTE: The Vertical axis represents the bits transferred per second. The Horizontal is the time in minutes.
|Audio||English (Dolby Digital mono), DUBs: Spanish (Dolby Digital mono), French (Dolby Digital mono)|
|Subtitles||English, Spanish, None|
NOTE WhiteSheik says -: "A Bullet For Joey - clearly an open matte transfer - in 1955 this film was projected at 1:85 in the US, as is clearly and obviously evident by the abnormal amount of headroom in every shot, which completely subverts the framing." (Thanks Brian!)
Decent progressive, single-layered, transfer from MGM. Fair contrast and acceptable grey tones and the image is fairly clean. Still some artifacts but its a little better than I was anticipating from the usual lackluster manner that MGM tends to treat vintage films.
No extras at all but there are optional subtitles and a couple of DUBs available. The lack of extras makes the price on the exorbitant side. The film, although certainly not a pure representative of the Noir style - has some of the signature markers. It does have a favorite Noir gal - Audrey Totter. For hardcore 'noirists' only.