PANIC IN THE STREETS (1950) *1/2 If they're supposed to be in New Orleans, why does everyone sound like they're from Brooklyn or Tenafly? Elia Kazan has a European eye for what makes the city unique-not the famous landmarks, but streets and wall structures and kitchens-but it's not insightful enough to hang an entire feature on. The plot isn't entirely without merit, but it's also a long way from interesting. Then, the actors aren't even slightly convincing, with the occasional exception of Jack Palance as Blackie the gangster. Zero Mostel's introductory scene is the only genuinely entertaining moment of the film, but it's misplaced slapstick considering what's supposed to be going on. On the very rare occasions when the cast attains any momentum at all within the narrative, Kazan entirely stops things by having them spout out these hopelessly pretentious and pasted on dialogues that are ultimately meaningless anyway. It is of particular note that Kazan's "hostile witnesses" are very easily intimidated and turned. Wouldn't even be a point in organized crime if everyone was like that...did he think that this was cinematic realism, or was he just projecting? Barbara Bel Geddes whines too much-women like that inevitably get thrown out of New Orleans and end up in "Dallas."
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