May 09, 2017  It was a successful play on Broadway, and truly belongs in the 'noir' category The film in glorious black and white offers astonishing performances by Lee Grant and Joseph Wiseman. Kirk Douglas is believable as a bitter detective.William Bendix is excellent in a supporting role. Eleanor Parker is a sympathetic character with a broken heart. The native New Yorker, born Lyova Rosenthal, emerged first on Broadway, debuting in 1949 as a shoplifter in the play “Detective Story.” That led to a role in the film adaptation, which earned Grant.

Jim McLeod is a hard-nosed and cynical detective. He believes in a strict interpretation of the law and doesn't believe in turning the other cheek. The current object of his zealousness is Karl Schneider, an abortionist responsible for the death of several young women. Schneider's lawyer tells the precinct lieutenant that McLeod has his own personal reasons for going after his client. It turns out that his wife was a patient before they met, although Jim knew nothing of it.

His world suddenly turned upside down, McLeod is too late in re-evaluating his priorities. A play which tells the story of a day in the lives of the several people who populate a police precinct translates more or less transparently between mediums, though with its theatrical pace results in a vigorous, enthralling drama with a solid, receptive cast. Kirk Douglas, playing the central cop, a brooding maverick who can't stand having to stop at the line between law and vengeance, is very intense in particular, the breadth of view of a crystallizing soul masqueraded by rigor and command, which makes for some delicate scenes with his wife, Eleanor Parker.

The very natural William Bendix is one of the other officers in the precinct, a cop with a delicate sensibility, the clear contrast to the uncompromising protagonist. But the film's brightest highlights are the few moments dominated by the brilliant Lee Grant, whose character seems non-sequitary yet has a refreshing outside-world quality. Dense with lively exhibitions of the sort of devil-may-care influx that transits and languishes through a workday of plainclothes detectives, it is a police procedural not in the traditional sense.

There is no central case over which our detectives toil. There is simply an allotment of arrests and conflicting views on the confines of police work. While this Edgar-winning cop drama stays in effect a filmed play, William Wyler uses the innate limitations of such a project as a creative outlet, as well as his widely known grating approach multiple retakes.

The cooped up setting is not just a space where all manner of characters eyeball each other and interplay. It complements the lurking gist of the story's thematic elements and overall to the film's dramatic impact. The staging of the individual scenes, which a lot of the time plays on foreground-background relationships, is intensified by Lee Garmes's deep-focus cinematography, a consistent device used by Wyler throughout his body of work no matter how much he diversifies in genre and tone. The core of Wyler's consistency throughout his tremendous career is his insistence on emotional truth, thus his enraging approach to directing actors, and thus his track record with directing Oscar-nominated and Oscar-winning performances.

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Wyler's discretion of angle exposes or intimates more character than the last and apprehends the decisive sensibility to give significance to the experience of seeing the film. He didn't coin anything new. He didn't use unprecedented angles or logistically fussy dolly takes. He's discerning from the acknowledged bill of fare of long shot, medium shot and close-up as the atmosphere of the scene calls for.

Academy Award-winner Lee Grant was born Lyova Haskell Rosenthal on October 31, 1925 in Manhattan, New York City, to Witia (Haskell), a teacher and actress, and Abraham Rosenthal, an educator and realtor. Her father was of Romanian Jewish descent, and her mother was a Russian Jewish immigrant. Lee made her stage debut at age 4 at the Metropolitan Opera in New York City, playing the abducted princess in 'L'Orocolo'. After graduating from high school, she won a scholarship to the Neighborhood Playhouse School of the Theatre, where she studied acting with.

When she was a teenager Grant established herself as a formidable Broadway talent when she won The Critics' Circle Award for her portrayal of the shoplifter in 'Detective Story'. She reprised the role in the film version ( (1951), a performance that garnered her the Cannes Film Festival Citation for Best Actress as well as her first Academy Award Nomination. Immediately following her screen debut, however, Lee became a victim of the McCarthy-era blacklists in which actors, writers, directors, etc., were persecuted for supposedly 'Communist' or 'progressive' political beliefs, whether they had them or not. Except for an occasional role, she did not work in film or television for 10 years. In 1966 Lee re-started her acting career in the TV series (1964), for which she won an Emmy Award as Stella Chernak, and she later garnered her first Academy Award for (1975), also receiving Academy Award nominations for (1970) and (1976). The last journey picture. Since 1980 Lee has been concentrating on her directorial career, which began as part of the Women's Project at The Americal Film Institute (AFI); her adaptation of 's, 'Stronger, The' was consequently selected as one of the 10 best films ever produced for AFI. In 1987 she received an Academy Award for the HBO documentary, (1986) and directed (1986) for CBS, for which she received the Directors Guild Award.

In 1983 she received the Congressional Arts Caucus Award for Outstanding Achievement in Acting and Independent Filmmaking. Subsequently, Women in Film paid tribute to her in 1989, with its first-ever Lifetime Achievement Award. Both the New York City Council and the County of Los Angeles Board of Supervisors have recognized Ms. Grant for the contribution her films have made to the fight against domestic violence.