99 River Street is a cracking slice of noir, full of regret, grit, and people nursing the bruises of a life gone sideways. It’s packed with characters who once had dreams but now just try to stay afloat. And at the heart of it all, John Payne delivers a brilliant performance as the worn-down ex-boxer caught in a night that goes from bad to worse. The plot zips along, the tension builds nicely, and the whole thing looks terrific. A proper gem for fans of shadowy streets and dashed hopes.
Just one of half a dozen decent B noirs Phil Karlson directed in the 1950s... This gave John Payne an opportunity to transfer from musicals to action roles. And he’s fine as a proletariat loser tired of getting pushed around. The excellent screenplay loads him up with an endless supply of cynical one liners.
It kicks off with Payne beaten raw in the boxing ring, presumably to counter the star’s previous wholesome image. With his fighting career over, he drives a taxi, still angry and a bit punchy, while his beautiful but antiseptic trophy wife (Peggie Castle) grows restive at their reduced circumstances
After the smooth, repellent gangster (Brad Dexter) she takes up with murders her, the cabbie has to clear his name, aided by a kooky Broadway wannabe (Evelyn Keyes). Usefully, his fighting background means he can beat senseless anyone who gets in his way, whatever their size.
Castle is so good- and gorgeous - as the faithless gold digger that it’s surprising she didn't get more and better roles (she died aged 45). The New York riverside setting adds atmosphere and realism, and Karlson's visuals are a buzz. It’s a tough, plotty thriller which is not always plausible. But, who cares...?