Close-Up (1948) User Reviews

Great atmosphere and some suspenseful moments

[JohnHowardReid · 7/10 · 12 November 2012]

Shot entirely in Manhattan, using local talent (I love the scenes on board the Hudson River Ferry and at the Ninety-first Street seaplane landing), "Close-Up" is a film noir with a difference. I'll admit that the script tends to be somewhat juvenile. I wondered what a classy producer like Richard Kollmar was doing in it until I remembered that he had a weekly side job as radio's Boston Blackie, having taken over from Chester Morris. Who could ever forget each week's sonorous introduction: "Friend to those who have no friends! Enemy to those who make him an enemy!" And of course Kollmar was later the other half of radio's "Breakfast with Dorothy and Dick". As it happened, "Close-Up" was his only movie, though he did make a couple of TV appearances and was the host of "Guess What!:

But I digress! The point I'm making is that while "Close-Up" is occasionally somewhat amateurish in script and flat-footed in direction, it's never boring or dull. What's more, an appropriately noirish pictorial tone in lighting and atmosphere is masterfully created by New York's resident cinematographer, Bill Miller. And of equal importance, this movie marks the film debut of an original score by the famed orchestrator, Jerome Moross, who later composed for "The Big Country" (1958) which I consider to be the best music score ever written for a movie.

Another Alan and a clown less might have done the trick

[VanheesBenoit · 6/10 · 5 November 2008]

Without realizing it, two newsreel reporters took pictures of a surviving nazi-leader in front of a bank, while filming fashion mannequins in the streets of New York. The German, who was thought to have died during the war, was inquiring if he could recuperate a large sum of money. He needs it, to be able to continue Hitler's dream after the dictator's death. He is helped by a criminal gang, which is only in it for a slice of the money, not for political reasons. Hal Ericson's description in the All Movie Guide of the gang as being a "secret neo-nazi gang" is therefor incorrect. The gang will make several attempts to recuperate the film and its negatives, including by kidnapping one of the reporters. The boss of the two reporters however discovers whose face has been captured on the newsreel, and contacts the authorities.

The problem with this rare B movie is that it just can't decide whether it wants to be a kind of political thriller, a crime movie or some kind of comedy. The final result therefor isn't very bright, without being terrible at the same time. The movie sure is watchable till the predictable end, but well... The script isn't always very convincing or logical. While the Nazi leader's henchman doesn't hesitate to kill one of the criminals, the 'hero' has more luck, and only gets knocked out with a gun on his head. Dialogs are quite poor, no cute « one-liners », no quick exchanges of wisecracks etc. Well, the hero's colleague is trying to be a funny guy every now and then, but the movie would have done perfectly well without this kind of clowning.

Alan Baxter may be in the words of Hal Ericson a "character actor", but you won't see very much of it in this movie. Alan Ladd playing like he played in The Glass Key though would have made a good choice. That would have given the movie that extra status it desperately needed to rise above its mediocrity. The soundtrack doesn't help either. While the main title track you'll hear while the names of the actors are shown is OK, the music during the key moments of the movie doesn't support the action. I'd rather qualify it as simply irritating. I'd give it a 6/10

A Newreel Cameraman Loses His Balance

[boblipton · 7/10 · 27 February 2019]

Alan Baxter is a newsreel photographer, with an eye for a good set of legs and a sideline in snappy patter. Coming back from a shoot of local lovelies on the streets of New York, a messenger from another newsreel company almost takes his cartridge by accident; then Richard Kollmar comes to his company's office, where Virginia Gilmore is interviewing him for an article on newsreel photographers while Baxter is trying to date her up. Kollmar explains that he's in the footage Baxter shot, and if his wife sees him in a newsreel with a young woman, well, you know. So he gets the footage.

Loring Smith, Baxter's boss, takes a look at the negative. Kollmar isn't a nervous husband. He's a Nazi bigwig thought dead, and wanted in as many countries as a piano has keys. Suddenly Baxter isn't a character in a Runyonesque 1930s comedy-thriller, he's in over his head in a film-noir world, where newsreel executives get shoved out of windows, and failed actors turned hood slap their girlfriends and leave scars, where gun-battles take place on the streets of Manhattan, full of newsies and comedy drunks and cars passing by, not knowing what is going on, because they're too busy to turn their heads and look at it. Baxter's not wise-cracking any more. He's too busy being handcuffed in a coal bin, wondering when he's going to be shot.

It's a startling bit of film-making from Eagle-Lion, climbing its way out of its PRC roots. Director Jack Donohoe had started out as a dancer, had acted in a few movies, did some choreography and stage directing, and would wind up directing some popular and trivial movies. He would end his career directing hundreds of episodes of Lucille Ball sitcoms. Here, in his first movie, he balances things just right.

Smile, Nazi, You're on Candid Camera!

[mark.waltz · 7/10 · 30 October 2014]

American film makers always believe that the bad guys are always caught at some point, even if it is years after they commit their crimes. Here, the criminals are of two different backgrounds: an important Nazi officer known as "the butcher" and an American gangster who is in cahoots with the nasty Nazi and his brood of German thugs. It all comes out in the open when a married man contacts movie photographer Alan Baxter on the pretext of getting the movie footage and negative of him and a woman he wasn't married to and the intrigue that comes out of that when his boss recognizes one of the men walking out of the bank they were shooting in. This leads to a chase throughout New York City between Baxter, boss Loring Smith and the beautiful Virginia Gilmore who isn't quite the innocent young reporter she seems to be. Lots of great location footage, including a chase on a ferry, fill this engaging film noir with lots of intrigue and plenty of nefarious characters popping in and out of the action.

An unusual day in the life of a newsreel reporter

[blanche-2 · 6/10 · 19 September 2021]

Close-Up is an okay film noir with several points of interest.

Alan Baxter stars as Phil Sparr, a newsreel reporter busily filming models outside of a bank.

Later on, he is approached by a man who explains he was photographed with a woman not his wife during the modeling session, and he begs for the film. He gets it, but it's not enough - he wants the negative too.

Turns out Phil accidentally filmed an escaped Nazi known as The Butcher exiting the bank, and the chase is on to retrieve the film.

What I enjoyed about this movie, although it was very grainy was all the New York locations. The other thing I liked were the things we old-timers take for granted that are gone, like pay phones, newsreels (though I'm really not old enough to remember them), and men wearing hats.

Virginia Gilmore, who reminded me of Jane Greer, plays a magazine writer attempting to do a story on the newsreel office.

Alan Baxter, who later moved into character roles, was very likeable. The acting was okay, but the atmosphere and locations really made this film.

When this is all over I'll start my own organization

[kapelusznik18 · 5/10 · 16 August 2017]

***SPOILERS***Released the same year that the movie "The Naked City" was released in it being advertised as the first film shot exclusivity on location in the "Big Apple" the movie "Close-Up" is about a newsreel editor Phil Sparr, Alan Baxter, who accidentally gets involved with a fugitive Nazi war criminal Harr Martin Beaumont-Not Bormann- played by Dorothy Kilgallen's husband Richard Kollmar whom he had filmed leaving the 5th Ave bank who almost knocked over the woman model in a fashion shoot that he was filming.

It's when the film was developed Beaumont-not his real name- was discovered to be present at Adolf Hitler's famous rip roaring speech in Berlin given on April 28, 1939 to the Reichstag just 4 months before the start of WWII. Thought to have been killed in the battle of Berlin three years ago-1945-Beaumont has resurfaced in NYC planning to start up the destroyed Nazi movement with the help of small time mobster Joseph Gibbons, Phillip Huston, who wants to make the big time as the #1 hood in the city. Sparr is later kidnapped by Gibbons impersonating a New York police detective who tries to retrieve the film of Beaumont that he took who offered him $20,000.00 for it.

***SPOILERS***It's later after Sparr escaped with the help of Gibbon's gun-moll, who felt that he was two timing her, Peggy Lake played by Virginia Gilmore he found out that there was a falling out between the two-Gibbons & Beaumont-with Beaumont planning to escape by sea plane on the Hudson River docks to South America. this lead to a major shoot-out between Sparr and Beaumont as well as the NYPD with Beaumont ending up getting the worst of it. In the end Peggy got a light sentence by cooperating with the police and Sparr gets a raise in pay for helping catch, as well as gun down,Nazi fugitive Martin Beaumont. As for Gibbon his plans as being the #1 hood in town ended when he was himself gunned down by Beaumont as he tried, by him all of a sudden becoming patriotic, to prevent him from escaping the long arm of the law.

P.S Check out Sid Melton as cab driver Stanislaus Kranobowsky who ended up getting bopped in the head waiting for Sparr who took time off or left his cab to get a cup of coffee. Melton was involved three years later in 1951 in two of the most touching and heart wrenching death scenes in movie history: In the movie "The Steel Helmet" where was stabbed in the back by a sneaky North Korean communist whom he foolishly turned his back on and in the movie "The Lost Continent" where he was brutally gored to death by a 10 ton charging triceratops.

Forgettable spy movie

[happytrigger-64-390517 · 30 November 2020]

No, Close up isn't at all a film noir as stated higher, it begins with 25 minutes of lousy comedy (and lousy casting with lousy dialogues), then turns in a spy part trying desparetly to be tough, and ends in a big lousy laugh. I really don't see any evocation of film noir nor crime in one of the few movies directed by Donohue who mostly worked for TV.

good little thriller, well worth a watch

[myriamlenys · 7/10 · 15 April 2018]

In New York, a camera crew films long-legged models parading in front of a bank. Making a news reel about feminine fashion seems like the most mundane of assignments. However, the film, once developed, contains images so shocking, so spectacular that people are willing to lie, scheme and kill in order to obtain it...

Clever little thriller with ingenious plot twists and welcome flashes of wit. (Watch out for the scene where the hero, threatened by enemies, has an idea of genius : he lights up a cigarette in a "No Smoking" area.) "Close-up" boasts a decent plot, decent performances and an inventive use of the urban environment. On the other hand, the general atmosphere could be darker : there is very little in the way of frightening eeriness or venomous fanaticism. To me this seems like a bit of a missed opportunity, since the idea of a dead / alive Nazi on the loose in an unsuspecting city is quite grisly.

Still, well worth your time.

Safe Haven for Martin Beaumont oops Borrmann

[bkoganbing · 3/10 · 27 August 2014]

That trans-Atlantic studio Eagle-Lion is the responsible party for giving us Close-Up. A film that seems strange to categorize and ends up being bad noir, bad mystery, and the comic relief of Joey Faye falls flatter than the desert.

Alan Baxter and Joey Faye are a pair of newsreel cameramen who on a fashion shoot outside a bank get some footage of a missing Nazi war criminal Richard Kollmar. Kollmar's name in the film is Martin Beaumont, get it Martin Borrmann. I assure in 1948 no one would have missed that connection. Of course this was way before the Russians bothered to tell the world they killed Borrmann in Berlin.

In any event Kollmar's in New York and looking to travel farther. He's hooked up with gangster Phillip Huston to get transportation to a safe haven for Nazis. But Huston has plans of his own for Borrmann's money. He wants a lot more than the $15,000.00 he's been promised.

Virginia Gilmore is the female lead, she's the moll for Huston and serves as one of many attempts to get the incriminating film footage. This woman deserves better than being in this film. Joey Faye is Alan Baxter's sidekick and simply isn't funny.

The film's premise was interesting and could have been better with proper treatment at an A Studio.

An interesting idea...with too many logical errors.

[planktonrules · 3/10 · 7 April 2021]

A newsreel cinematographer, Phil, is taking shots of pretty models on the streets of New York. Unbeknownst to him, while filming the ladies, he accidentally captures some footage of a Nazi war criminal who is assumed to be dead. A short time later, the Nazi's buddies try to get this footage from the studio...and ultimately, Phil is even briefly kidnapped by some of the gang who pretend to be detectives. Fortunately, some quick thinking helps him to escape...and Phil and his boss realize they are dead men unless the gang is captured.

While the idea for this low budget film is interesting, occasionally the story has some logical lapses. For example, when Phil escapes, why doesn't he IMMEDIATLEY contact the real police? And, when the film is stolen and the police recover it, why would they give it back to Phil and tell him to drop it off at the police station?! You'd THINK they'd either take it there themselves or contact the FBI and give it to them since it's so important. You'd ALSO think that after Phil escapes and he does meet up with the police that they'd assign cops to protect him. But none of this happens and the movie ends up being about Phil taking on the Nazis AGAIN! You also wonder if after the evil Nazi Butcher is discovered on the film that they really wouldn't need the film. After all, it was taken in 1948....only three years after the war AND the wanted Nazi looks the same as he did in old footage the studio owned already....just give the old footage to the authorities! And then there's the girl...her character simply makes no sense. Overall, the movie is not really very good...when it really should have been based on the interesting story idea. It's a highly flawed film that you can find on YouTube...and after seeing it, I can understand why the filmmakers don't apparently care that it's posted there to watch for free.

It's not a very good idea to film a wanted Nazi coming out of a bank.

[clanciai · 9/10 · 25 March 2018]

I love this film. It's so full of surprising turnings and brilliant innovations that you actually must enjoy being taken for a ride. The story in itself is ingenious, by accident an ordinary news reel camera man gets someone like Martin Bormann into the picture, and naturally those Nazis having just come out of the bank after some major transactions want to get hold of that film as a matter of life and death.. What follows is a tumultuous roller-coaster of a hunt for the negative, which involves no end to confuisons, and naturally there is a double-crossing dame involved also, and the poor journalist in all his innocence has every reason to get mad. Fortunately he has a cheerful assistant who always manages to keep him happy after all.

There are some striking shots on the way that Hitchcock would have enjoyed, and of course some major close-ups. This is one of those films that in all their confusing up and down turnings leaving you more bewildered than the hero. you must look forward to seeing it some time again.