Chatverock Takes itself way too seriously

Leoni Haney Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Josephina Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Dana An old-fashioned movie made with new-fashioned finesse.

Spikeopath The Garment Jungle is directed by Robert Aldrich and Vincent Sherman. The screenplay is adapted by Harry Kleiner from "Gangsters in the Dress Business" by Lester Velie. It stars Lee J. Cobb, Kerwin Matthews, Richard Boone, Robert Loggia, Gia Scala and Valerie French. Music is by Leith Stevens and cinematography by Joseph Biroc.Alan Mitchell (Matthews) returns from the War to help his father Walter (Cobb) run the family fashion designer factory. Unfortunately he finds a business being protected by local hoodlum Artie Ravidge (Boone), who has the backing of Walter, and who is defiant in not letting the Union into the company. Things are about to turn very ugly and Alan is right in the middle of it.Robert Aldrich is uncredited in a lot of sources, but the film was 98% his work. Cobb had a sulk about where his character was going, it all came to a head and Columbia head Harry Cohn, not needing much of an excuse to fire Aldrich (who was sick as well), brought in Sherman to finish the film. Or at least that's the party line story...Aldrich's mark is all over the film, the harsher edges involving racketeers and violence are unmistakably his. The characterisations are pungent with varying degrees of menace, betrayal, cowardice and stoicism, with morals and ethics brought into sharp focus. Much of the pic is filmed indoors, which is a shame because when Biroc gets to photograph outside in the New York locales, we can see that we could have had a visual film noir treat. Instead we get a very good pro- Union drama with noir tints, though the softening of a key character, which Aldrich didn't aspire to, leaves you wondering just how much more spicy things could have been. 7/10

mark.waltz "If you don't want to be nervous, do yourself a great big service. Stay away as far from Seventh Avenue".So sings Barbra Streisand in the 1961 Broadway musical "I Can Get It For You Wholesale". "The Garment Jungle", made four years before, is an expansion of those lyrics, and shows how scary that industry is. From the very beginning, where one of the partners of a garment making industry is brutally murdered, to the gripping ending that features a memorable roof-top chase sequence, "The Garment Jungle" is to the unions of the garment industry what "On the Waterfront" was to longshoremen. While it probably lessens the impact with the passage of time between the two films (three years can make a big difference), "The Garment Jungle" is still pertinent today because of the prevalence of major fashion houses and top models in that industry. Lee J. Cobb, a character actor I've come to respect more recently by seeing some of his less known films, gives a performance that is filled with small nuances of humanity thanks to the relationships he has with his son (Kerwin Matthews) and girlfriend (Valarie French). Gia Scala and Robert Loggia are good as union workers fighting Cobb and crime boss Richard Boone while getting Matthews on their side. This leads to conflicts between father and son, and a very brutal murder. Boone is wonderfully despicable (and grotesque), and stage and TV actor Wesley Addy (whom "Loving" viewers will recognize as kindly powerful patriarch Cabot Alden) is unforgettable from the moment you see him. How someone so seemingly civilized as Addy could end up being so deadly is a great twist. Quodos to the casting directors for their ingenuity in really putting some great people who rarely got their due in this film.I really liked the interaction between the models preparing for a fashion show. (One of them is Joanna Barnes of "Auntie Mame" and "The Parent Trap" fame). The script is non-stop excitement. My only complaint was that there seems to be an important element deleted from the final print of how Scala made it from her mother-in-law's house to the D.A. with evidence. This is not a great film by any means; It seems very TV anthology series in concept, expanded for theatrical release, but somehow it all comes together and is quite satisfying. Columbia's late 50's film noirs were the best; They seemed to keep the genre going a few years longer than other studios output.

edwagreen Terrific film in the genre of "On the Waterfront." This one involves efforts to unionize the dress industry and the violence by mobsters hired by bosses to thwart the unions from getting a hold on the workers.Lee J. Cobb is perfect as the role of the garment boss who has paid for years to keep the union out of his business. When his partner is murdered by gangsters when the former is willing to sign on with the union, this occurs just in time as Cobb's son, well played by Kerwin Matthews, arrives from Europe on the scene and is willing to learn the business. He soon realizes why his father has kept him out and when an organizer for the union is murdered, he becomes totally sympathetic with the union movement as well as the widow (Gia Scala) of the slain organizer.The picture captures the woes of garment workers and the mobsters who were hired to keep them out.It is to be noted that the garment industry always had a history of difficulty with labor. Many of these places were in violation of National Labor Board rules and were continuously fined for abusing workers.This is a picture of rare quality with solid acting performances by a terrific cast.The film should especially be viewed by all the anti-union activists out there.

Fred Sliman (fs3) Certainly among the lesser-known 50's racket-noirs (even many inferior are more discussed and collected), this one hits hard, looks good and has the unmistakable touch of prime-era Aldrich, though it was only partially done by him. Frequent cinematography collaborator Joe Biroc puts the stamp on that ensures a vivid look at a harsh story.The cast is uniformly good, with Cobb leading in one of his best performances. The blending of two directors' work here unusually doesn't detract from the impact of this one. Look for it on television, or the hard-to-find, out-of-print video, whenever possible.