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Park Row 1952
Description: In Fresh York's 1880's newspaper district a dedicated journalist manages to set up his own paper. It is an instant success but attracts increasing opposition from one of the bigger papers and its newspaper heiress owner.
Released: 24 Feb 1971 Director: Samuel Fuller Writers: Samuel Fuller Actors: Gene Evans, Mary Welch, Bela Kovacs, Herbert Heyes Genres: Drama, Thriller
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Park Row Reviews:

Before becoming a B-movie specialist and one of American cinema's finest filmmakers, Sam Fuller was a journalist who once worked as a crime reporter for The Fresh York Everyday Graphic. He made his nice pictures in headlines, something more akin to tabloid journalism and sensationalism. "Every newsman is a potential filmmaker", Fuller once told and explicitly used it in "Park Row", an intensely private work in which he financed with his own cash but unfortunately failed miserably when it came out."Park Row" is tiny but an engaging and entertaining tribute to American journalism. Under the opening credits we see a large rolling game that lists about 2,000 American everyday newspapers and this storyline is dedicated to them.Set in the 1880s Fresh York, the movie is about the rivalry between The World and The Star. An aspiring newspaper editor (Gene Evans) sets up his own everyday The World after a boy jumps off the Brooklyn Bridge. He struggles to compete with his former employer's (Mary Welch) newspaper The Star, who happens to be in love with him, while the Statue of Liberty is being donated to the U.S. by France.Unlike Fuller's bleak and lurid "Shock Corridor", "Park Row" is full of reverential optimism and is packed with so much gusto and excitement, featuring some terrific tracking shots that will create your head spin.Highly recommended.


Sam Fuller's brilliant direction combines a tatty set, weak watt cast, and potentially preachy and pedantic script into a tiny masterpiece...seemingly with the sheer electric passion of his movie sense. Magnificent test of camera takes ordinary talking head shots and makes them off kilter peeks into the clash of opposing souls. The passion filled but weak key love/hate/love interplay between opposing editors played by Gene Evans and Mary Welch is one of the most adult and genuine dark romances in cinema history (how sad that this was only major appearance for Welch...who died in 1958). Fuller's lauded tracking shots...including some which seem to have the camera being tossed about like a football in an effort to hold up with the action..are very much in evidence...but movie is most striking for it's effortless ability to capture the quiet passion and integrity of one mans devotion to the craft of journalism...a devotion so powerful that nice love for an unscrupulous competitor was no obstacle...a devotion so nice that his insight and passion helped transform the press into the behemoth it is today. Any movie that can turn the creation of linotype into a miracle of discovery is a wonder. Check out this 83 minute masterwork...rediscover how alive movie can be.


Park Row (Samuel Fuller, 1952) – Maverick director and former tabloid cheat Sam Fuller made 22 features. This 1952 labour of love remained his favourite: a hymn to the founders of modern American journalism that starts with a long, sentimental speech about the titans of Park Row (America's Fleet Street) and details a nice action sequence in which crusading editor Gene Evans repeatedly dashes a low-level gangster's head vs a statue of Benjamin Franklin. Nice.Our storyline proper starts in that most Fuller-ish of places, a saloon. There, a bunch of cheats on Fresh York's bestselling daily, The Star, spends their evenings swilling booze and exchanging dreams and bitter bon mots. When idealistic reporter Gene Evans takes a break from the bar to nail an epitaph to the grave of an executed boy that reads 'Murdered by The Star' – an acerbic bolt of pure fury from Fuller that's among the neatest things he ever did – the 'paper's owner (Mary Welch) marches in, sacking him and his chums on the spot.So Evans begins up the 'paper he's everytime dreamt of – The World – and cheery, impressionable young buck George O'Hanlon throws himself off the Brooklyn Bridge for a laugh, giving him a first-rate first splash. But Welch doesn't take such tournament lying down, especially not from a boy she quite fancies, and so starts a circulation fight that spills over into resentment, hatred and nice old-fashioned violence.As you would expect, Fuller has a true feel for the material, filling his script with the usual insider terminology and slang. Leaving just enough in his acc for some vodka and cigars, the writer-director-producer spent the rest of his savings – some $200,000 accrued making hit fight movies – on this pet project. Much of the money went on a fastidiously finished recreation of the Park Row of his memory, including a multitude of four-storey buildings. The film's designers queried his logic, telling the tops of the structures would never be seen on camera. Fuller told he didn't care: "I had to see it all. I had to know everything was there, exact in each detail." The sets are constructed in an ingenious method that allows Fuller's camera to wind his method through the nooks and crannies of the offices, the intensity of the shooting schedule belied by the wealth of innovation behind the camera. The director's crab dolly, a wheeled platform that allowed the camera to transport in any direction, aids the spectacular direction, getting us up close and private during Evans' periodic stomps up and down the titular street, generally looking for someone to thump.Park Row is a punchy, sometimes dynamic blend of heartfelt sentiment and acerbic cynicism that should only have come from one director. Whilst it occasionally appears over-earnest or self-congratulatory, and has too much repetition across its 80 minutes, it's flavourful and immersive, with a no-name cast that ideally suits its ink-stained universe.



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