UNDERWORLD USA
US, 1961, 100 minutes, Black and white.
Cliff Robertson, Dolores Dorn, Larry Gates.
Directed by Samuel Fuller.
Underworld USA is a Samuel Fuller film. Fuller began writing screenplays in the 1930s and eventually began directing in the late 1940s with I Shot Jesse James. He was famous in the 50s for a string of hard-action small-budget brief features including Pickup on South Street, Hell and High Water, Forty Guns, Run of the Arrow. During the 1960s he was to become more ambitious with some violent dramas and melodramas like Shock Corridor and The Naked Kiss. He continued to make films during the 70s and 80s but his main achievement was the big-budget war film about World War One and World War Two, The Big Red One. He continued directing during the 1980s though nothing as significant as The Big Red One.
He was admired by many other directors and imitated – and a number of documentaries were made about him, the most significant being Tigrero: a film that was never made, written and directed by Mika Kaurismaki, where Fuller accompanies director Jim Jarmusch on a trip into Brazil, the location for the intended film.
The film stars Cliff Robertson as a young man who had witnessed the murder of his father by gangsters and who then infiltrates the underworld gangster scene, rising to a position in the organisation where he is able to wreak his revenge. Of the b-budget cast, only Robertson emerged with star quality, winning an Oscar for Charlie in 1968 and continuing for another four decades as a strong presence in films up to Spiderman and Spiderman 2.
1. The popularity of the gangster genre and its use over the decades in America? Its appeal and interest to audiences? Why?
2. The title emphases of this film? The picturing of the Underworld, the broadening into America itself? Theme events as symbols of American gangsterism? The themes of American gangsterism? A way of interpreting America and its heritage?
3. What conventions of the genre did this film use and how well? The setting of the scene, black and white photography, slums, Depression atmosphere, the mobs, their methods and deals, violence, floozies, drugs, the gangsters and their personalities, the atmosphere of revenge?
4. The atmosphere of this particular film, the city itself, the contrast of rich and poor, the police?
5. The impact of the prologue, sharing the young boy's vision of his father's death? Sharing his attitude of revenge?
6. How well did the film develop the character of Tolley? How credibly? Picturing his as a boy, his secret about the identity of his father's killers? The collage of his career through Reform School? His growth into vengeance as an adult? The exploration of his motivation? Its twisted attitudes of revenge? His redeeming features? His shrewdness and cruelty? His response and saying Cuddles and the changing of his attitude?
7. His completing of his vengeance? The fact that he changed because of Cuddles? His death and the cycle starting again?
8. How well can audiences respond to this kind of hero and his administration of his own justice?
9. The film's portrayal of criminals, their small origins, brutality and ruthlessness, growth in power, mutual trust and suspicion, their elimination? No honour amongst thieves?
10. The portrayal of Connors and Gus? Their evil and their deaths? The ironic comment on American gangsters through them?
11. The contrast in the warm portrayal of Sandy? As a mother figure for Tolley, helping him yet disapproving? Her connection with the criminals and their power over her?
12. The sympathetic presentation of Cuddles? A victim, rescued by Tolley? loved, used for police purposes? His giving his life for her?
13. The presentation of Driscoll and the police? Their relentlessness, yet their humanity? Driscoll's deals with Tolley?
14. Comment on the documentary style or the film and its effectiveness? an air of realism and moral concern?
15. The themes of doom and the elements of tragedy? The film is now considered a minor classic. Why? Does it deserve this reputation?
