NekoHomey Purely Joyful Movie!

Inclubabu Plot so thin, it passes unnoticed.

GazerRise Fantastic!

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Spikeopath I Mobster is directed by Roger Corman and adapted to screenplay by Steve Fisher from the novel written by Joseph Hilton Smyth. It stars Steve Cochran, Lita Milan, Robert Strauss, Celia Lovsky and John Brinkley. A CinemaScope production, music is by Gerald Fried and Edward L. Alperson Junior and cinematography by Floyd Crosby. Roger Corman was late in coming to the film noir/crime splinter of film making, but in 1958 he manufactured two very accomplished gangster pictures. Machine Gun Kelly starring Charles Bronson was something of a success, so it was hardly surprising to see Corman serve up another helping of gangster cinema with I Mobster. Pic charts the rise of Joe Sante (Cochran), from a boy running bets for a local hood, to being the leader of all illegal and violent operations in the city. There's nothing remotely new here as per the genre scheme of things, it is what it is, a straight forward tale of a bad man who finds himself getting deeper in the mire the higher up the hoodlum ladder he gets. On the side of this normal trajectory is how his climb affects those closest to him, notably the two ladies of his life, Ma Sante and Teresa Porter. Come the resolution of the tale, Joe Sante is hit with the stark realisation of the life he has led. But is it too late for him? Along the way there's some sexy sizzle by way of a show put on by burlesque queen Lili St. Cyr, while Corman even inserts a sex metaphor that's so unsubtle that Hitchcock himself would doubtless have approved. Corman re-teams from "Kelly" with Crosby and Fried, who once again provide crisp black and white images and furious jazz strains respectively. He is well served by his cast, Cochran is too old for the role as written, but he has a magnetic presence. Milan impacts strongly as the one time honest girl turned moll in the name of love, while Lovsky as Joe's weary mother is hugely effective in conveying a parent with a broken heart. Best of the bunch is Strauss as Black Frankie, he's a larger than life henchman and with the writers affording the character some telling passages in the play, Strauss responds in kind. Recommended fare for genre fans after a quick fix of gangster shenanigans. 7/10

Michael_Elliott I Mobster (1958) ** 1/2 (out of 4) Joe Sante (Steve Cochran) grew up poor as a child due to his immigrant parents but he plans on much bigger things. He ends up working for a gangster as a young age and quickly rises to the top but once on the top he realizes that there's only one place left to go. This Corman production will never be confused with the greatest gangster pictures out there but there are enough nice touches to make it worth viewing. What I enjoyed most was the style of the film, which might cause some to think of Martin Scorsese's GOODFELLAS because both films start off with a young kid and we see him through the ups and downs of the business. I thought this film did a very good job at showing how some of these lower-level thugs worked and Corman certainly handled the material with ease. Some of the best moments happens towards the start of the picture as Joe starts to get more and more money, which doesn't sit well with his father because he knows what has to be going on in order to get this type of money. This continues with a very good sequence of Joe getting out of prison and being made an official member but first he must commit a crime to prove his loyalty. Corman gives the film a very fast and easy feel and some of this is due to the terrific score by Edward L. Alperson, Jr. and Gerald Fried. The Jazz music really adds a lot of heat and this is especially true during an extremely sexual striptease. Cochran makes for a good lead as he has no trouble making you believe he's this tough guy who will stop at nothing to get what he wants. Lita Milan steals the film as the woman he loves. She has a wide range of emotions to go through and she nails them perfectly. Also good are Robert Strauss as the man who brings Joe in and Celia Lovsky is good as his mother. Lili St. Cyr appears as herself and bombshell Yvette Vickers (ATTACK OF THE 50FT WOMAN) has a brief role. At 81-minutes the film has a pretty good pace from start to finish and as you can see the cast are in fine form. The biggest problem is that the screenplay really isn't doing anything we haven't seen countless times before and if you've at least seen one gangster flick in your life then you should see all the trappings here. With that said, I MOBSTER is a decent little "B" picture that fans of Corman will want to check out.

c532c I, MOBSTER may have some historical significance, of a sort. This may be the first film based on a paperback original. When I say "paperback original" I'm referring to the flood of two-bit (literally, they sold for a quarter) paperback books that were NOT reprints: these books, published by Dell, Gold Medal (Fawcett) Lion and others had a boom after World war II, taking over the newsstands, drug store racks, etc. and hastening the demise of the pulp magazines. Writers like Robert Bloch, Richard Matheson, Jim Thompson and Charles Williams got their start in the paperback originals, and established writers like David Goodis and Cornell Woolrich turned to them for quick money.Many of these books have now been filmed by the likes of Truffaut (SHOOT THE PIANO PLAYER from Goodis' DOWN THERE) Cornfield (THE 3RD VOICE from Williams' ALL THE WAY) and others -- Jim Thompson most frequently --but as far as I can tell, Roger Corman's I, MOBSTER was the first, from an "anonymous" Gold Medal Original, I, MOBSTER, published in 1951.Can anyone find an earlier?

telegonus Roger Corman directed this 1958 story of the rise and fall of a hoodlum, on what was for him a generous budget. There's an exploitation feeling to this one, which was one of many inexpensive, somewhat backward looking crime films of the late fifties. Steve Cochran, in the title role, is a little too old but still holds the screen with his unique brand of sleazy charisma, showing once again that with the right vehicle he might have become a major star. His performance is sympathetic, and helps make the movie more interesting than it might have been with a cooler actor (Ralph Meeker, say). The script isn't much, and the other actors are no more than adequate. If one has a taste for lowbrow crime films, this one's pretty good, as it evokes its paperback and men's magazine era nicely, and has about it the whiff of an old-time barbershop.