Chicago Syndicate (1955) Poster

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7/10
hot stuff!
Handlinghandel6 January 2008
This is a great little crime movie. It has a truly sleazy feel and is very well directed. Fred Sears! That guy knew how to turn out these trashy but effective crime exposes! Dennis O'Keefe, who seems a little down-at-the heels, is the lead. He goes undercover to blow the lid off a syndicate run by mama's boy Paul Stewart. With his eyes sunken and dark, Stewart is a highly effective villain (albeit a suave one.) His current girlfriend sings at a club he runs. We hear her sing, and she is pretty darn good. That's because she's played by Abbe Lane. Lane had a good vocal style and she knew how to be sewn into a glamorous dress. Real-life husband Xaviar Cugat is on-hand, too: He's her band-leader and is pining after her.

Though she gets lower billing, the main female is really Allison Hayes. Yes: The star of the immortal "Attack of the 50-Foot Woman." Hayes does a fine job. She's an interesting presence: She looks like a meaner version of Jane Russell.

The only distracting part of the movie is the O'Keefe character's name: Barry Amsterdam. It kept reminding me of a certain comic on a classic TV show about writers for a TV comedy ...

O'Keefe had the goods, though. He is one of the best of all noir actors.
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8/10
Great Chicago scenes
adgorn21 December 2007
I saw the show on Turner Classic Movies. The plot was entertaining. It kicks off with a murder of a mob accountant who gave inside info to a newspaper man (the "Syndicate" didn't like that.) The newsman then gets some leading Chicago people plus lawmen together to try to "break the Syndicate wide open." They persuade Barry Amsterdam (Dennis O'Keefe), an aspiring accountant dreaming of starting his own business, to infiltrate the mob and get the lowdown on the crooks. He ends up doing an amazing job, for an accountant! But the use of real street scenes is what made this a very interesting movie for a Chicago history buff like me. You can see many downtown locations (theaters, buildings, bridges, rivers, street signs), era shots (men in hats, big cars, 50s trains & buses) and dialog about real places (Halsted, Ohio, The Palmer House, Maxwell Street). Lot's of fun!
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6/10
Late and derivative organized-crime drama shows slackening momentum of noir cycle
bmacv1 January 2003
There's little in the late noir Chicago Syndicate that hadn't already been done, and more memorably, in the cycle, but, given the limitations of its director and cast, it does its job. When a renegade syndicate bookkeeper is gunned down on a crowded street in broad daylight (incidentally triggering his wife's suicide), federal agents enlist Dennis O'Keefe, a forensic accountant working for the police, to infiltrate the underworld. In no time he's won the trust of boss Paul Stewart (whose start in movies was in Citizen Kane, as Raymond the sinister butler). Stewart idolizes his mother, who refuses to budge from his tough old neighborhood. But apparently she's the exception that tests his misogynistic rule (`Everything gets better with age, except women,' he observes).

He's right to be wary, because women hold the tools to destroy him. His current trophy (Abbe Lane), who sings with bandleader Xavier Cugat in mob night spots, drinks too much and endures humiliation and beatings at his hands. But even an attempt to `scare the girdle off her' fails, as she holds incriminating microfilm, stashed away as her insurance policy. Her rival for his attentions (Allison Hayes) has a secret agenda: she's the orphaned daughter of the slain bookkeeper, nursing a vendetta. When she thinks O'Keefe can grease her way to the top, she throws herself at him (`Now you're romancing me like I was Liberace,' he puzzlingly tells her.) She becomes his helpmate – and decoy.

In the style of the syndicate movies of the 1950s, in the wake of the Kefauver hearings on organized crime, there's an emphasis on the complex corporate structure of Stewart's illegal business operations. Too much exposition, however, is left to voice-over narration. And while the movie doesn't shy away from ugly incident, it's quite devoid of the atmospheric dread that distinguished, for instance, Fritz Lang's The Big Heat. O'Keefe, too, seems to have aged more than the eight years separating this movie from his similar role in Anthony Mann's T-Men, making it less of a surprise that his first movie role was in 1930. Chicago Syndicate holds interest less for its own sake than as evidence of how the noir cycle was running down, if not quite out; the same year offered Joseph H. Lewis' brilliant take on much the same territory, The Big Combo.
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6/10
Is Charles Lane in this film in an uncredited speaking role?
Cowc1620 December 2007
Has anyone else noticed that Charles Lane appears with his back to the camera in the scene where Paul Stewart warns his syndicate partners about not cheating him? The voice also seems to be his. He doesn't show up anywhere else in the film. I have not been able to find him associated with it on any credit listings, including the abbreviated IMDb cast list. I thought this was a pretty good genre film. It's always nice to see Paul Stewart in a bigger role. Don't recall ever seeing Abbe Lane in a film before. I really thought she was better than the other female lead, despite having less to do. Although her acting ability cannot really be assessed from this single role, I am surprised she did not have a lengthier career.
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7/10
A pretty good later Film Noir picture
planktonrules30 December 2007
Because this film starred Dennis O'Keefe (who was wonderful in his Film Noir appearances), I was sure to see it. And fortunately, the overall effort was exciting and engaging--making it a decent later example of the genre. While not as bloody and earthy as many Noir films, due to the head of the mob priding himself on being a well-spoken gentleman, nevertheless is a decent film of this type.

The film begins with a contract killing so stop an accountant from spilling his guts about organized crime. A citizen's group decides that they need to try a new way to infiltrate the mob--send in a freelance agent who isn't a cop or part of the Treasury or Justice Departments. So Dennis O'Keefe is recruited and he is able to eventually rise very high in the ranks--and leading to a wonderful showdown.

I think the reason I like O'Keefe in these films is because he's so ugly--or at best ordinary looking. For Noir, this is great, as pretty boys and the like are NOT something you'd expect. So, when Edmund O'Brien isn't available, O'Keefe is a good substitute.

Full of excellent intrigue, an interesting and unusual plot and sure to please fans of the genre, CHICAGO SYNDICATE nearly earns an 8--it's that good.

FYI--It is interesting that in one scene where they are standing outside a movie theater, the picture listed on the marquee is ON THE WATERFRONT--another film about mobsters which came out at about the same time as CHICAGO SYNDICATE.
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7/10
good late noir
blanche-223 October 2021
The best part of "Chicago Syndicate" for me was seeing Abbe Lane and Xavier Cugat! I remember them from television and their chihuahuas. In fact, I think they fought over them in the divorce.

Dennis O'Keefe is Barry Amsterdam who goes undercover to get dirt on organized crime. An accountant has just been murdered as he was about to tell what he knew. A citizen's group sends in O'Keefe, with the promise of a $60,000 fee.

Amsterdam wins the trust of the main man (Paul Stewart), and he sets out to find his secret ledger and anything else that will serve as evidence. He meets lovely Sue Morton, who turns out to be the sister of the accountant who was killed. She joins Barry in bringing down the criminals.

In the late '40s and '50s, many films were made with a narration, as this one was. Usually they are pretty dry. This one wasn't, with some good scenes and a nice performance by O'Keefe. Abbe Lane plays the mobster's girlfriend, and she sings with. Benny Chico's (Cugat's) band. She was a knockout.
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7/10
ALLISON HAYES & ABBE LANE STEAL THE MOVIE FROM THE TOUGH-GUYS
LeonLouisRicci13 August 2021
A Good Production and a Decent Cast Can't Raise this Functionary, Pedestrian Picture from the Prolific 1950's Police Procedurals.

Film-Noir had All but Given Up the Ghost with the Eisenhower Era Emphasis on Big-Brother Watchdog Law Enforcement Forever "Looking Out For You".

Noir's Grit was Increasingly Being Scrubbed by the Booming Decade's Affluence.

The Odd Thing in this one is that Female Firebrands Abbe Lane and Allison Hayes are at the Core of Anything that Makes it Special.

Both Broads are in Fine Form with Clinging Dresses and Firecracker Personalities.

Some Scenes Stand Out, like the Climax Chase, and Abbe Lane Taking a Beating.

Of Minor Interest is Bandleader Xavier Cugat in a Speaking Part.

But the Film Struggles to have an Edge and Succumbs to Sedentary Situations Concerning Book-Keeping and other Mundane Aspects, like Paul Stewart and His Ma.

Slightly Above Average because of Lane, Hayes, and Stewart.

But Dennis O' Keefe seems Worn-Out and Past His Prime.

Good Street Scenes with Bigger than Big Cars and Chicago Locations also Help

Worth a Watch.
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6/10
It's like separating sewage from sea water
sol121819 December 2007
Warning: Spoilers
(Some Spoilers) With an iron clad grip on the "Windy City" the criminal organization known as "The Syndicate" run by Arnie Valent seemed untouchable until one of it's accountants Nelson Kern got a bit religious and went to the local newspaper the Chicago Telegraph to expose it's criminal operations.

Getting the editor of the newspaper David Healey to agree to publish his story, under an assumed name, Kerns is shot on the street as soon as he leaves the building. With the police as well as the editors of all the city's newspapers agreeing that "The Syndicate" is to be put out of business before it becomes any more entrenched that it already is it's agreed to get Internal Revenue auditor, and WWII combat hero, Barry Amsterdam to do the job for them.

Barry at first is anything but interested in taking on "The Snydicate" but when he's offered $60,000.00, by the city fathers, he's more then willing to stick his neck out. With that $60,000.00 Barry can open up his own accountant agency something he's been dreaming about since he got out of the service.

With the knowledge, that he got from the Chicago PD, of who it was that gunned down Kern, a hit-man named Burke, Barry get's in touch with Valent in an attempt to blackmail him in the fact that Berke works for him. Barry putting on an act that he's disenchanted with his job as an IRS auditor instead ends up getting the very job that the late Nelson Kern had looking after and accounting for all of Valent's, and his syndicate's, holdings and transactions.

The movie moves at a snails pace with Barry Amsterdam trying to get the goods on Valent and his criminal activities but the old timer, the last of Chicago's Al Capone Gang, is just too slick and slippery to get nailed in a Federal tax evasion, like his former boss "Big Al" Capone, rap. Just at one point when Barry thought he had Valent caught red handed at his mothers tenement apartment with the goods, his secret ledgers, Valent burned them moments before the cops, tipped off by Barry, came crashing into the place.

Barry uses the two women in the cast singer Connie Peters and the late Nlson Kern's daughter Joyce to uncover what Kerns had on Valent's by a number of secret rolls of microfilm, containing the contents of the destroyed ledgers, that Kern had made just before he was gunned down.

When Valent realizes that his moll Connie had the microfilm hidden as a life insurance policy for herself instead of destroying them like he told her he completely loses it. Having his henchmen work Connie over to find out where the microfilm is it's Connie's friend, as well as lover, band leader Benny Chico who tells Valent where the rolls of film is; Hidden in a violin case that's being held for him, for safe keeping, at a local pawn shop. Benny had no idea what was in the case until he found out that Connie, who gave it to him, had made as well as kept the very incriminating, for Valent and his syndicate, microfilm.

Despite being both cool calm as well as collective all throughout the movie Arnie Valent loses himself when he realizes that for once he's about to be busted, with none of his flunkies taking the rap for him! Valent overreacts when Barry, who was at the pawn shop with him and his hoods, pulled the rolls of film right out of his hands before, like he did with the ledgers earlier, he could burn them.

Instead of letting his hood chase down Barry and both murder him and get the film back Valent decides to do the job himself. This leaves him open to being both arrested by the police, who were tailing Barry, or ending up getting shot and killed by them. Barry badly wounded, from being shot in the leg by Valent, ends up making it to the Chicago slums where Valent's mother resides and it's there, outside his mom's tenement, that Valent life of crime, as well as "The Syndicate", came to a sudden and violent end.
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6/10
Moderate plot aided by sinister characters and great location footage.
mark.waltz27 February 2019
Warning: Spoilers
It takes a lot of patience to get past all the explanatory details at the beginning of this film that gets Dennis O'Keefe to successfully infiltrate the Chicago mob on assignment for the FBI. He begins to work closely with mob head Paul Stewart and becomes involved with two very different women involved somehow within organized crime: sensuous singer Abbe Lane and the vengeful Allison Hayes whose father was murdered at Stewart's orders. for much of the film, The two women believe that O'Keefe is Stewart's right-hand man, and he doesn't want to prove them wrong. But, it isn't before long that all of the cats are let out of the bag and betrayal takes control with O'Keefe working vigilantly to bring all of the corruption down.

Not so much a good film as a riveting one once you get past knowing the details, this does have some interesting characterizations and chilling moments where it appears that O'Keefe's identity will be exposed. Stewart and Hayes give the best performances, highlighted by vintage location photography and some thrilling chase sequences, particularly at the end. It's a rare chance to see Spanish bandleader Xavier Cugat in a role other than himself, but he really isn't given anything of consequence to do. A typically overdramatic noir narration is the predictable structure but fortunately, the dialog isn't as silly.
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6/10
Abbe Lane Made for Big Screen; But Not Cugat - Chicago Syndicate
arthur_tafero8 November 2023
This solid B film highlights the acting skills of two fine actresses; Abbe Lane and Allison Hayes. Lane was handicapped by being known as a nightclub singer with the talented (in music) Xavier Cugat. Unfortunately, Xavier was a horrendous actor. Allison Hayes never seemed to have made it to the A level films, which was a shame, as she had real talent. There were two situations in this film that did not ring true. One was taking a job that almost certainly would have you earning a 50000 life insurance policy for your wife plus 10000 for burial expenses. This would be like me taking a job as an accountant for the Gotti family. Fat chance. No amount of money is worth that risk. The second, and more hilarious comment was that the syndicate was now cracked wide open and had been put out of business. Fat chance.
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8/10
Dennis O'Keefe sorting out the followers after Al Capone with some wounds on the way
clanciai23 May 2018
Nothing happens in this rather bleak and sordid noir about Chicago gangsters, until Alison Hayes pulls the gun in the middle of the film, and then the action starts, amounting to rather interesting proportions. Dennis O'Keefe is no William Holden, who would have been the right actor for this role - Dennis is too fidgety. Paul Stewart on the other hand is perfect for his character, and the other ladies are good as well, Abbe Lane as the night club primadonna in decline with a catch on the boss, and his mother. The best scenes are with these women, while it is Alison Hayes who runs the show from half way on. The finale approaches the depths of "The Third Man".

So although you yawn and look for something else to do meanwhile during the first half of the film, the second half must have all your attention. The dialog is riveting and splendid all the way, even Xavier Cugat gets a role to play and not only instruments, so it's after all a film well worth seeing.
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7/10
A tough little B noir
rdoyle2916 March 2023
Accountant and war hero Dennis O'Keefe is contacted by the authorities and offered a big chunk of cash to infiltrate mobster Paul Stewart's operation. Stewart's former accountant had come forward claiming to have evidence that would convict him, but he was murdered before he could turn it over. They want O'Keefe to find out what he knew.

This plan apparently does not include any way of introducing O'Keefe to Stewart, so he strolls into Stewart's nightclub claiming he witnessed the murder. Luckily Stewart hires him instead of killing him. With the help of Allison Hayes (the 50 foot woman herself), who turns out to be the daughter of the murdered man, and Stewart's nightclub singer girlfriend Abbe Lane (wife of Xavier Cugat, who also has a prominent role) he gets the evidence.

This film sets itself up as a realistic, shot-on-locations crime flick, but other than a lot of great street shots of Chicago, it's more of a cheap, tawdry B noir (and I mean that as a complement). It's a really rough and tumble flick with some pretty surprisingly grim scenes for the 50's, including Stewart's thugs delivering a pretty intense beating to Lane. It's an enjoyable if pretty slight outing.

Xavier Cugat plays a few songs with Lane singing and that is superb.
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5/10
Standard crime drama with a good performance by Paul Stewart.
youroldpaljim21 April 2001
Dennis O'Keefe plays Barry Amersterdam, an accountant hired by authorities to infiltrate the syndicate in order the get the goods on the top man Arnie Valent. He works his way in and soon rises to become the mobs top accountant. Along the way he is distracted by Joyce Kern (Allison Hayes) a women out to avenge the mob murder of her father. CHICAGO SYNDICATE is a standard "B" crime thriller of the period. It is one of many films made in the fifties purporting to expose the sin, crime, corruption and vice of some major American city. Dennis O'Keefe gives his usual breezy performance. Allison Hayes is sexy. The best performance is Paul Stewart as mob boss Arnie Valent. Stewart was always at his best when he played slimy crooks, and he is quite convincing here as the nasty mob boss who loves his mother and likes to beat women.
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6/10
Solid film noir
byron-1163 October 2021
Straight forward good cops and robbers movie typical of the late 40s-50s. Surprising good performance by Abbe Lane, and Paul Stewart is always good.
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6/10
Chicago Syndicate
CinemaSerf21 March 2024
I never really rated Dennis O'Keefe and though he's in one of his better roles here, he's still pretty wooden. He is "Barry" who was an army number-cruncher who has now been drafted into an investigation by the FBI into organised crime in Chicago. The mobsters in that city are shrewd and brutal, so this task was always going to be perilous at the best of times, much more so when he encounters the complex "Connie" (Abbe Lane). She is the nightclub singing girlfriend, and frequent punchbag, of the kingpin "Arnie" (Paul Stewart) and she is also being pursued by their band-leader (Xavier Cugat). Also muddying the waters is the aggrieved "Sue" (Allison Hayes) who has a mean streak a mile wide when it comes to her search for retribution. What now ensues is all rather predictable, but it is augmented by a strong effort from Hayes and an effectively menacing one from Stewart. The direction and writing give them enough to keep it moving along and it has to be said - Abbe Lane can hold a tune and dance the mambo. It's quite watchable Saturday afternoon fayre, but I doubt you will remember it for long afterwards.
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9/10
Classic 50's era Dames n Gangsters
jaytee-949104 September 2020
Broadcast TV Movie channel shows 2 film noir movies Thursday and Sunday night Thought I had seen them all. Solid characters keep your attention. As do the eye candy hot 50's bullit bra broads, MCM sets, Cool Chicago background and awesome 50's sedans Love the News Reel crime drama narration
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2/10
Only one scene makes it worth watching
gmzewski11 May 2007
A cheesy "B" crime thriller of the early '50, the story is droll, the characters wooden, Allison Hayes and Abbe Lane are the only two sexpots that make it an eye-catcher, but one short shot, only a few frames long, shows an "el" train crossing the river on the State Street bridge, of the 6000 series Pullman-built cars painted in their original 1950 paint scheme, as they were delivered when new in 1950. For traction fans like me, that one short take makes the picture worthwhile. I think films like this one, Ulmer's DETOUR, D.O.A. with Edmund O'Brien,THE FUGITIVE with Harrison Ford, and others of the film noir genre, (big city crime dramas) make it interesting if for nothing other than the fact that I know Chicago and San Francisco intimately and recognize most of the street locations. Other wise it's a really droll boring film!
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5/10
O'KEEFE MISSING THE O'OMPH!
davidalexander-6306824 September 2020
One of your other reviewers called it a droll boring little movie. While I wouldn't go that far, i think it fails to reach its potential. It starts with some exciting street scenes full of excitement in Chicago and then quickly sinks into an average lowkey narrative with Dennis O'Keefe walking through every scene pretty much as... well, Dennis O'Keefe! More dramatic characterisation is called for. And less boardroom chat and more streetscene spats!
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1/10
Chicago Syndicate really takes off during the last 15 minutes.
lavendertraveler25 February 2022
Warning: Spoilers
Chicago Syndicate is in my opinion a minor Film Noir.

The cast is composed of almost every character actor alive in 1955.

Much of the story is told by leading man Dennis O'Keefe, in a voice over, or while making a phone call. Mostly to make sense of a script that would be hard to follow otherwise.

Chicago Syndicate starts out slowly, I think mainly because of cabaret musical numbers by leading lady Abbe Lane. An actress perhaps better known in Italy where she made more movies than in her native United States. She also had an early television program in Europe.

Abbe Lane was married at the time to Chicago Syndicate supporting actor Xavier Cugat, Spanish born, Cuban raised band leader, chubbier than Desi Arnaz Sr./Ricky Ricardo, and less charismatic.

I thought Cugat's scenes were a total waste of film, best left on the cutting room floor.

Chicago Syndicate doesn't really take off until the last 15 minutes.

Finally, Abbe Lane's acting ability begins to supplant her excessively dominating musical numbers. The rest of the cast also steps up the action in some memorable scenes, especially one in an underground tunnel.

The bad guy gets it in the end, because that's the way movies were in the Eisenhower Era, but his demise on the street in front of his beloved mother's flat was corny and anticlimactic. The atmospheric tunnel scene would have been a better point to conclude Chicago Syndicate.

Abbe Lane's career received a boost when Jackie Gleason told her her outfit was too sexy for television, and asked her to change her clothes for something less revealing to be on his program.

Her singing career also began to ascend in the late 1950s when she collaborated with Tito Puente and his Orchestra on the hit album Be Mine Tonight recorded in the United Kingdom.

Abbe Lane at 90 is one of the last surviving femme fatals of Film Noir.
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Solid crime expose, despite Sam Katzman's influence
searchanddestroy-128 April 2024
I guess the best crime dramas that Sam Katzman produced were those directed by the likes of Fred S Sears and William Castle; those movies seemed serious, not clumsy, lousy, such as the costume swashbucklers produced by Katzman, or even most of his westerns. MIAMI STORY, MIAMI EXPOSE, INSIDE DETROIT, RUMBLE ON THE DOCKS, CHICAGO SYNDICATE. I agree that those films propose more or less the same schemes, in addition to the expose lines, undercover cops, gang wars...Nothing new actually, but excellent, if you consider the fact that Sam Katzman produced those films. For once, Sam Katzman did not deceive me. EARTH VS FLYING SAUCERS was famous, thanks to Ray Harryhausen's special effects. Paul Stewart as awesome as he was in Lewis Allen's noir for Paramount co starring Alan Ladd.
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