Chicago Calling

Director: John Reinhardt John Reinhardt

Overview

Alcoholic Bill Cannon's (Dan Duryea) past sins catch up with him in Chicago Calling. Cannon's daughter Nancy (Melinda Plowman) is seriously injured in an accident while out of town, and his wife Mary (Mary Anderson) has promised to call him back as soon as she learns the result of Nancy's operation. Unfortunately, Cannon's phone service is cut off for nonpayment, forcing him to go begging for the $50 necessary to square his phone bill. Only through the kindness of waitress Peggy (Marsha Jones) and telephone engineer Jim (Ross Elliot) is Cannon able to make the crucial call to his wife. Alas, the operation has proved unsuccessful. Will the impact of this tragedy push Cannon over the brink, or will it inspire him to seek out a new lease on life?

Product Details

Release Date:	01/25/2011
UPC:	0883316312834
Original Release:	1951
Rating:	NR
Source:	Warner Archives
Presentation:	[Full Frame]
Sound:	[Dolby Digital Mono]
Language:	English
Time:	1:15:00
Sales rank:	45,376

Cast & Crew

Performance Credits

Dan Duryea	Bill Cannon
Mary Anderson	Mary Cannon
Gordon Gebert	Bobby Kimball
Judy Brubaker	Babs Kimball
Ross Elliott	Jim
Marsha Jones	Peggy
Bob Fallon	Art
Melinda Plowman	Nancy Cannon
Grace Loman	Housewife
Carl Vernell	1st Detective
Charles Flynn	2nd Detective
Roy Engel	Pete
Jean Harvey	Christine
Bud Stark	Clerk
Dick Curtis	Foreman
Mel Pough	Laborer
Eleanor Radcliff	Relief Agent
Billy Lechner	Finance Clerk
Gaylord 'Steve' Pendleton	Lt. Ryan
Roy E. Glenn Jr.	Shoe Shine Boy
Rudy McKool	Mr. Blake
Gene Roth	Bank Guard
Norman Field	Railroad Switchman
Lorin Raker	Mr. Cook

Technical Credits

Peter Berneis	Producer
John Reinhardt	Director

Editorial Reviews

Definitely not a great film, Chicago Calling nonetheless packs a punch thanks to Dan Duryea's intense performance. Many viewers will undoubtedly be moved by Chicago; after all, this is the kind of film that stacks the deck to make sure that the emotional buttons are pressed as hard as they can be. But many viewers are also likely to feel manipulated, and with good reason: Chicago exists only as a means of putting viewers through the same wringer that they put Duryea's character through. Unfortunately, this becomes grating after a while, and the blatant manipulation and obvious mechanics in its writing become irritating. Fortunately, Duryea is on hand. An actor who was most often cast as a heel of one stripe or another, Duryea here plays someone decidedly more sympathetic; he still has his flaws, and big ones, but the character also has enough goodness that the viewer roots for him. Nobody can play skitterish and desperate like Duryea, and he has some nicely tender and vulnerable moments as well, all of which he grabs hold of and runs with. Director John Reinhardt's work is hardly subtle, but he does know how to frame Duryea's star turn.

All Movie Guide - Craig Butler