Classics: A Review of While the City Sleeps By Lauren Ennis

Corporate corruption, sexual scandal, and murder are just as at home in the newspaper offices of Kyne, Inc. as in the headlines it distributes. In the 1956 thriller While the City Sleeps the staff of the fictional Kyne, Inc. media conglomerate use every industry trick at their disposal as they attempt to capitalize upon a series of gruesome murders while jockeying for position in the midst of office upheaval. This noir offers a fresh take on the traditional murder mystery by shifting its focus from the disturbed killer to the disturbing lengths at which the media will go to profit from his killings. Dismissed as a failed thriller upon its release, the film is now recognized as one of director Fritz Lang's best efforts and has earned a following as a revived classic.

Fake news...very fake news...

The story begins with a deranged delivery boy brutally murdering one of his pretty young customers. The plot then shifts to the offices of Kyne, Inc. where the staff learn of the death of their beloved boss. This blow is made even worse when they are informed that the business is to be taken over by their boss' notoriously incompetent playboy son, Walter (Vincent Price). Desperate to prove himself, Walter sets his sights on the story of the infamous 'Lipstick Killer' and offers the organization's top position to the staff member who can crack the case first. And so begins a race against time that pits the entire staff against one another i pursuit of the killer story. Through a series of underhanded maneuvers, three candidates emerge at the top of the competition. As the three men close in on the killer, however, they risk losing their integrity as journalists and people along the way.

At first glance, While the City Sleeps doesn't fit the bill as a noir, let alone a genre classic. From its brightly lit office setting to its one dimensional villain lacking the genre's requisite pathos the film seems to fall short of genre standards. Similarly, the film's early reveal of the killer's identity would disqualify it as a conventional thriller. As a result, it is little wonder that when critics first viewed the film they were unsure what to make of it. What contemporary critics failed to realize, however, was that the story's focus wasn't on the killer at all, but instead on the morally compromised men and women pursuing him. The story reverses the traditional thriller by revealing its protagonists to be every bit as self-serving and ruthless as the criminal that they are tracking. For example, head of wire service, Mark (George Sanders), attempts to prostitute his girlfriend, Mildred (Ida Lupino) to a reporter (Dana Andrews) in an effort to gain information about the case. Mildred readily accepts her assignment in hopes of humiliating the reporter's fiance (Sally Forrest) while making Mark jealous. Meanwhile, photo editor Harry (James Craig) avoids the entire hunt for the killer by focusing all of his efforts upon using his affair with Walter's young wife (Rhonda Fleming) to his advantage. In this midst of this rampant amorality the film's duo of supposedly honest reporters, Ed and John (Thomas Mitchell) fare worst of all as they scheme to use Ed's secretary fiancee, Nancy, to bait the killer. In true noir fashion the story ultimately sees each of its anti-heroes rewarded for their underhanded efforts with only the Lipstick Killer himself facing any consequences. While this cynical piece of storytelling may not have appealed to contemporary critics, it breathed fresh life into the tired noir genre by lifting noir out of the gutter and into the glaring light of the newsroom. Through its scathing portrayal of its fictional news staff the film offers a brutal critique of an industry that places profits over facts which remains bitingly relevant today.

Journalism at its finest

This caustic tale of the frenzy that marks the media industry is brilliantly brought to life by its cast. Sally Forrest adds a knowing maturity that lends depth and realism to her role as girl next door Nancy. James Craig exudes rakish charm in his sly turn as ambitious Harry. Rhonda Fleming is at her vampish best as Walter's wanton young wife. Vincent Price makes for a delightful dupe as the hapless Walter. George Sanders is endlessly engaging as he captures Mark's sophistication and ruthlessness with hypnotizing skill. Ida Lupino steals each scene in which she appears as tough talking Mildred. Thomas Mitchell is infectiously likeable in his turn as Jon Day Griffith, even as his character stoops ever lower in his race to the top. Dana Andrews lends an every man charm to his role as ace reporter Ed, in a typically noir turn that leaves viewers rooting for his success regardless of its moral implications.

While the City Sleeps leaves the cliche alleys and dives of noir behind, bringing the genre into the darkest corners of the media industry. Through its razor sharp script and uniformly superb performances this criminally underrated efforts remains one of noir's edgiest and most modern films. Through its critique of the news industry the film offers valid insight into the media circus of our own era. Rarely has journalism been as jaded and the newsroom as nefarious as in While the City Sleeps.

Pulitzer, here we come!