great photog and acting in this immigration tale

"We've Got to Find Him Before His Ship Embarks"

Exterior/Interior - United Nations Building, still partially under construction.

760 United Nations Plaza, 47th Street and 1st Avenue, New York City, New York, USA

Joan Bennett, Richard Conte, and Wanda Hendrix in Highway Dragnet (1954)

Meg Randall and Adam Williams in Without Warning! (1952)

Cameron Mitchell and Terry Moore in Man on a Tightrope (1953)

Richard Conte, James Darren, Dianne Foster, Larry Gates, Kathryn Grant, and Paul Picerni in The Brothers Rico (1957)

Evelyn Keyes in The Killer That Stalked New York (1950)

Lucille Ball and Mark Stevens in The Dark Corner (1946)

Linda Darnell and George Sanders in Summer Storm (1944)

Jim Backus, Richard Conte, Julie Adams, Fred Clark, and Henry Hull in Hollywood Story (1951)

Tell me. Is there not work for everyone here in America?

So, how it happens that a girl like you steals a coat?

I don't know. I was cold. I needed a coat.

There's a big steal machine here, see, and over here, a giant spool of shoelace. You pull it out like this, twenty-seven inches at a time, all day. And then you stamp a pedal and a ton of steel bangs down, cuts the lace and rolls the tip on. Bang like that, and again. Bang, all day. You're scared you'll smash your finger. At the same time, you gotta keep your eye on the assistant foreman. Because every time he comes by he pinches you. You do this until your brain goes numb, and you get thirty-five bucks a week. And then, all of a sudden, you have an appendix attack, an operation, and you're out flat on your back. And you just can't get back on you're feet. And you get fed up. And you want to strike back at somebody, anybody!

Vittorio Gassman in The Glass Wall (1953)

Gloria Grahame, Alvin Freeman, and Richard Monda in The Glass Wall (1953)

Vittorio Gassman and Richard Collier in The Glass Wall (1953)

Nesdon Booth and Frank Mills in The Glass Wall (1953)

Else Neft and Joe Turkel in The Glass Wall (1953)

Else Neft and Robin Raymond in The Glass Wall (1953)

Vittorio Gassman, Nesdon Booth, and Robin Raymond in The Glass Wall (1953)

Vittorio Gassman

Gloria Grahame

Ann Robinson

Ivan Tors

Maxwell Shane

Peter is a refugee who wants to make a better life for himself in America, but he doesn&apos;t have the proper papers. Desperate for entry, he jumps ship and flees to New York to search for a World War II veteran whom he helped during ...

The Glass Wall

&quot;We&apos;ve Got to Find Him Before His Ship Embarks&quot;

I&apos;m no authority on the film noir genre, but Glass Wall had enough of the elements as I understand them -- gritty, urban streets; smoky, downstairs jazz rooms; beaten-down characters with nothing to lose; an urban milieu that suggests a struggle for existence; and the overbearing presence of authority -- to be a very satisfying film for me. The plot is simple, has elements of suspense, and is a bit contrived at times, particularly near the end, but I found it easily sustained my interest throughout the film. In a nutshell, a Hungarian refugee, Peter Kaban, who has stowed away on a ship docked in New York&apos;s port, is denied entry, and thus escapes into the streets of NYC where he must find the man (now a club musician) whose life as a soldier he saved in Europe during the war, and he must find him before the immigration authorities, supplemented by the police, find him, and before 7:00 AM the next day when the ship leaves port and his legal status becomes such that he would then never receive legal permission for entry into the U.S. New York&apos;s gritty survivors either aid him or exploit him, and nobody&apos;s life looks easy.

Much of the film, particularly the street scenes, were said to be filmed with hidden cameras, and that touch gives an active, life-like realism to Glass Wall. The city looks so vibrant and active at night with the various types of humanity jostling each other for a good time, companionship, or just simple survival, economic or otherwise. Vittorio Gassman plays the Kaban role, and perhaps he looks too delicately good-looking to suggest the utter determination of his character as he roams the streets of New York, while severely injured and harassed by almost everyone, to prevent deportation back to Hungary; but for sure,a handsome face on a character hardened by concentration camp experiences can mask an iron will. You have to root for Peter Kaban because despite the horrendous experiences of his brief life, his personality retains a decency and kindness that eventually wins over his initial, also desperate, female accomplice and also helps with his other female helper. Eight points for making Times Square look again to be a social magnet on what has to be a bustling Saturday night!

https://m.media-amazon.com/images/M/MV5BYmJlYmNlMTgtOGQ0YS00MzQ1LTkwMDItNDc1NGEzMzg2MzA1XkEyXkFqcGdeQTNwaW5nZXN0._V1_.jpg

I'm no authority on the film noir genre, but Glass Wall had enough of the elements as I understand them -- gritty, urban streets; smoky, downstairs jazz rooms; beaten-down characters with nothing to lose; an urban milieu that suggests a struggle for existence; and the overbearing presence of authority -- to be a very satisfying film for me. The plot is simple, has elements of suspense, and is a bit contrived at times, particularly near the end, but I found it easily sustained my interest throughout the film. In a nutshell, a Hungarian refugee, Peter Kaban, who has stowed away on a ship docked in New York's port, is denied entry, and thus escapes into the streets of NYC where he must find the man (now a club musician) whose life as a soldier he saved in Europe during the war, and he must find him before the immigration authorities, supplemented by the police, find him, and before 7:00 AM the next day when the ship leaves port and his legal status becomes such that he would then never receive legal permission for entry into the U.S. New York's gritty survivors either aid him or exploit him, and nobody's life looks easy.

Much of the film, particularly the street scenes, were said to be filmed with hidden cameras, and that touch gives an active, life-like realism to Glass Wall. The city looks so vibrant and active at night with the various types of humanity jostling each other for a good time, companionship, or just simple survival, economic or otherwise. Vittorio Gassman plays the Kaban role, and perhaps he looks too delicately good-looking to suggest the utter determination of his character as he roams the streets of New York, while severely injured and harassed by almost everyone, to prevent deportation back to Hungary; but for sure,a handsome face on a character hardened by concentration camp experiences can mask an iron will. You have to root for Peter Kaban because despite the horrendous experiences of his brief life, his personality retains a decency and kindness that eventually wins over his initial, also desperate, female accomplice and also helps with his other female helper. Eight points for making Times Square look again to be a social magnet on what has to be a bustling Saturday night!

Peter is a refugee who wants to make a better life for himself in America, but he doesn't have the proper papers. Desperate for entry, he jumps ship and flees to New York to search for a World War II veteran whom he helped during the war.

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The Glass Wall

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