A so-so Film Noir from Laslo Benedek which is notable only for the screen debuts of Yul Brynner and Neville Brand. A youthful Brynner (whose head was yet to meet the razor to which it would become so accustomed) looks almost effeminate as the cultured villain and shows little of the vigorous energy that would become his trademark. The story drags for the most part, only to gain some good momentum in its last 15 minutes. Arthur Blake stands out as an ill-fated nightclub impressionist.
Review of Port of New York
