City for Conquest (1940)

101 or 103 mins | Drama | 21 September 1940

Director:

Anatole Litvak

Writer:

John Wexley

Cinematographers:

Sol Polito, James Wong Howe

Editor:

William Holmes

Production Designer:

Robert Haas

Production Company:

Warner Bros. Pictures, Inc.
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HISTORY

According to news items in HR , Robert Rossen "polished" one version of the scripts for this film and Jean Negulesco assumed the direction of the film when Anatole Litvak suffered an eye injury. Rossen's contribution to the final film has not been determined. This picture marked Arthur Kennedy's screen debut, and Elia Kazan's first screen ... More Less

According to news items in HR , Robert Rossen "polished" one version of the scripts for this film and Jean Negulesco assumed the direction of the film when Anatole Litvak suffered an eye injury. Rossen's contribution to the final film has not been determined. This picture marked Arthur Kennedy's screen debut, and Elia Kazan's first screen role. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
10 Sep 40
p. 3.
Film Daily
13 Sep 40
p. 7.
Hollywood Reporter
12 Apr 40
p. 1.
Hollywood Reporter
31 May 40
p. 6.
Hollywood Reporter
30 Jul 40
p. 2.
Hollywood Reporter
10 Sep 40
p. 3.
Motion Picture Daily
13 Sep 40
p. 5.
Motion Picture Herald
14 Sep 40
p. 34.
New York Times
28 Sep 40
p. 9.
Variety
11 Sep 40
p. 14.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
A Warner Bros.--First National Picture; Jack L. Warner in charge of production
A Warner Bros.--First National Picture; Jack L. Warner in Charge of Rroduction; An Anatole Litvak P
Jack L. Warner in Charge of Production; An Anatole Litvak Production
Jack L. Warner in Charge of Rroduction; An Anatole Litvak Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dial dir
Fill-In dir
Asst dir
Asst dir
PRODUCERS
Exec prod
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
Dir of photog
ART DIRECTOR
Art dir
FILM EDITOR
COSTUMES
Gowns
MUSIC
Orch arr
Orch arr
SOUND
VISUAL EFFECTS
Spec eff
Spec eff
DANCE
Dance dir
MAKEUP
Makeup
PRODUCTION MISC
Unit mgr
SOURCES
LITERARY
Based on the novel City for Conquest by Aben Kandel (New York, 1936).
AUTHOR
DETAILS
Release Date:
21 September 1940
Production Date:
began 31 May 1940
Copyright Claimant:
Warner Bros. Pictures, Inc.
Copyright Date:
21 August 1940
Copyright Number:
LP9924
Physical Properties:
Sound
RCA Victor Sound System
Black and White
Duration(in mins):
101 or 103
Length(in reels):
12
Country:
United States
PCA No:
6443
Passed by NBR:
No
SYNOPSIS

In the East Side slums of New York City, Danny Kenny, his brother Eddie and Peggy Nash, all childhood friends from the tenements, pursue different paths to climb their way out of the gutter. Danny is content driving a truck until his brother, who dreams of writing a symphony of the city, needs money for music school. To earn Eddie's tuition, Danny accepts a boxing match, where he is spotted by fight manager Scotty MacPherson. Meanwhile, Peggy, seduced by the vision of her name in lights, becomes the dance partner of the despotic Murray Burns, and the pair set out on the vaudeville circuit. Desperate to win Peggy back, Danny decides to make something of himself and accepts Scotty's offer to be his manager. As Danny wins bout after bout, Peggy's tour ends, and she agrees to give up dancing for Danny. When the dance team is offered a contract in the big time, however, Peggy foresakes Danny to pursue fame. Danny, confident that winning the championship will win him Peggy, insists on a match with the mean and dirty boxer Cannonball Wales. To make sure that he wins the title, Wales puts rosin on his boxing gloves, thus blinding Danny. As she listens to the match on the radio, Peggy hears of Danny's pummeling, quits the dance team and returns to Danny, only to be sent away by Scotty. Blinded by the fight, Danny feels no self-pity and opens up a newstand. When Eddie, frustrated by his struggle for artistic recognition, is on the verge of selling out his talents, Danny inspires him to keep fighting. Eddie's symphony is ... +


In the East Side slums of New York City, Danny Kenny, his brother Eddie and Peggy Nash, all childhood friends from the tenements, pursue different paths to climb their way out of the gutter. Danny is content driving a truck until his brother, who dreams of writing a symphony of the city, needs money for music school. To earn Eddie's tuition, Danny accepts a boxing match, where he is spotted by fight manager Scotty MacPherson. Meanwhile, Peggy, seduced by the vision of her name in lights, becomes the dance partner of the despotic Murray Burns, and the pair set out on the vaudeville circuit. Desperate to win Peggy back, Danny decides to make something of himself and accepts Scotty's offer to be his manager. As Danny wins bout after bout, Peggy's tour ends, and she agrees to give up dancing for Danny. When the dance team is offered a contract in the big time, however, Peggy foresakes Danny to pursue fame. Danny, confident that winning the championship will win him Peggy, insists on a match with the mean and dirty boxer Cannonball Wales. To make sure that he wins the title, Wales puts rosin on his boxing gloves, thus blinding Danny. As she listens to the match on the radio, Peggy hears of Danny's pummeling, quits the dance team and returns to Danny, only to be sent away by Scotty. Blinded by the fight, Danny feels no self-pity and opens up a newstand. When Eddie, frustrated by his struggle for artistic recognition, is on the verge of selling out his talents, Danny inspires him to keep fighting. Eddie's symphony is finally accepted for performance at Carnegie Hall, and Peggy, now miserable and alone, goes to hear his debut. In a moving speech, Eddie dedicates his work to his brother, and after the concert, Peggy seeks out Danny at the newsstand, and the two are reconciled. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.