In the 1930s and 40s, John Payne played a handsome but relatively bland guy in many top films. He was eye candy and mostly played supporting characters. However, in 1950's Payne was no longer the handsome matinée idol and instead often took parts in tough westerns or film noir (such as "Kansas City Confidential"--as well as "99 River Street".

Payne plays a washed up boxer who is married to a cheating no-good tramp. She loved him well enough when he was on top in the fight game but now that he's no longer able to box, she is stepping out on him with a crook. He offers more excitement and all the fancy stuff that Payne cannot afford. Payne discovers them and storms off. In the meantime, the boyfriend and Payne's wife walk into a bad deal and Payne is set up with a very, very unfunny practical joke. Considering that following these events Payne is very publicly angry, he is the most likely suspect when his wife is killed--especially since the killer made sure to make it look like Payne's doing. So, it's up to Payne and a lady friend to clear himself and find the real killer before the cops find him. The only problem is that there are some REALLY dangerous characters out to kill the killer--and anyone else that gets in their way.

This is a very tough film--and one that is perfect for Payne's new image. The boxing scenes were brutal(with lots of atypical 1950s blood),the dialog snappy and the plot quite engaging. I also appreciated the wonderful vamp scene that Evelyn Keyes did near the end--you gotta see this one! An excellent noir thriller--and highly recommended.

The story for '99 River Street' sounded great. Have always liked films with this kind of story and the genre it fits under. Phil Karlson is not one of my favourite directors and there is plenty more of his work to see, but what has been seen has impressed me ('Gunman's Walk' being one of his best). Know John Payne better from much lighter fare and musicals, and he was generally watchable. Did worry though as to whether the role here would suit him and whether he would have enough presence in it.

My worries quickly evaporated very soon into my viewing of '99 River Street'. It may not be lavish in budget, it is not that type of film, but never does it look cheap (quite the opposite) and it is far from modest in how it approached its subject. '99 River Street' does see Payne excelling in tougher roles and shows that he did indeed have the presence needed for his role here. It is to me one of Karlson's best, up there with 'Gunman's Walk'. To me, this was an extremely good film in almost every way.

Let down only, though this is nit-picky and not that distracting, by it ending a little too neatly.

'99 River Street' on the other hand looks pretty darn good for modest budget. Found the photography to be incredibly stylish and full of atmosphere and there was nothing phony-looking about the sets. The lighting is also suitably eerie. Karlson's direction is always confident and tight yet controlled, keeping things moving at a strong pace and not letting the suspense slip. The music didn't come over as over-scored or too low-key and was haunting when necessary.

Furthermore, '99 River Street' benefits further from a lean and intelligent script that doesn't hold back while having some slyness too. The story is gritty, tough and the latter stages are genuinely suspenseful. Some may talk about suspension of disbelief but to me that wasn't a problem (nothing insulted my intelligence or annoyed me),with the story being so absorbing and atmospheric, with memorable scenes such as the climax and in the theatre. The subject is a hard-boiled one executed with edge. The characters did engage me and came over as real.

Payne is a charismatic and thoroughly committed lead and plays a hard-hitting role with edge, charm and intensity without being too dour. Evelyn Keyes is a no-nonsense and lively match for him and Brad Dexter's ruthlessness is quite chilling. Jack Lambert is also memorable, all the acting works.

In short, great film and deserving of more exposure. 9/10

99 River Street finds John Payne cast as a former heavyweight boxer now driving a cab having lost his chance at the title due to an eye injury in the same bout. His wife Peggie Castle who married him in his glamor days is running around with professional thief Brad Dexter behind Payne's back. Of course he's quite a bit put out when he discovers this.

But Castle's bought into a lot more than she could chew. Dexter killed a man on a robbery in which Castle had earlier cased the joint. As a result fence Jay Adler doesn't want to know from him or the jewels he robbed. And Castle's ready to come apart. Adler makes it clear he doesn't like dealing with women as a general rule in any case.

What to do, but murder Castle and frame Payne for it. But fortunately Payne has Evelyn Keyes along who witnesses the shock when Payne finds Castle's body dumped in his cab. She's already involved Payne in her own little scheme for Broadway stardom that didn't quite work out. But she initially comes off as an airhead, but in reality proves to be good when the going gets tough.

Phil Karlson who directed Payne in one of my favorite noir films Kansas City Confidential has Payne's character revved up to a white hot fury. This is not a man to get in the way of when he's on a mission.

Sad to say though he is a bit of fathead when it comes to picking women and they seem to run rings around him. It does kind of detract from him as a hero.

Producer Edward Small and director Karlson got a great group of supporting players like Eddy Waller, Jack Lambert, and most of all Frank Faylen as his former trainer now his cab dispatcher to support his stars besides the ones I already mention. Payne's final scene with Brad Dexter is reminiscent of his championship fight.

99 River Street while not up to Kansas City Confidential's standards is still pretty good and will keep your attention to John Payne and his mission.