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Звонить Нортсайд 777 (1948 )
In 1932, a cop is killed and Frank Wiecek sentenced to life. Eleven years later, a newspaper ad by Frank's mother leads Chicago reporter P.J. McNeal to look into the case. For some time, McNeal continues to believe Frank guilty. But when he starts to change his mind, he meets increased resistance from authorities unwilling to be proved wrong. Written by Rod Crawford <puffinus@u.washington.edu>
Plot Keywords:
Reporter Uncovers New Clues In Wiecek Case See more »
The Chicago Daily Times merged with the Chicago Sun in 1948, the year this movie was released, and became known as the Chicago Sun-Times which is still in business as of 2011. See more »
A title card following the opening credits reads: "This film was photographed in the State of Illinois using whenever possible, the actual locales associated with the story." The words "whenever possible" are a qualifying clause and should have been preceded by a comma, but no comma was provided. See more »
P.J. McNeal. [ to warden, after trying to talk Tomek into confessing to get parole ] You must run a nice jail; this guy doesn't want to get out either.
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Connections
Soundtracks
Chicago (That Toddlin' Town)
(1922) (uncredited)
Music by Fred Fisher
Played during the Prohibition montage
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Frequently Asked Questions
User Reviews
Reliable Jimmy Stewart fighting for a cause
Call Northside 777 is a genuinely engaging film. It has reliable James Stewart as an investigative reporter on a story about an alleged cop killer in prison. At first he believes that the prisoner is guilty but then becomes convinced otherwise and is willing to risk his professional reputation on clearing him. The pace of the film is told like a gritty docudrama with no dramatic musical underscore for effect. But more importantly, this film is interesting to watch for a time capsule of post WWII Chicago. The Chicago Times, the police precincts, the ethnic neighborhoods that existed then and a whole sequence of a wireless photo copier. This is generations before the fax machine was ever conceived. This film is important as Stewart was beginning his maturing film roles in the postwar period and taking on good narrative stories and less goodguy next door roles which were going out of fashion.
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