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Indeed, he could not find work in Europe for five years, as producers felt American distributors would automatically ban any film with his signature. The villain in his career is the blacklist, which tragically clipped his wings just as he was starting to fly. Dassin's early triumphs have been obscured by his more recent fiascos, and as a result his critical reputation is now irrevocably tarnished. Circle of Two, with teenager Tatum O'Neal baring her breasts for aging Richard Burton, had a limited release. Unfortunately, they are all generally flawed: with the exception of Never on Sunday and Topkapi, his collaborations with Melina Mercouri (from He Who Must Die to A Dream of Passion) are disappointing, while Up Tight pales beside the original. For example, in A Dream of Passion, an updating of Sophocles' Medea, an American woman is jailed in Greece for the murder of her three children Up Tight, the filmmaker's first American-made release after the McCarthy hysteria, is a remake of The Informer set in a black ghetto.
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Many of Dassin's later films, such as Brute Force and Thieves' Highway, attempt to observe human nature: they focus on the individual fighting his own demons while trying to survive within a chaotic society. Topkapi is a Rififi remake, with a delightful touch of comedy.
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Thieves' Highway, also shot on location, is a vivid drama of truck driver Richard Conte taking on racketeer Lee J. The Naked City and Rififi are particularly exciting, as well as trend-setting, while Brute Force remains a striking, naturalistic prison drama, with Burt Lancaster in one of his most memorable early performances and Hume Cronyn wonderfully despicable as a Hitlerish guard captain. However, while he has made some very impressive films, his career as a whole is lacking in artistic cohesion.ĭassin's films are occasionally innovative: The Naked City is one of the first police dramas shot on location, on the streets of New York Rififi is a forerunner of detailed jewelry heist dramas, highlighted by a thirty-five-minute sequence chronicling the break-in, shot without a word of dialogue or note of music Never on Sunday, starring his wife Melina Mercouri as a happy hooker, made the actress an international star, won her an Academy Award nomination, and popularized in America the Greek bouzouki music. Between the mid-1940s and the late 1950s, Jules Dassin directed some of the better realistic, hard-bitten, fast-paced crime dramas produced in America, before his blacklisting and subsequent move to Europe.