The Asphalt Jungle is currently streaming on the Criterion Channel as part of ‘Peak Noir,’ a programme highlighting classic crime movies released in 1950.
“In a smog-choked city somewhere in the American Midwest, an aging criminal mastermind, newly released from prison, hatches a plan for a million-dollar jewel heist and draws a wealthy lawyer and a cherry-picked trio of outlaws into his carefully devised but inevitably doomed scheme. Anchored by an abundance of nuanced performances from a gifted ensemble—including a tight-jawed Sterling Hayden and a sultry Marilyn Monroe in her breakout role—this gritty crime classic by John Huston climaxes in a meticulously detailed anatomy of a robbery that has reverberated through the genre ever since. An uncommonly naturalistic view of a seamy underworld, THE ASPHALT JUNGLE painstakingly depicts the calm professionalism and toughness of its gangster heroes while evincing a remarkable depth of compassion for their all-too-human fragility, and it showcases a master filmmaker at the height of his powers.”
Meanwhile, American Cinematographer magazine has shared its 1950 interview with cameraman Harold Rosson – seen above at right, with Marilyn and director John Huston. (During his long and distinguished tenure at MGM, Rosson was also briefly married to Jean Harlow back in 1933.)
“To Rosson, who for years has been considered one of the top ‘glamour’ cameramen in Hollywood, the lighting requirements of Asphalt Jungle presented a challenge and called for a complete departure from anything he had ever done … With the exception of Marilyn Monroe, who plays the part of a bush-league Lana Turner and is therefore given the full benefit of glamour lighting, all of the players were photographed as realistically as possible.
In approaching a screen story Rosson reads the script carefully, mapping out the camera’s role in each sequence, as well as in the establishment of mood and style for the entire picture. ‘I think of the camera as a member of the cast — an actor,’ he explains, ‘and as such it must play its part and give the finest possible performance. It is my job in directing this particular actor to get the best from it.’
‘Jungle was one of the most interesting pictures I’ve ever been privileged to work on, and it was made especially pleasant due to the unusual teamwork and enthusiasm of the cast and crew. Each evening, all of them voluntarily stayed an hour or so late to crowd into the projection room and view the previous day’s rushes. How do I feel about the picture? Well, if in 20 years someone asks me to name the favorite pictures I’ve worked on, I’m sure that Asphalt Jungle will stand right at the top of the list.'”
UPDATE:
The Asphalt Jungle was screened at the Chinese Theatre on Hollywood Boulevard on April 21, as part of this year’s TCM Classic Film Festival. In his introduction, film historian Eddie Muller described it as ‘the best heist movie ever made,’ adding that heist films posed a problem to the Production Code because audiences relate to the thieves. Muller also noted that director John Huston went on to act in a classic neo-noir, Chinatown (1974), shown earlier the same day.
The Marilyn Report 
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