Robert J. Maxwell In order to enjoy this movie, you have to adopt a certain perspective. You have to look at it close up, so that you ignore the fact that it's a variation on the theme of "On The Waterfront" (1954). The points of similarity are myriad. The one that's missing is any poetry whatever in "Slaughter on Tenth Avenue", while there is an abundance of it in "On The Waterfront." I'll give just one example. Marlon Brando, as longshoreman Terry Malloy, is standing in the middle of a dozen other workers on one of the piers. Two members of "the waterfront commission" push their way towards him, calling, "Mr. Malloy? Terry Malloy?" Instead of turning to his left and facing the lawmen, Brando feigns puzzlement and turns the other way, completely around, until he's facing them again. Every dock worker knows that the crime commission is nosing around but longshoremen proudly solve their own problems. Brando's slow shuffling in a circle is a perfect non-verbal expression of his contempt.But you must forget scenes like that. You have to forget Brando and Eva Marie Saint strolling through a smoky little park and getting to know one another. You have to forget all of that and think of "Slaughter on Tenth Avenue" as a thing unto itself. Yes, it's a pale imitation, but it's not ineffective in its own terms.Richard Egan is an Assistant District Attorney who's assigned a homicide case. The victim, Mickey Shaughnessy, is only one of many 1950s iconic faces. They include Harry Belaver, Dan Duryea, Charles McGraw, Walter Matthau, Mickey Hargity, and Sam Levene. The names may or may not mean anything but you'll probably recognize most of the faces.The two actresses are well cast. Jan Sterling, as Shaugnessy's wife and, later, widow is fine as the spitfire of a working-class woman. "Madge Pitts." Could anyone think of a better name for her rough, uneducated character? Julie Adams is Egan's girl friend and, as usual, she exudes an air of elegance in addition to her dark and striking beauty. She SOUNDS like the kind of babe who could marry an ambitious lawyer on his way up the bureaucratic ladder, while "Madge Pitts" belongs in a dump with an oilcloth covering the table in the tiny kitchen.The central role is Richard Egan's district attorney. He's handsome enough, I suppose, and has a slightly nasal but resonant baritone. I like him. But if this is a display of his acting chops, then one must admit that he's not as well cast as Madge Pitts. Walter Matthau has the "Johnny Friendly" role -- all good will and bad grammar. I prefer him as a good guy.The plot gets too complicated to describe, and I'm not at all sure why Matthau and his goons wind up in the paddy wagon, but okay. I get the fact that it's a happy ending.

bkoganbing Richard Rodgers famous ballet number from On Your Toes serves as the title and the background music for Slaughter On Tenth Avenue, a tale of the New York waterfronts. The twin paradigm about the waterfront is observed in this film as in On The Waterfront, that it is systemically corrupt and the men there settle their own problems. That's what young prosecutor Richard Egan and homicide cop Charles McGraw face when they try to build a case against three of union boss Walter Matthau's hired thugs. They shot honest pier boss Mickey Shaughnessy in the hallway of his Tenth Avenue apartment building and Shaughnessy's friend Harry Bellaver saw them leave. And while dying, Shaughnessy names his killers to his wife Jan Sterling.The dockworkers have a Code of Silence, toughest there is and it isn't easy for Egan and McGraw. In fact DA Sam Levene is not sure there's enough to go on. Especially since neophyte prosecutor Egan will be facing top mob lawyer Dan Duryea. And Egan is also planning to get married to Julie Adams.Slaughter On Tenth Avneue is a competently made and well paced noir film. The comparisons between this and On The Waterfront are too obvious to be ignored. Egan is no Marlon Brando, but I think he would have been the first to admit that. To the dockworkers he comes across as a white shoe lawyer, but Egan worked his way up from the Pennsylvania coal mines where his people were all unionized mine workers. One thing that distinguishes this from other noir films is that our protagonist Egan is in fact an unambiguous hero unusual for a noir film. There's no real blending of the good and bad, the cast which is well made and gives good performances across the board falls one way or the other as well.The scene shifts from the court to the docks in the last 20 minutes or so and the climax is really taken right out of On The Waterfront. Slaughter On Tenth Avenue is still a fine bit film making that does credit to the cast and those behind the camera.

David (Handlinghandel) Surely no other film noir has had such an illustrious composer responsible for its theme music. I studied "Slaughter On Tenth Avenue," the musical suite, in elementary school! The movie itself is quite good. It is a gritty story about life on the waterfront. The director isn't famous but I notice he also directed one of my favorites, which I haven't seen in many a long year: "Down Three Dark Streets"! And what a cast! Most people watching today will single out Walter Matthau, who is fine in a relatively small role. But Richard Egan is excellent as an ambitious young cop. Jan Sterling, always good in tough roles, is excellent as the wife of the man who falls victim to the title event. Julie Adams is appealing as Egan's wife. And Dan Duryea gives a bravura performance as a smart but not very admirable lawyer.The rest of the cast includes such noir staples as Charles McGraw, Sam Levene, and Mickey Shaughnessy.Initially, I have to admit that I found the music a little distracting. But I got used to it. And the movie hits pretty hard.

luciferjohnson Based on fact, and hewing closely to a book co-authored by the central character Keating, this movie is based on more or less the real people portrayed in On the Waterfront -- there's even a priest-- only without Brando and without the romance. Egan as Keating is a bit of a stiff. I think the real Keating was more of a rebel. Great title music, an old Rodgers & Hart tune first used in "On Your Toes" for a comic dance number. Still, not much Slaughter and not much Tenth Avenue either. (The real life incident at the beginning took place on Grove Street in Greenwich Village, but "Slaughter on Grove Street" wouldn't sound right, I guess.)