standing on Hammersmith Bridge, he is caught and killed by The Strangler, who throws his body into the river. The Strangler is arrested moments later, and Kristo walks away from the scene. Cast Richard Widmark as Harry Fabian Gene Tierney as Mary Bristol (singing voice dubbed by Maudie Edwards) Googie Withers as Helen Nosseross Hugh Marlowe as Adam Dunne Francis L. Sullivan as Phil Nosseross, Silver Fox Club Herbert Lom as Kristo Aubrey Dexter as Mr Chilk Maureen Delany as Anna Siberia/O'Leary Stanislaus Zbyszko as Gregorius the Great Mike Mazurki as The Strangler Ada Reeve as Molly Charles Farrell as Mickey Beer Ken Richmond as Nikolas of Athens Edward Chapman as Hoskins James Hayter as Figler Gibb McLaughlin as Googin (uncredited) Dirk Bogarde (uncredited) is seen as a London Bobby who discovers Helen’s liquor license is a forgery Adelaide Hall (scenes cut from the final edit) Critical reaction The film has been described as innovative in its lack of sympathetic characters, the deadly punishment of its protagonist (in the American version), and especially its realistic portrayal of triumph by racketeers who are neither slowed nor at all worried by the machinations of law. Critics of the time did not react well; typical were Bosley Crowther's comments in The New York Times:[Dassin's] evident talent has been spent upon a pointless, trashy yarn, and the best that he has accomplished is a turgid pictorial grotesque...he tried to bluff it with a very poor script—and failed...[the screenplay] is without any real dramatic virtue, reason or valid story-line...little more than a melange of maggoty episodes having to do with the devious endeavors of a cheap London night-club tout to corner the wrestling racket—an ambition in which he fails. And there is only one character in it for whom a decent, respectable person can give a hoot. The film was first re-evaluated in the 1960s, as film noir became a more esteemed genre, and it has continued to receive laudatory reviews since then. Writing for Slant Magazine, Nick Schager said,Jules Dassin's 1950 masterpiece was his first movie after being exiled from America for alleged communist politics, and the unpleasant ordeal seems to have infused his work with a newfound resentment and pessimism, as the film—about foolhardy scam-artist Harry Fabian (Richard Widmark) and his ill-advised attempts to become a big shot—brims with anger, anxiousness, and a shocking dose of unadulterated hatred. In The Village Voice, film