Bit of an odd one (SPOILERS)

This film has a lot going for it, particularly a strong ensemble cast that keeps me hooked on all the side characters. I love that most of the characters are morally grey (at best) with only a virtuous few largely confined to the edges of the picture.

Joe is Johnny's conscience, but won't interfere directly (for "mysterious reasons..." (see below)), and Johnny's wife and father are good people, but almost everybody else that we talk to is at least a bit of a stinker.

This gives a full picture of a vibrant city and its seedy side, as well as the ambiguity and difficulty that goes along with life. The kid brother, the dancer, the mechanical man - all are interesting in their own way.

Johnny's redemption at the end feels earned, too. He's had a long, dark night where he almost rolls on his duty to his job and his wife, but ultimately decides to follow in his noble father's footsteps. This feels organic and earned, not just something cheap for the censors (maybe it was, but it doesn't feel that way).

Some quibbles: the large cast means a few plots are unresolved. We never get a closer scene for Johnny and his kid brother - only a brief exchange. We don't see a full resolution to Greg and Sally's story - nor the story of the other dancer who is pining for Greg as hard as he is for Sally. That's okay, but I was enjoying these people so much I wanted more. Leave 'em wanting more, I guess, but I still want it.

Second quibble: Joe as the Spirit of the City Itself is a little too cute. In an otherwise fairly unflinching look at violence, temptation, betrayal, and the heartache of life, Joe's supernatural presence feels like some It's a Wonderful Life miracles sneaked in. It's not a big deal because they don't hit it too hard, but it's still a bit jarring, tonally-speaking.

Third quibble: the times, they are a-changin' (Dylan was right!) and the plotline where Kathy has to give up her job (and the majority of the Kellys' income) because Johnny "feels inferior" might have played in '53, but it just feels strange these days. It makes Johnny seem petty and insecure that he can't just nut up and deal with his wife actually making money. It would have been a stronger message to hit the "they never see each other" thing harder and have Johnny's duty to serve and protect win out over an office job.

Final quibble: I could be wrong, but Hayes risks capture and discovery by robbing the safe, then later reveals that the home safe was the target and Lydia was his inside "man". If Biddel's wife stole the papers, why does he try to rob the office, and why is he surprised that it's not there? For that matter, why does Biddel know Hayes' plan is going down exactly that night? Details about the plot are inconsistent.

None of those quibbles ruins the movie or my enjoyment of it. I can respect that times change and I can meet the movie on its terms. I can overlook some plotting issues. The core of the movie is a man on the brink of ruining several lives and choosing between duty/honour and his own self-involvement and capricious lusts. On that level, it succeeds royally, and there's a lot packed into the film. I love the scenes of everyday police activity. Busting the gambler was a good bit, and helping with the birth showed a surprising, touching side to Johnny that we don't otherwise see (even if the rapid-fire, all-cop birth in the street seemed a bit unlikely).

Pretty good film.