Richard Widmark, Paul Douglas, and Barbara Bel Geddes star in Elia Kazan’s “Panic in the Streets”

Panic in the Streets (1950) is an American film noir directed by Elia Kazan and starring Richard Widmark, Paul Douglas, and Barbara Bel Geddes. The film expertly blends elements of crime thriller and medical drama. Set in the gritty, bustling port of New Orleans, the story begins when a mysterious man is found dead with a lethal, highly contagious plague. Dr. Clint Reed, a dedicated and tenacious Public Health Service officer, is tasked with identifying the victim and finding anyone he may have infected. He’s given a mere 48 hours to prevent a city-wide epidemic, a ticking clock that intensifies the film's suspense. Despite his medical authority, Dr. Reed faces skepticism and outright hostility from the police and the city’s underbelly, who are more concerned with their criminal activities than public health.

The film’s tension escalates as Dr. Reed, with the reluctant help of police Captain Warren, delves into the city's seedy criminal world to find the two men who were with the victim before he died. They navigate through a labyrinth of dock workers, shady characters, and back-alley dealings. The main antagonists, a cruel and paranoid gangster named Blackie and his dim-witted accomplice, find themselves on the run, oblivious to the fact that they are carriers of the deadly disease. Their desperation and fear, combined with Dr. Reed’s frantic search, create a thrilling and nail-biting chase through the city.

Panic in the Streets stands out for its realistic, on-location shooting in New Orleans, which lends an authentic, documentary-like feel to the film. Its blend of a high-stakes medical mystery with the classic noir aesthetic makes it a compelling and timeless thriller.

 

Elia Kazan (1909 – 2003) was an American director, producer, writer, and actor. He is one of the co-founders of the Actors Studio in 1947 with Robert Lewis and Cheryl Crawford. Kazan is also one of the most celebrated directors of the theater and movies. Kazan won two Best Director Academy Awards, in 1947 for Gentleman’s Agreement and 1954 for On the Waterfront, and a Lifetime Achievement Academy Award in 1998. A Tree Grows in Brooklyn (1945) was Kazan’s feature film debut as a director.

Richard Widmark (1914- 2008) had a sensational movie debut playing the crazy villain Tommy Udo in director Henry Hathaway’s Kiss of Death (1947). His performance won him a Golden Globe Award for New Star Of The Year – Actor. He was also nominated for the Academy Award for Best Supporting Actor for his performance as Udo. Widmark was under contract to Twentieth Century-Fox, where he played mostly villains. Later in his career, he started playing more heroic roles in films like Slattery’s Hurricane and Down to the Sea in Ships (both 1949).

Paul Douglas (1907 – 1959) was an American actor. Douglas starred on Broadway and in film. He is mostly known for his comedic performances in films like It Happens Every Spring (1949), Angels in the Outfield (1951), and Never Wave at a WAC (1953). Other Douglas films include A Letter to Three Wives (1949), The Big Lift (1950), Love That Brute (1951), and Clash by Night (1952). Douglas was set to play the role of Mr. Sheldrake in The Apartment (1960), but died of a heart attack right before production was to start. He was replaced by Fred MacMurray.

Barbara Bel Geddes (1922 – 2005) was an American stage and screen actress. She starred as Maggie in the original Broadway production of Cat on a Hot Tin Roof (1955). She played Irene Dunne’s daughter in I Remember Mama (1948), and was Midge, James Stewart’s on-again-off-again girlfriend in Vertigo (1958). Bel Geddes also worked on television during the 1950s and 1960s. In 1978, she starred as Miss Ellie Ewing Farlow on Dallas (1978 – 1990), the role for which she is most famous.

 

Panic in the Streets trivia

• The feature film debut of Jack Palance.
• The on-location filming in New Orleans impacted the film’s success at the box office.
• According to a press report in 1949, Dana Andrews and Linda Darnell were originally cast in the film.
• Director Elia Kazan has a cameo as a mortuary assistant.
• Won an Academy Award for Best Writing, Motion Picture Story (1951).

 

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Click HERE to watch the movie on the Internet Archive.

 

Richard Widmark and Paul Douglas

Discussion questions

1. The Role of Public Health and Law Enforcement: How does the film portray the dynamic and often conflicting relationship between Dr. Reed, representing public health, and Captain Warren, representing law enforcement? In a real-world scenario, what are the ethical and practical challenges of this collaboration, especially when a crisis requires them to work together?
2. Fear, Panic, and the Public: The film’s title, Panic in the Streets, points to a central theme. How do the various characters—from the criminals to the ordinary citizens—react to the threat of a plague? What does the film suggest about the human response to an unseen danger and the role of fear in a public crisis?
3. Filming Location and Atmosphere: Elia Kazan chose to film on location in the gritty, real-life streets of New Orleans. How does this decision impact the film’s tone and sense of urgency compared to if it had been shot on a soundstage? What specific elements of the city’s environment contribute to the film’s noir aesthetic and overall atmosphere?
4. Moral Responsibility vs. Self-Preservation: The film features characters who are either unaware of or choose to ignore the public health threat for their own benefit. What is the film’s commentary on individual moral responsibility versus the instinct for self-preservation? How do the actions of the film’s antagonists, Blackie and his accomplice, serve as a cautionary tale about the consequences of prioritizing personal gain over the collective good?
5. Moral Responsibility vs. Self-Preservation: The film features characters who are either unaware of or choose to ignore the public health threat for their own benefit. What is the film's commentary on individual moral responsibility versus the instinct for self-preservation? How do the actions of the film's antagonists, Blackie and his accomplice, serve as a cautionary tale about the consequences of prioritizing personal gain over the collective good?