Some spicy crime-jazz, courtesy of Stanley Black, introduces this tough-as-nails entry in Anchor Bay's Hammer Collection. The mood is ironclad from the get go. Inspector Harry Martineau is a been there and done that kind of cop. There isn't much he hasn't seen and the years have turned him hard and jaded. It's the case of the moment that matters and this one concerns him as much as any before. Don Starling has broken out of jail and Martineau figures that he is heading back to Manchester; there is a lot of jewelry floating around the town from a before-the-film-started-job and he guesses that Starling is now going to want it back. Maybe he'll also want some revenge. At the trial where he was convicted, Starling promised he'd get even.

Martineau's home life is a bit of a mess. His wife is lonely and bitter and has no problem expressing it every time that the opportunity presents itself. He responds by telling her she'd be better off justifying her existence by having a baby or two. It'd be a trick and half, though, since they haven't been intimate for "a long time". You get the feeling that the marriage doesn't have far to go; surely it makes the streets just a little darker for our friend the Inspector.

Just as feared, Starling does indeed make his reappearance. Nearly as soon as he sets foot back in town he is up to no good - a little robbery, a little kidnapping and a touch of murder. He has some of his old gang back together and the plan is to get some money, handle some loose ends and get the hell on as fast as possible. Nothing is ever that easy and Martineau is one step behind him the entire way, especially after the murder. The inspector has a feel for how this particular criminal's mind works. It turns out that they grew up together, went to the same school and fought in the war side by side but now his childhood buddy is a rapist, a thief and a murderer... and Harry is a cop.

From here on it's a matter of playing out a game of cat and mouse. In order to do it successfully, our Inspector friend switches to his gray hat; whatever it takes to get the job done. Starling's stolen money was tainted with green dust leaving the fingers of anyone who comes into contact with it marked. This is Martineau's only real hope and it's the way he stays on top of what's going on. Thanks to a little minor indiscretion during some illegal gambling, some of the tainted money gets passed to the man running it all. That wouldn't be such a problem if it were not for the fact that the cops know about the gambling and bust it all up with a raid. That man, the one who was in charge of the game, has green fingers now and, with a little arm-twisting, decides that it would be in his best interest to tell the cops the names of the people who were there. Once the money starts turning up it's only a question of time before the guilty start to fall; but what about Starling... and the jewels for that matter? You know the showdown's coming and come it does. The climactic rooftop face-off is amazing to watch; it's brilliantly photographed and a real nerve-jangler as well. How does it all turn out? Well now, you know you won't hear it from me.

Hell Is A City is a very striking, very stark, film-noir with an awful lot of edge. Light and shadow are used to optimum effect throughout. There is a surprising (especially for the time) amount of harsh language and a significant amount of violence towards women; it must've been pretty strong stuff in its day. John Crawford seems a bit conspicuous in the part of criminal Don Starling at first glance but his no-hold-barred performance is right on. He comes across just as he should, always with an air of cruel menace. Stanley Baker (a true veteran of the cinema by this time) is fantastic in the role of the troubled Inspector. I can't even imagine anyone else in the part after seeing Baker claim it as he did. All of the supporting players are in top form, including a young Donald Pleasence as an uptight businessman. There is no way I can do the soundtrack justice here; it plays a tremendous part in helping to create the atmosphere of the film. Director Val Guest, already having contributed to Hammer in no small way with The Quatermass Xperiment and its sequel as well as The Abominable Snowman (the first film that horror icon Peter Cushing appeared in for Hammer), is in top form for Hell Is A City. The industrialized setting is a character unto itself and all the homes, taverns, even the rooftops, are indispensable personalities that contribute roles just as important as the rest of the performers.

Anchor Bay has done a fine job with this DVD. The presentation is sharp and clear; it's a near flawless transfer. There is a running commentary featuring writer/director Val Guest and Journalist Ted Newsom. It's not the most exciting commentary you'll ever hear but it's informative and, several extended gaps of silence not withstanding, generally interesting and worth a listen to be sure. There is an alternate ending included that also features commentary, or not, your choice. It's the unused upbeat ending that was filmed just in case it was needed. Thankfully, it wasn't. Talent bios for Baker and Guest (as well as the theatrical trailer) complete the extras.

So, there it is. Muscle yer favorite broad into bringin' ya a fist full of cheap bourbon, put a blaze on one of those Lucky Strikes and settle in, see? After all, you're bound for a place where justice is a bullet... and Hell Is A City.