3 bold and foolish citizens decide to rip off the mob, after learning where it meets to count its money, leaving the daring heist with 100,000 apiece, thinking they'll elude detection, staying put in the very same neighbourhood.
The robbery turns into a murder which leads to police interest, thus the rash impromptu entrepreneurs are pursued by more than one well-financed antagonist.
Both groups have grievances to air as they investigate internally and beyond, a steady stream of eager vitriol accompanying conversation after conversation.
With all the conflicting strategical approaches its amazing that group dynamics are able to accomplish anything, aggrieved fluid practicalities confronting active hostile brawn.
What a feast for character development, however, as at least 8 from different walks have their say, as much care and attention adopted to craft the corrupt Captain's lines (Anthony Quinn) as those which define the gravest of suspects.
Many detective films discuss the achievement of results, the pressing desire to move forward with a case as investigators theorize anew.
Their theories at times lacking evidence which they seek by using violence, assuming the resultant coerced information isn't tampered by survival instinct.
Across 110th Street prefers the law and the rights of persons of interest being investigated, as the brilliant Yaphet Kotto defends liberal reforms while critiquing totalitarianism.
Imagine random conversation, taken as absolute empirical fact, with only a scant cross-section of specific subjects deemed aesthetically appropriate.
At work perhaps so much concerned intrigue fluently adapts.
But why should one be bound by classification?
Beyond one's working life?
Across 110th Street provocatively pulsates as three interconnected adversaries raise disputatious hell.
Versatile character development recalled the cinema of my youth.
Characters that aren't whitewashed success stories.
Raw determination wildly overflowing.
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