Skip Navigation

Frame by Frame

Posts Tagged ‘Edward Binns’

Harold D. Schuster’s Portland Exposé (1957)

Saturday, November 19th, 2011

Click here, or on the image above, for some scenes from Portland Exposé.

Want to know what the 50s were really like? Forget On The Waterfront. The brutality, the cynicism, the dirt right underneath the surface of respectability, the small town taken over by hoodlums for prostitution, gambling, protection rackets and slot machines? Then take a look at Harold D. Schuster’s Portland Exposé (1957), a cheap, brutal, violent little film shot on location in Portland, Oregon, ripping the lid off the serene little community to reveal it as a hotbed of vice, crime, and official corruption.

Edward Binns stars as a square John just trying to run a roadside tavern with his wife and kids, but soon the syndicate muscles in, and forces him to join the operation, and “juice up” the joint with rigged slots, “B” girls and endlessly flowing liquor. Soon — in an economical 71 minutes — all hell breaks loose. It takes a cheap, rotten film to convey a cheap, rotten universe, and as the film’s tag line screamed, “Not since [Phil Karlson’s] Phenix City Story [a film about a similarly corrupt community in 1950s Alabama] has any film hit so hard…Now, see a vicious empire of vice and corruption blasted before your eyes! The year’s biggest film scoop! The Whole Scorching Story…BRIBE by BRIBE…SIN by SIN…SHOCK by SHOCK!”

Shot in less than two weeks in stark black and white, with cameos from Frank Gorshin as a sociopathic rapist, and Lawrence Dobkin as a smooth criminal kingpin, Portland Exposé, a low-budget effort from Allied Artists, paints a truer picture of the era than the glossy romances and musicals most people fondly remember as emblematic of 1950s complacency. Everyone is on the take, the sweet little old society matron runs the biggest prostitution ring in town, and all the cops are career criminals.

So incendiary was the film’s script that the crew had to rent film equipment in Hollywood, and secretly truck it to Portland, Oregon using non-Teamster trucks, as some of the Teamsters took a real dislike to the film’s depiction of labor’s complicity in the rackets.  Add to that the almost neorealist rawness of the all-location cinematography and direction, and Portland Exposé emerges as one of the most authentic crime films of the 1950s, and well worth a look today for a arguably more accurate depiction of our supposedly halcyon past. And it’s out on DVD!

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at for more details.

RSS Recent Frame by Frame Videos