In the realm of classic cinema, few films manage to blend genres as effectively as Elia Kazan’s 1954 thriller, Panic In The Streets. Starring Richard Widmark and Paul Douglas, this gripping movie plunges viewers into the heart of New Orleans as it faces a terrifying crisis: a potential pneumonic plague outbreak. When a dead body turns up carrying this deadly disease, Dr. Clinton Reed (Widmark), a U.S. Public Health Service official, swiftly initiates a quarantine. However, the deceased was murdered, and the killer is still at large, unknowingly becoming a highly contagious threat, capable of triggering a widespread epidemic and escalating the panic in the streets.
Captain Tom Warren (Douglas) joins forces with Dr. Reed in a desperate race against time to locate the murderer and prevent a catastrophic public health disaster. While “Panic in the Streets” is undoubtedly a compelling film, it navigates a somewhat sprawling narrative, touching upon noir gangster elements, medical disaster scenarios, police procedural intricacies, thrilling suspense, and even subtle romantic undertones. This genre-bending approach, while ambitious, occasionally diffuses the film’s focus, preventing it from reaching the heights of Kazan’s later masterpieces.
Elia Kazan, renowned for directing cinematic landmarks like “A Streetcar Named Desire,” “On The Waterfront,” and “East of Eden,” considered “Panic in the Streets” a project where he felt increasingly liberated from studio constraints. This newfound freedom allowed him to fully immerse himself in the vibrant and atmospheric setting of New Orleans, a city he knew intimately. Kazan aimed to capture the essence of the city, stating his desire to showcase “boats, steam engines, warehouses, jazz joints—all of New Orleans.” This deep connection to the location is palpable throughout the film, making New Orleans itself almost a character in the unfolding drama.
Despite Kazan’s skillful handling of each genre within “Panic in the Streets,” the transitions between these elements could have been smoother. A more streamlined narrative, concentrating on perhaps one or two core moods, might have amplified the film’s overall impact. The somewhat fragmented nature of the story may stem from its origins, as “Panic in the Streets” was conceived by merging two distinct stories, “Quarantine” and “Some Like ‘Em Cold,” by writers Edna and Edward Anhalt.
The gangster subplot, which evolves into a high-stakes thriller climaxing in an extended chase sequence, arguably stands out as a highlight. Kazan himself admitted to finding the villains “more colorful,” expressing a general lack of affection for “the good guys.” Closely following in intensity is the narrative thread that directly evokes the “panic” alluded to in the title. The discovery of the plague and the subsequent frantic efforts to trace, inoculate, and contain those exposed generate genuine suspense. Yet, interspersed with these tense sequences, large portions of the film adopt a more conventional dramatic pacing, typical of straightforward dramas.
The script of “Panic in the Streets” is consistently sharp and intelligent. The dialogue stands in stark contrast to contemporary film trends, characterized by its brisk pace, articulate delivery, and sophisticated exchanges. Conflict arises not from characters making foolish choices, but from strategic decisions and calculated actions, resembling a complex chess match. Even when characters adopt unconventional positions, such as Dr. Reed’s decision to initially withhold news of the plague from the press, they offer detailed justifications, sparking meaningful debates and counter-arguments.
Interestingly, Kazan’s personal belief that societal norms—”propriety, religion, ethics and the middle class”—are inherently restrictive subtly permeates the film. This undercurrent manifests in the protagonists’ willingness to deviate from established protocols and make pragmatic compromises in their pursuit of containing the crisis. A prime example is the offer of immunity extended to the ruthless gangster Blackie (portrayed in Jack Palance’s debut film role) in exchange for his cooperation in combating the plague.
While the technical aspects of “Panic in the Streets” are competent, they don’t necessarily reach exceptional heights. The true merit of the film lies in its compelling performances, the intriguing premise, and the exceptionally well-crafted dialogue. Despite its minor narrative sprawl, “Panic in the Streets” remains a captivating noir thriller that effectively captures a city teetering on the brink of chaos and societal breakdown, driven by the invisible threat of disease and the very visible threat of human malice.
