Raft had no range as an actor, but he did play well with others. When paired with good performers, Raft had real chemistry with them. For instance, my favorite scene in Howard Hawks’s Scarface (1932) is when Ann Dvorak does a sexy, playful dance to try to get a reaction out of Raft. He remains stone-faced, but there’s always a twinkle in his eye.
As an actor, Raft got a lot of mileage out of that twinkle in his eye. Even though he mostly played his characters as expressionless tough guys, his eyes always made it seem as if he was taking in everything around him.
The other thing Raft brought to the table as an actor was a whiff of real-life criminality. He was well-known for his associations with gangsters like Owney Madden, Meyer Lansky, and Bugsy Siegel, which added another dimension to roles like the one he plays in Race Street.
In Race Street, Raft plays a bookie named Dan Gannin. Gannin hides his illegal betting operation behind a respectable facade as an investor. Despite his criminal endeavors, he has an easy friendship with a police detective, Lt. Barney Runson (William Bendix). Lt. Runson knows that his friend Dan is a bookie, but they’re childhood friends, and not much trumps that.
Gannin’s other childhood friend in the film, a fellow bookie named Hal Towers (Harry Morgan), needs a little more taking care of than Runson, and when he begins running afoul of thugs in a protection racket, it’s easy to see that things are going to get complicated for Gannin, who is the standard “nice guy who just wants to go straight” character we’ve seen in a thousand crime movies.
On the distaff side of Gannin’s life is his beautiful sister Elaine (Gale Robbins), a leggy dancer and nightclub singer with whom he’s opening a nightspot called the Turf Club. There’s also a new lady in his life, a brunette named Robbie Lawrence (Marilyn Maxwell).
Race Street was directed by Edwin L. Marin, who directed a bunch of B pictures for RKO with George Raft, including Nocturne (1946), which I enjoyed quite a bit.
As I said above, Raft isn’t the most engaging actor in the world, but he turned in watchable performances when he had a good supporting cast and a decent script, and Race Street succeeds on both counts. I especially liked William Bendix in this film. Bendix was as good at playing comic buffoons as he was at playing sinister villains, and he could do everything in between.
Race Street also has plenty of beautiful footage of San Francisco. A lot of it’s obviously stock footage, but it’s integrated into the film well. This is clearly a B movie, but no studio made B-grade film noirs as well or as consistently as RKO Radio Pictures.