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The incredibly audacious later pictures, especially the insanely plotted but gorgeous "The Naked Kiss," and the riveting "Underworld U.S.A." were wildly impressive, but it was clear that Fuller had something very special right from the beginning: "I Shot Jesse James" used to great advantage (for once) the disturbingly brutal and sexy talent of John Ireland, and "Park Row" (actually his fifth picture) was a fascinating inside story of the turn of the century newspaper milieu in New York.
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