Month: March 2020

“Gaslight” (1944) starring Charles Boyer, Ingrid Bergman, Joseph Cotton, & Angela Lansbury

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Named for this movie, “gaslighting” has become a recognized form of controlling and manipulative behavior. It involves an exploitative person manipulating those who suspect him/her into doubting themselves and questioning their own perceptions, so that they distrust their own suspicions of the manipulator. This behavior is now classified as a form of psychological abuse.

[1] The first scene establishes the dreary tone of the film. It is nighttime in London and a murder goes unsolved.

[2] Charles Boyer has in this film a thankless role, that of a devouring immoralist who has only two possible moods– brief burst of anger needing to be controlled and an exuded charm that must be slightly overdone at times.

[3] The actress – who would soon become blacklisted after her marriage to Italian director Roberto Rossellini – can convey every emotion and nuance of her character through her amazingly expressive eyes. 

-Excerpts from IMDB reviews

The original Broadway stage play and source for the screenplay was Angel Street by Patrick Hamilton, which opened at the John Golden Theater on December 5, 1941 and ran for over a 1,200 performances! The original stage cast included Leo G. Carroll, Vincent Price, and Judith Evelyn. After the death of her famous opera singer aunt/guardian, Paula Alquist (Ingrid Bergman), goes to study in Italy to see if she has any talent as a singer as well. She falls in love w/ a charming/older man who works as a composer, Gregory Anton (Charles Boyer), and they return to London and take up residence in her aunt’s townhouse. Gregory limits her having visitors and going out. He keeps saying that his wife is unwell to anyone who asks. She begins to notice strange goings-on: missing pictures, strange footsteps at night, and gaslights dimming. Paula feels like she may be going out of her mind!

Bergman (who won an Oscar for her role) spent some time in a mental institution to research her role, studying a woman who had suffered a nervous breakdown. This was a suggestion from Cukor, who is known for his ability to draw out fine performances (esp. from women). As my mom commented, this was rare type of role for Bergman. I learned that the actress was initially reluctant to take on this role, as she considered herself to be very strong/independent. She worried that she’d be unable to convincingly play a timid/fragile woman.

Dame Angela Lansbury was only 17 y.o. when she made this- her movie debut! Lansbury (who was nominated for an Oscar) had never acted before her screen test, but she impressed director George Cukor w/ her natural talent. The scene in which the sassy/flirty maid Nancy lights a cigarette, defying her mistress Paula, had to be postponed until near the end of production. The social worker who was monitoring Lansbury refused to allow her to smoke (while she was a minor). New scenes not in the original play were added to this version. Brian Cameron (Joseph Cotten) was changed from a stout, sardonic elderly man to a young, handsome one (as a potential love interest for Bergman). For his part, Cotten relished the chance to play a heroic role, as he had done shady/negative roles in the few years before.

Cukor asked producers (who were reluctant) to hire Paul Huldschinsky to design the Victorian sets. Huldschinsky was a German refugee who fled his native country because of WWII. He knew much re: upper-class European decor, b/c his family had grown wealthy through their newspaper business and his wife was the heiress of a railroad fortune. When he moved to the U.S. most of that money was gone and he got by working on smaller pictures. However, his luck changed w/ this picture, and Huldschinsky won an Oscar for set design.

“The Accused” (1949) starring Loretta Young, Robert Cummings, & Wendell Corey

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Wilma Tuttle (Loretta Young) is a 30-something Psychology professor at a small college in California. One night, she agrees to have dinner w/ one of her students, Bill Perry (Douglas Dick), in order to discuss his behavior. Though he is an intelligent young man, he is too forward in his attentions (even in class). After dinner at a drive-in restaurant, Wilma insists on going home, but Bill drives up to a cliff high above the ocean in Malibu, making Wilma nervous. He quickly changes into his swimming trunks, saying they should go down to the beach. Wilma grows more scared, but she is strong enough to she act in self-defense (when Bill attempts to rape her). This results in his death, which Wilma covers up. Soon, she finds her conscience bothering her, which could jeopardize her mental health and promising career. Bill’s guardian/lawyer- Warren Ford (Robert Cummings)- arrives from San Francisco. He takes a liking to Wilma, as does his old friend- Lt. Ted Dorgan (Wendell Corey). The policeman (who has some of the best lines) wants to investigate further into Bill’s death, though an inquest ruled it an accident.

At the time, this must have seemed daringly modern and contemporary. Now it just seems quaint, a waystation in the breakdown of small-town American values…

Wendell Corey is his inscrutably poker-faced self, as always, hinting between the lines…

Each of the main characters is an interesting study, with ambivalent emotions that alternately spark and grate against those of the others.

-Excerpts from IMDB reviews

The Accused has noir-like psychological elements, though isn’t typical of the film noir genre. Wilma’s behavior is understandable to viewers, so she has our sympathy. The directing will hold the viewer’s attention to many scenes, though there is not much suspense. These scenes were esp. handled well: the opening sequence of Wilma trying to get home, a boxing match where she suffers a flashback, and the reconstruction of the killing.

Going w/ conventions of the time, a woman can’t have a career and a romantic life at the same time. As she gets closer to Warren, Wilma transforms into a glamorous woman from the prim stereotypical schoolteacher (w/ hair in bun, high collars, and long skirts). I thought the most interesting character was Lt. Dorgan (who wondered if he might have a chance), and felt bad about investigating Wilma. Though he admires her beauty, brains, and charming manners, he is compelled to get to the truth!

Film Noir re: Pandemics: "Panic in the Streets" & "The Killer Who Stalked New York"

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Panic in the Streets (1950) starring Richard Widmark, Paul Douglas, Barbara Bel Geddes, Jack Palance & Zero Mostel

This is a lesser-known movie from director Elia Kazan; it was made before his masterpieces: A Streetcar Named Desire, On the Waterfront, and East of Eden. In New Orleans, an illegal immigrant feels sick and leaves a poker game while defeating the small time criminal Blackie (a young Jack Palance). He is chased by Raymond Fitch (Zero Mostel- best known for Fiddler on the Roof on Broadway) and Poldi (Guy Thomajan), then shot by Blackie. His body is dumped in the sea and recovered the next morning by some beat cops.

A police surgeon notices something unusual when he cuts into the body. Lt. Cmdr. Clint Reed (Richard Widmark), a family man and doctor w/ the U.S. Public Health Service, is called in to examine the body. He diagnoses a highly contagious disease- pneumonic plague- and declares that everyone who may have had contact w/ the dead man be found ASAP. The mayor supports his efforts, though some other civic leaders are doubtful. Reed estimates there are 48 hours before the disease begins to spread. He joins a gruff policeman- Capt. Tom Warren (Paul Douglas)- to find the killers.

In the scene where Palance hits Widmark on the head w/ a gun, the actors rehearsed it with a rubber gun, but when the cameras rolled, Palance substituted a real gun. Widmark, who wasn’t expecting it, was out for 20 mins! Widmark commeted: “Why did he switch? Who knows?” In an interview, Widmark recalled how Palance got into the mood of his character by beating on Zero Mostel (off-screen). Mostel had to go to the hospital after his first week on the movie!

…a simple story, but it is still effective and with a great villain. The engaging plot has not become dated… Jack Palance performs a despicable scum in his debut, and the camera work while he tries to escape with Zero Mostel is still very impressive.

You can feel, see and smell the New Orleans of 1950, thanks to Kazan, his cast and script.

The great thing about this movie is the Oscar winning script. The dialog in this movie is also absolutely magnificent and gives the movie a feel of reality and credibility.

Kazan’s work offers a contrast between the confusion, sickness and immorality of the streets with the modest, calm home life of the Reeds. Despite all the danger, ultimately he returns back to the bosom of his family justified and satisfied. The implication being that social balance has been restored, at least for the moment by his professionalism and curative skills.

-Excerpts from IMDB reviews

The Killer Who Stalked New York (1950) starring Evelyn Keyes, Charles Korvin, William Bishop, & Dorothy Malone

Columbia Pictures paid director/producer Allen H. Miner $40,000 for the rights to this story (based on a smallpox outbreak in NYC in 1947). Millions of New Yorkers were vaccinated against the disease. Robert Osborne (TCM) said that Columbia had to sit on the movie for about 6 months in order to let the similarly-plotted Panic in the Streets to leave the theaters. Sheila Bennet (Evelyn Keyes) returns to NYC from Cuba carrying $40,000 worth of smuggled diamonds – and smallpox, which could start a devastating epidemic. A treasury agent loses her, but keeps on the trail, while Public Health doctor Dr. Ben Wood searches for the unknown person spreading the deadly disease. Sheila is concerned only with her husband Matt, who plans to run off w/ the diamonds… and maybe also Shelia’s younger sister!

Keyes (a prolific actress best known as Scarlett’s younger sister- Suellen- in Gone with the Wind) thought that studio head (Harry Cohn) cast her in this (un-glamorous) role as payback for rejecting his advances. She sued Cohn and the studio, settled out of court, and was released from her contract. Keyes’ hair was bleached blond and she had on unflattering makeup (making her look older than her 34 yrs.)

With the country presently in the mist of a viral outbreak that has the entire state under quarantine and the country on full alert, The Killer that Stalked New York is as pertinent today as it was when it was released in 1950.

What we have then is a gritty, somewhat newsreel sounding (and looking) film whose narrator walks us through all the ironies of modern urban epidemiology.

The anthrax attacks of 2001, the fears of weaponized smallpox being used by terrorists, the concerns about vaccinations and the amount and safety of vaccines, the inability of governmental agencies to work together and share information effectively all come to mind when one watches this film.

The biggest problem is the direction, which is also all over the place. With a story like this you’d expect some sort of tension or suspense but none never happens. Keyes is pretty good in her role but the screenplay really doesn’t do her any justice as our feelings for her character are never really made clear.

-Excerpts from IMDB reviews

Two Early Films of Stanley Kubrick: “The Killing” (1956) & “Paths of Glory” (1957)

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The Killing (1956) starring Sterling Hayden, Vince Edwards, Jay C. Flippen, Marie Windsor, Elisha Cook Jr, Joe Sawyer, Timothy Carey, & Coleen Gray

None of these men are criminals in the usual sense. They’ve all got jobs. They all live seemingly normal, decent lives. But, they’ve got their problems and they’ve all got a little larceny in ’em. -Johnny explains re: his team

After being released from a 5 yr. stint in prison, Johnny Clay (Hayden), has assembled a five man team, incl. two insiders, to carry out a $2M heist at Lansdowne Racetrack. Besides Johnny, none of the men are criminals in the usual sense. He has also hired two men (external to the team) for a flat fee; these men won’t know re: the bigger plan. Each of the five men has a specific reason for wanting his share of the money. Johnny wants to marry his long-time girlfriend Fay (Gray). Mike (Sawyer), a bartender, wants better healthcare for his sick wife. A cashier- George (Cook Jr.)- wants to make his cold/sarcastic wife- Sherry (Windsor)- happy.

I know you like a book. You’re a no good, nosy little tramp. You’d sell out your own mother for a piece of fudge; but, you’re smart along with it. Smart enough to know when to sail and when to sit tight and you know you better sit tight in this case. …You got great big dollar sign there, where most women have a heart. -Johnny sizes up Sherry

The total budget for the film was only $320,000; United Artists provided $200,000 and the rest was raised by producer James B. Harris. Initial test screenings were poor; the non-linear structure was the main problem, so Kubrick (just 27 y.o.) edited the film in a linear fashion (making the film even more confusing). In the end, it was released in its original form, and is often cited as being an influence on Quentin Tarantino and Christopher Nolan. Kubrick wrote a script outline, then asked Jim Thompson to add the dialogue. The narration was added by the studio; Kubrick hated the idea. The film wasn’t marketed much by United Artists, premiering as the second half of a double feature. However, Kubrick (working for the first time w/ a professional crew) impressed Kirk Douglas  (who soon hired him for Paths of Glory).

I read praise re: this movie recently (on Twitter and Facebook); it’s notable in the genre of film noir. The pacing and editing are very well-done. This is one of the first films to use natural lighting (EX: lamps) instead of studio lights, adding to its realism. There are no good/moral/heroic characters- quite rare for a ’50s film. The film had themes and characters identifiable (and recognizable) w/ any period. The supporting characters are almost as interesting as the lead.

Paths of Glory (1957) starring Kirk Douglas, Ralph Meeker, Adolphe Menjou, George Macready, Wayne Morris, Joe Turkel, & Timothy Carey

After refusing to attack an enemy position, a general accuses the soldiers of cowardice and their commanding officer must defend them. -Synopsis

Patriotism is the last refuge of the scoundrel. -Col. Dax describes Gen. Mireau’s (a line attributed to Samuel Johnson)

[1] It will really make you question things about our troubled, convoluted world and how things are to often immorally and inhumanly run all in the sick name of greed and destructive power. Not too lovely, for the director pulls no punches. This film really has grown more profound (and currently pertinent) since its initial release.

[2] Menjou and Macready portray two different military types. The arrogant Macready as vs. the very sly Menjou. Not very admirable either of them. Menjou was not very popular at this time in Hollywood because of the blacklist. He favored it very much, his politics were of the extreme right wing. Nevertheless he was a brilliant actor and never better than in this film, one of his last.

-Excerpts from IMDB reviews

Kubrick (then only 28 y.o.) purchased the film rights to Humphrey Cobb’s novel for $10,000. He approached Douglas with the script who fell in love with it, saying: “Stanley, I don’t think this picture will ever make a nickel, but we have to make it.” The film was not a success at the box office. The young director, who became known for his perfectionism, made Menjou (a veteran actor), do the same scene 17 times! Six hundred German policemen were hired as extras to play the French troops, while six cameras tracked the attack, recording their deaths. You see Kubrick’s trademark- the attention to the composition of shots (reflecting his background as a photographer).

The film is set in WWI amidst the incredibly destructive and futile trench warfare between France and Germany. Colonel Dax (Douglas) is ordered to make an impossible assault on a heavily-fortified enemy position. The only reason this charge is being made is that Gen. Mireau (Macready) believes that capturing the position will earn him a promotion. When the assault doesn’t happen b/c of heavy enemy bombardment, Gen. Mireau is infuriated and demands that three men be arbitrarily chosen to stand trial for cowardice (punishable by death). Col. Dax defends these men at their court-martial.

One memorable scene is where a soldier is nervously rambling to his buddy: “Most guys say that if they got shot they’d want to die quick. So what does that tell you? It means there not afraid of getting killed, they’re afraid of getting hurt. I think if you’re gonna get shot and live, it’s best to get shot in the rear than in the head. Why? Because in the rear its just meat, but the head, that’s pure bone. Can you imagine what it’s like for a bullet to rip through pure bone?” This dark humor helps show the insanity of their situation.

There is great use of irony in the film. The title comes from a poem by Thomas Gray called Elegy In a Country Churchyard where he noted that the paths of glory lead but to the grave. In the end, no one finds glory; Col. Dax loses the fight and turns down a promotion (b/c of his disgust for the army). Gen. Mireau is found out and court-marshalled. Churchill said that the film was a highly accurate depiction of trench warfare and the sometimes misguided workings of the military mind.

“Seventh Heaven” (1937) starring James Stewart & Simone Simon

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James Stewart is superb as Chico. He’s awkward, gruff, reluctant to get involved with other people…

It’s as if Stewart’s star quality is irrepressible. It’s as if his personal good character comes across better than the script can tell...

-Excerpts from IMDB reviews

This was James Stewart’s first film in 1937; he was loaned out from MGM (the studio to which he was contracted) to 20th Century Fox. This is a remake of a silent classic that starred Charles Farrell and Janet Gaynor (who won the first Best Actress Oscar). It was based on a play by Austin Strong that ran for 704 performances on Broadway (1922-1924). Some are going to think it’s odd that Stewart is playing a Frenchman, but it was common for American actors then not to attempt accents when playing foreign parts. I came across this movie on YouTube; it’s in the public domain.

In pre-WWI Paris, Chico (a late 20s Stewart) is sewer worker and atheist b/c his prayers were not answered. He wanted a better job and a beautiful, golden-haired wife. Though disappointed w/ his lot, Chico continues to do the right thing, but wonders why. A young woman, Diane (Simone Simon), is working for her abusive sister (a madam) in a small tavern (until she throws wine at a customer who violently kissed her). When that customer threatens to have the police close the tavern, Diane’s sister beats her all the way out to the street! Chico pops out of the sewer and saves her; he even claims that she is his wife when a policeman comes by. Several colorful characters join in the film w/ this pair, as they pretend to be married while waiting for the police to verify their claim. Chico’s flat is on the 7th (top) floor of the apt. building, hence the title.

In the late 30’s to early 40’s, Simon was a wanted actress by the studios. She’s petite, bouncy-haired, and adorable (reminding me of a more mature Shirley Temple). In 1936, Darryl F. Zanuck signed Simon to a contract at 20th Century Fox. She was launched with an expensive publicity campaign which accentuated her European allure, esp. her pout. Problems surfaced re: her command of English and also her limited singing skills. Dissatisfied w/ the roles she was given, she returned to France for a time. During the production of the cult classic Cat People (1942), Simon was under FBI surveillance (b/c of her relationship w/ a Russian MI-5 spy)!