Month: August 2020

“Human Desire” (1954) starring Glenn Ford, Gloria Grahame, & Broderick Crawford

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Director Fritz Lang said that his American films of the 1950s were “all about fate.” He never saw the characters as evil; they were “people who succumbed to social evils.” This film was made right after The Big Heat– a must-see for fans of noir and classics. We have the re-teaming of Glenn Ford and Gloria Grahame, who work very well together. Human Desire was shot on location in Oklahoma. Director of Photography (DP), Burnett Guffey, won Oscars for From Here to Eternity and Bonnie and Clyde. Suiting the dark subject material, the look is grim and gritty. There is much use of shadows, most notably in the scenes where the lovers are alone. Trains are often heard in the background- wheels, whistles, and even going off the tracks.

Jeff Warren (Ford), a Korean War vet, returns to his railroad engineer job and boards at the home of his older friend/co-worker, Alec Simmons (Edgar Buchanan) and his family. He’s amused by Alec’s daughter, Ellen (Kathleen Case), who has an obvious crush. Vicki (Grahame) is the young wife of a middle-aged rail supervisor, Carl Buckley (Broderick Crawford). After the hot-tempered Carl is fired for insubordination, he begs Vicki to intercede on his behalf w/ John Owens, a rich/powerful businessman. Vicki’s mother was Owens’ housekeeper; his influence could get Carl his job back. When Carl suspects Vicki slept w/ Owens, he beats Vicki and forms a plan to get revenge. Jeff meets Vicki, not knowing that she’s married.

You see, the war messed him up. He can’t be in a normal relationship. He has to somehow degrade himself in being w/ Vicki. He’s even willing to commit a crime for her. -Ileana Douglas (actor/film buff)

There is mention of war and killing, though not much detail is provided by Jeff. Under his regular guy persona, something is hidden which draws him toward the troubled Vicki (instead of the carefree Ellen). After Jeff helps Vicki take the drunken Carl home, there is a (semi-erotic) scene. Grahame unbuttons her blouse part of the way, pulls it off one shoulder, and reveals the bruises inflicted by her abusive husband. Later on, when they kiss in the abandoned shed, Ford buries his fingers in Grahame’s hair and yanks her head back (yowza)! While these may seem tame (by today’s standards), I’m sure they surprised audiences in 1954. See comment (below) for the full movie.

[1] This film features interesting photography and lighting typical of this style of film – I especially like the way the train scenes are shot, with the camera strapped to the front of the train, giving a first-person ride along the railroad tracks.

[2] Grahame is a revelation as the amoral wife stung by unfulfillment, sleazy yet sexy. Grahame makes Vicki both alluring and sympathetic.

-Excerpts from IMDB reviews

“The Big Heat” (1953) starring Glenn Ford, Gloria Grahame, Lee Marvin, & Jocelyn Brando

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[1] Glenn Ford is super bad ass in this film . He is 100% convincing as a complex man living in 2 worlds. Family life vs. the crime underworld.

It is some of the best writing in film noir history. Almost every line is a gem. There are tons of one-liners.

[2] He conveys so much in a look, a facial expression. And you are with him the whole way; he comes just close to the edge, but not so that he loses your sympathy.

[3] Glenn Ford now looks like one of the most quietly powerful actors of Hollywood`s “Golden Age”… He had a rare ability to portray a kind of slow-burn tension…

[4] Gloria Grahame was born for roles like this one, both tough and vulnerable, the ultimate tragic moll.

-Excerpts from reviews on Amazon

This (must-see) film noir is directed by a giant of this genre- Fritz Lang. It’s based on the novel by former Philly crime reporter William P. McGivern. It’s included on Roger Ebert’s “Great Movies” list and received an 100% rating from critics on Rotten Tomatoes. In the town of Kenport, Sgt Dave Bannion is an on the trail of a criminal syndicate which he suspects holds power over the local police force. Bannion is tipped off after another cop’s suicide; his fellow officers’ suspicious silence lead him to believe that they’re being paid off. When tragedy hits home, Bannion seeks revenge; he gets help from the gangster’s spurned girlfriend, Debby. They must use any means necessary to get to the truth.

Executive Producer Jerry Wald hoped to cast either Paul Muni, George Raft, or Edward G. Robinson as Bannion. It’s tough to imagine anyone else besides Glenn Ford in this role; he makes it look effortless. The best acting is in the eyes; if it’s not coming from w/in, the audience won’t find it believable. As has been said of Jimmy Stewart, I think that Ford was a great listener. You get the sense that he’s “in the moment” as he’s playing a scene opposite his fellow actors.

Bannion’s devoted wife, Katie, is played by Marlon Brando’s older sister, Jocelyn, who has looks and talent, too. In their domestic scenes, Brando and Ford have an easy chemistry, making them a relatable/happy couple. Columbia wanted to borrow Marilyn Monroe from 20th Century-Fox to play the role of Debby Marsh, but Fox’s price was too high, so Gloria Grahame was cast instead. Grahame is flirty, funny, vulnerable, and (eventually) takes control of her own story. The gangster, Vince Stone (Lee Marvin), has a quick/dangerous temper; he only fears the most powerful mobster in the area. There is violence against women (described and shown); some lines were unusual for the era. You can rent it on Amazon or YouTube.

“Scandal Sheet” (1952) starring Broderick Crawford, John Derek, & Donna Reed

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An ambitious/tough-talking editor, Mark Chapman (Broderick Crawford), meets the wife he abandoned 20+ yrs ago at a “Lonely Hearts Club” ball sponsored by his NYC newspaper. Charlotte Grant (Rosemary DeCamp), threatens to expose him as a wife-deserter and impostor (he changed his name). In a fit of rage, he pushes and accidentally kills her! When Mrs. Grant’s body is found, Chapman assigns his young protégé reporter, Steve McCleary (John Derek), to the story. It could be a juicy follow-up story to the ball and raise circulation. Julie Allison (Donna Reed), a features writer/Steve’s girlfriend, gets a phone call which could crack the case.

This film noir is based on the 1944 novel, The Dark Page, by Samuel Fuller. The wise-cracking photographer, Biddle, is played by Harry Morgan (who gained fame in the TV show M.A.S.H.) Less than a year ago, Chapman was brought on board to save the paper, as it was losing money. Now, some of the shareholders don’t approve of the scandalous stories which he chooses to cover, though the paper is nearing a circulation of 750,000. Julie can barely hide her disdain for Chapman; she’s disappointed that Steve looks up to him. Derek is (as expected) uber-handsome w/ long lashes and thick dark hair; his character makes some sexist comments (reflecting the era). A few viewers were a bit shocked that Reed (who does a fine job) smokes in this movie- LOL!

Top notch suspense as Crawford gambles that he can keep his cool and get away with it, even as the walls close in and the odds look worse and worse. Crawford is at his no-nonsense, take no prisoners, mince-no-words best…

Reed plays a woman who is like the voice of conscience in the movie–always appalled at Crawford’s methods and making it clear that she wants no part of this degradation of the paper.

-Excerpts from IMDB reviews

“The Big Combo” (1955) starring Cornel Wilde & Richard Conte

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Capt. Peterson: You’re a cop, Leonard. There’s 17,000 laws on the books to be enforced. You haven’t got time to reform wayward girls. She’s been with Brown three and a half years. That’s a lot of days… and nights.

This is a lesser-known/low-budget noir w/ snappy dialogue, a jazz score (rare for that period), and fine B&W cinematography. It has its good points, but the femme fatale isn’t compelling, and a few scenes seem slow. A determined cop, Lt. Leonard Diamond (Cornel Wilde from Leave Her to Heaven), is told to stop surveillance of suave mob boss, Mr. Brown (Richard Conte from Thieves’ Highway). Leonard’s captain says it’s costing the police department too much money w/ no results after 6 mos. Diamond makes one last attempt to uncover evidence against Brown by going to Brown’s girlfriend, Susan Lowell (Jean Wallace- wife of Wilde and resembling Grace Kelly), who is chaperoned by two henchmen- Fante (Lee Van Cleef) and Mingo (Earl Holliman).

Mr. Brown: I’m trying to run an impersonal business. Killing is very personal. Once it gets started, it’s hard to stop.

This was one of the very first American films to imply a man going down on a woman; I was a bit surprised! Brown maneuvers around Susan, stopping briefly at her lips, but then dropping out of frame, seemingly down past her waist. Leonard is clearly having a “friends w/ benefits” relationship w/ the burlesque dancer, Rita (Helene Stanton). Her show outfit is sparkly and skimpy, even by today’s standards. Also, the film openly infers that Fante and Mingo are a gay couple who live together, kill together, and seem to love each other (note the basement scene).

 In a performance brimming with cool menace, Conte is fond of saying `First is first and second is nobody.’

And Brown is obsessed with his prowess with women as Diamond is with capturing him and wooing his moll. The film is filled with risque sexual allusions…

What almost ruined this picture for me was the hideously annoying performance of actress Jean Wallace…

-Excerpts from IMDB reviews

The First Summer Blockbuster: “Jaws” (1975) starring Roy Scheider, Robert Shaw, & Richard Dreyfuss

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This is the first movie to gross $100M and become known as a “Summer blockbuster.” Though it went over-budget and over-schedule, it left a big impression on pop culture (and launched the career of director Steven Speilberg). I learned that Speilberg, actor Richard Dreyfuss, and composer John Williams were only 26 y.o. when working on Jaws. This was Dreyfuss’ second movie after American Graffiti (directed by Speilberg’s friend, George Lucas). Dreyfuss was already getting a rep as a bit of a “diva” (and he had turned down his role twice). He and British actor Robert Shaw had a combative relationship on set.

I’d never paid much attention to this movie when it was on TV; I watched it fully this past weekend. Aside from the mechanical shark close-ups, I thought it was pretty good! The (iconic) theme is hard to forget; at first, Speilberg thought Williams was joking re: using it. The movie actually has two acts- first we see the shark attacks and how the small-town reacts, then we have the three men facing off against the Great White shark. There are colorful extras (who were locals), fine character moments (unlike most big-budget action movies we see today), and a nice build-up of tension. There is a lot of handheld camera work done on the water.

On Amity Island, Chief Martin Brody (Roy Scheider) is a fish out of water- no pun intended. He’s a former NYPD cop, new to the job of police chief, and a family man (w/ a loving wife and two adorable young sons). His wife, Ellen (Lorraine Gary), even jokes that he doesn’t sound like the locals. Brody doesn’t like the water, preferring to sit on the beach. In the big city, he didn’t think he was making a difference. After the teen girl is found on the beach w/ her body mangled, Brody wants to close the beach. The mayor, city council, and local business people are very concerned re: the economy. Yup, this has resonance today (when a few governors want to open their states during the coronavirus pandemic)! Brody feels like he’s not being heard; he’s concerned re: his family. He and his younger son share a sweet moment at the dinner table when the boy mimics his father.

After the young boy is killed, locals realize the gravity of the situation, and (suddenly) fishermen flock to the island to hunt down the shark for a hefty reward. A young scientist, Matt Hooper (Dreyfuss w/ a fluffy beard), from the Oceanic Institute arrives to assist Brody. I thought it was interesting how Hooper was uncomfortable seeing the body at the morgue. Later on, he comes to the Brody’s house, bringing along two bottles of wine. Hooper comments that he didn’t know whether they’d like white or red wine. These are among the little touches that add to the film. It’s fun to watch Dreyfuss, who has humor, high energy, and touches of arrogance w/ his intelligence.

As the eccentric fisherman, Quint, Shaw has some meaty scenes (one of which reveals why he’s so invested in finding the shark). Unlike Brody and Hooper (who are a bit nerdy), Quint is more of the typical “macho man” we expect in action films. Quint’s tale of the USS Indianapolis was conceived by playwright Howard Sackler, lengthened by screenwriter John Milius (another friend of the director), and rewritten by Shaw. The famous line- “We’re gonna need a bigger boat”- was improvised by Scheider. The movie is quite different (and many argue- better) than the novel by Peter Benchley.