Month: July 2023

“The Dark Corner” (1946) starring Lucille Ball, Clifton Webb, William Bendix, & Mark Stevens

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Kathleen Stewart [to Bradford Galt]: I don’t play for score, I play for keeps.

PI Bradford Galt (Mark Stevens) has moved to NYC from San Fran after serving a jail term (manslaughter) on account of a barrister/former business partner, Tony Jardine (Kurt Kreuger- an Austrian actor). When Galt sees a white suited man (William Bendix) tailing him, Galt believes Jardine is behind it. As he discovers more, Galt is V glad to have his loyal secretary/love interest, Kathleen Stewart (Lucille Ball), around for support. You can watch this movie for free on YouTube.

Kathleen: I’ve never been followed before.

Galt: That’s a terrible reflection on American manhood.

I think Mark Stevens was the only man my dad was jealous of. [The audience laughs.] Hey, they [the actor and her mother, Lucille Ball] had some good love scenes! -Luci Arnaz, at a pre-screening talk hosted by TCM

At the time this film was made, Lucy was suing to get out of her contract w/ MGM; they loaned her to Fox (where she had to take a big pay cut). In later years, Lucy said she hated the experience of shooting The Dark Corner. She resented director Henry Hathaway, whose bullying reduced her to stuttering (he then accused her of being drunk)! As Eddie Muller (TCM) commented: “Hathaway was NOT known for being a woman’s director.” Hmmm… some guys just can’t deal w/ strong gals!

Hardy Cathcart: Lovers of beauty never haggle over price, Tony.

This is a tightly edited/efficient B-picture that is fun to watch (even if you aren’t a noir-ista)! The snappy dialogue incl. some fun/memorable lines. This is considered to be the best of Lucy’s roles; she has top billing. Another great ensemble film that I enjoyed w/ her is Stage Door. Lucy’s character here is smart, loyal, and brave. Lucy can do it all; she went on to her (iconic) TV show and producing Star Trek. Stevens (on the other hand) only made a few small movies in his brief career. The art gallery owner, Hardy Cathcart (Clifton Webb), is V similar to the character of Waldo Lydecker (also played by Webb) in the hit noir Laura (1944).

Re-Watch: “Jagged Edge” (1985) starring Jeff Bridges, Glenn Close, Peter Coyote, & Robert Loggia

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When a murder case is this shocking, which do you trust… your emotions or the evidence? -Tagline

Jack: You still think I’m guilty? How can you defend me if you think I’m guilty?

Teddy: It happens all the time. It’s the way our legal system works.

San Fran publishing heiress, Page Forrester, is brutally murdered in her luxurious beach house. Her husband, Jack (Jeff Bridges), seems devastated by the crime; he is soon accused of her murder. He hires Teddy Barnes (Glenn Close) to defend him, despite the fact she hasn’t handled a criminal defense case in several years. There’s chemistry between them; the lawyer soon finds herself falling hard for her client.

The movie is about layers and layers and layers of truth. It’s like peeling an onion down to the core. Here we have a very intelligent, very attractive, very warm, very modern mother/career woman who has made a definite commitment to a moral standard, and makes one more moral stand when she says that she will only defend the man who is accused of a terrible crime, if she is convinced of his innocence. The rollercoaster begins. Is he innocent? Is he guilty? Is he lying? Or is he not? It’s a classic high-tension psychological thriller. -Richard Marquand, director (when asked re: the movie during promo)

This movie is the 1st of screenwriter Joe Eszterhas’ San Fran thriller trilogy; the later films are Basic Instinct (1992) and Jade (1995). Eszterhas originally titled the screenplay Hearts of Fire. Columbia disliked the title and decided it had to be changed; they assigned a secretary to go through the script. She came upon “jagged edge” (in description of the murder weapon: “a knife with a jagged edge”). Kevin Costner turned down the role of Jack (thank goodness)! Jane Fonda was originally attached to play Teddy. When she demanded that changes be made to the script, the studio sided w/ Eszterhas and replaced her w/ Close. Fonda and Bridges co-starred in another thriller- The Morning After (1986)- directed by Sydney Lumet.

Who did it? Tom Krasny, the district attorney with political aspirations, is quick to make a case against Forrester. But there is reason to believe that Krasny is as eager to ride this case into a senate seat as he is to convict the right man. Teddy is sharp. She launches her own investigation with the help of a crusty gumshoe named Sam Ransom. She finds what she is looking for: the holes in Krasny’s case and the fact that Forrester is not the only suspect. But she also finds something she wasn’t looking for: emotional and romantic involvement with her client. -Martin Ransohoff, producer

Martin Ransohoff (who went on to produce the movie) took the story idea to Columbia president (Guy McElwaine) in 1983; McElwaine was interested in a courtroom piece (an intense story that’d raise some pressing Qs about the legal system). According to Eszterhas’ book Hollywood Animal, Ransohoff was against the casting of Glenn Close (saying she was “too ugly” for the part). Close heard about this; she said she didn’t want Ransohoff on set during her scenes. The director (Richard Marquand- best known for Star Wars: Episode VI – The Return of the Jedi) supported Close and sent Ransohoff away. The producer was so mad that he went to studio heads trying to get them both fired! The studio later denied this happened (of course). Teddy has 2 young kids (David and Jenny); in their bedroom is a poster of The Return of the Jedi.

This tension between Krasny and Forrester is intense. There is history between them. The courtroom begins to take on the feeling of the O.K. Corral. -Jeff Bridges, actor

This is one of the earliest movies of the erotic thriller genre (and it’s quite effective). Now, there are some problematic elements (esp. when viewed through modern eyes). The acting is quite strong; Robert Loggia received a Best Supporting Oscar nom! Loggia plays Sam Ransom (former investigator in the DA’s office/Teddy’s trusted friend) who curses, drinks (a LOT), and looks rumpled. Teddy and Sam still regret what occurred on one of their past cases. At first, you may wonder if the DA (Teddy’s former boss), Thomas Krasny (Peter Coyote), will be the lead; he’s the focus of the opening 10 mins. To lend to the authenticity, the exteriors of the courtroom were San Fran’s City Hall.

Teddy: Sam! He didn’t do it!

Sam: Yeah? Is that your head talking, or another part of your anatomy? [Teddy gives him a sour look]

Sam: Hey, ok, what the hell, f**k me! [runs for the door]

Today’s viewers may NOT 100% buy into Teddy getting into a relationship w/ Jack; this is crucial for the plot. Teddy is recently divorced; her (nice/bland) ex-hubby doesn’t get much screen time (though the kids want their parents together). She desperately wants to believe that this client is innocent, BUT there are doubts. Here we have the (common) trope of the professional woman who makes a mess of her personal life. She leads w/ her heart, NOT her head. It doesn’t seem like Jack would be ready for romance after the recent tragedy. Jack works his charm on Teddy (w/o her suspecting); he takes her horseback riding, they walk on the beach, and have wine w/ takeout. Jeans, cozy sweaters, business suits- y’all know Bridges looks FAB in all the outfits. Close and Bridges are V well-matched; they create good chemistry together. In the tense/revelatory courtroom scenes, they convey much w/o dialogue.

[1] Bridges and Close show why they’re among the greatest stars of their generation. I can pretty much guarantee that you won’t find this movie boring. 

[2] This courtroom thriller was one of the films that spawned a huge wave of copycats through the mid ’80’s and early ’90’s. […]

…the film works very well on a visceral level, providing twists and shocks along the way (including one startling break-in near the end which is jarring no matter how many times it is seen.) The film’s greatest strength is the acting, notably Close. […] She brings great conviction to her poorly conceived role. Bridges does well also as the perfectly moussed, tan dreamboat who might be a savage murderer. Loggia brings a welcome salty edge to the film with his foul-mouthed portrayal of Close’s investigator friend.

The discordant music by Barry is very unsettling and his use of low piano keys doubtlessly inspired Jerry Goldsmith for “Basic Instinct.” It’s the same type of sound. Folks expecting a watertight story will be disappointed. Those who just want to be entertained and spooked should love it.

[3] The ending was cause for much discussion back in the day, and viewing it now it still feels like a moment of cheek mixed in with some form of clarity, but rest assured it works well, as does, funnily enough, the whole film. No world beater here, but highly accomplished and worth the time of any thriller obsessed movie fan. 

-Excerpts from IMDb reviews

“The Kindness of Strangers” (2019) starring Zoe Kazan, Andrea Riseborough, Tahar Rahim, Caleb Landry Jones, Jay Baruchel, & Bill Nighy

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Clara (Zoe Kazan- an American) and her two young sons (Anthony and Jude) drive from their small town to NYC. Alice (Andrea Riseborough- a Brit) runs a forgiveness support group out of a church; Marc (Tahar Rahim- a Frenchman w/ Algerian heritage) and his lawyer/friend, John Peter (Jay Baruchel- a Canadian), are recent members. While searching for food at a Russian restaurant (The Winter Palace), Clara meets Marc, who has been given the chance to revitalize the eatery by the owner, Tim (Bill Nighy- a Brit/also served as a producer). After their car is towed away, Clara’s family meets Alice (an ER nurse), who gets them into a shelter. A young/jobless man, Jeff (Caleb Landy Jones- an American), comes upon this shelter and becomes a volunteer.

The title of this indie film (free on several streaming platforms) comes from the Tennessee Williams’s play A Streetcar Named Desire. Blanche Dubois declares “I have always depended on the kindness of strangers” at the finale. The play was adapted into a movie directed by Elia Kazan, the grandfather of Zoe. The writer/director of The Kindness of Strangers is a Danish woman, Lone Scherfig; she directed a (must-see) drama- An Education (2009)- starring Carey Mulligan and Peter Sarsgaard. One reviewer was reminded of Frank Capra (a 1st gen Italian-American); this filmmaker’s movies carried positive messages and focused on the shared humanity of Americans. This film (which premiered at the Berlin Film Festival) was shot in NYC, Canada (Ontario), and Denmark.

The Kindness of Strangers has an understated quality, though there are some serious issues explored, incl. domestic abuse, unemployment, homelessness, lack of family/community support, and loneliness. Though the speed of life in NYC is fast, the pacing here allows us to notice each character of the fine international/ensemble cast. Kazan (who may be more known for rom coms) does V well w/ drama here; your heart just goes out to her character! Rahim is NOT only handsome/graceful (perhaps b/c he’s French IRL), he has a quiet intensity onscreen (as his character is mostly reserved). I admired the look of the film; the cinematographer is Sebastian Blenkov. Have you noticed that romantic scenes (dir. by women) are usually quite effective/memorable? There is a kiss btwn Kazan and Rahim which is full of emotion and (heartfelt) desire.

[1] Brilliant story, brilliant acting, brilliant directing. […] From the very beginning, it captures you; quite sad at some points, but it just kept getting better.

[2] The success of the movie depends on how Zoe Kazan carries her part and she carries it well. Good movie for anyone who has an interest in human relations.

[3] Homelessness is one thematic layer to a story that investigates kindness as the social glue that matters most and is possibly also the most underrated of dispositions or inclinations, often being seen as weak or oversensitive. Personally, I found it a lovely film, quite moving in places with its acknowledgment that, without kindness and the generosity of strangers, society would fall apart.

-Excerpts from IMDb reviews

“Shockproof” (1949) starring Cornell Wilde & Patricia Knight

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A parole officer falls in love with his client, a beautiful blonde who served time for murder, and he’s determined to help her go straight despite her interfering criminal boyfriend. -Synopsis

After having served 5 years in prison for killing a man while defending her gambler bf, Harry (John Baragrey), Jenny Marsh (Patricia Knight) is set for parole. Her parole officer, Griff Marat (Cornel Wilde), is determined to make Jenny go straight. Griff gives Jenny a job in his own home, something against regulations; she is a companion to his blind/Italian/immigrant mother. At first, Jenny still has feelings for Harry, BUT as Griff shows her more compassion and care, she falls in love w/ him. Harry seems to encourage this, b/c he has plans to crush Griff’s dreams of running for political office. Wilde (NOT the most versatile actor, yet fit well here) and Knight (a former model; his wife IRL) divorced in 1951. They do have good onscreen chemistry, as some viewers have noted.

This film (which is available for free on YouTube) features the iconic Bradbury Building as the location of Griff’s office. A YT movie critic noted that Bunker Hill (a real LA neighborhood) is the place of the Marat house. The post WWII era brought back big fashion, incl. Dior’s sumptuous “New Look” of full skirted ladies’ garments (launched in 1947). Costumer Jean Louis used that trend to his advantage in the clothes he designed for this film. The reaction of the two boys to meeting a “bleached blonde” was fairly typical. Peroxide blonde hair was usually relegated to film stars, pin up girls, or the “fast” women. It was a difficult, often risky process to do; the mid-century would bring innovation in hairstyles (and hair coloring become easier/less costly to obtain). A popular ad line from Clairol asked: “Is it true blondes have more fun?”

Douglas Sirk (who is now considered a “director of women’s pictures”) signed on to make this film on the basis of Sam Fuller’s original screenplay, which was called The Lovers, and ended in a violent rebellion against the system keeping Griff and Jenny apart. Co-producer Helen Deutsch rewrote the script and added the (approved by Columbia) ending. Sirk hated the ending; he later said Deutsch’s changes ruined the film by removing the sense of doom in Fuller’s story. As noir-istas may know, Fuller worked as a writer and/or director on many films (incl. Pickup on South Street). Sirk went on to direct the Technicolor melodramas Magnificent Obsession (1954), All that Heaven Allows (1955), and Imitation of Life (1959). I want to see Written on the Wind (1956); I missed the recent screenings at AFI (here in Silver Spring).

[1] They say it’s the journey, not the destination, that usually counts with stories. In the case of Shockproof it’s good to just focus on the journey…

[2] …the main woman is a bit wooden. You can feel her trying too hard too often…

…there are some things to really enjoy here. You might find the movie ordinary for awhile, with some nice clichés and a steady development. But then, halfway, there’s a huge and really sudden twist. And a believable one, a great scene. Suddenly there is a whole new plot.

[3] Sirk and Lawton consistently have bar shadows featuring prominently; Jenny Marsh never escapes them… The Marat home is a delightful amalgamated design of art deco and the ornate.

-Excerpts from IMDb reviews

Park Chan-wook’s 1st American Movie: “Stoker” (2013) starring Mia Wasikowska, Nicole Kidman, & Matthew Goode

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India Stoker (Mia Wasikowska) was not prepared to lose her father and best friend, Richard (Dermot Mulroney), in a tragic auto accident. The solitude of her woodsy family estate, the peace of her tranquil town, and the unspoken somberness of her home life are suddenly upended by not only this mysterious accident, but by the sudden arrival of her Uncle Charlie (Matthew Goode), who she never knew existed. When Charlie moves in with her and her emotionally unstable mother Evie (Nicole Kidman), India thinks the void left by her father’s death is finally being filled by his closest bloodline. Soon after his arrival, India comes to suspect that this mysterious, charming man has ulterior motives. Yet instead of feeling outrage or horror, this friendless young woman becomes increasingly infatuated with him.

-Synopsis (Fox Searchlight Pictures)

India: You look like my father.

Charles: I am so sorry.

India: It’s your loss, too.

This is probably a film that most of you haven’t heard of before; I learned about it from the Fatal Attractions pod (which focuses on the erotic thriller genre). This is the 1st American movie helmed by South Korean director Park Chan-wook. The screenwriter is also a man of color, Wentworth Miller (best-known as the star of Prison Break); he graduated from Princeton w/ a degree in English Lit. Stoker is inspired by Hitchcock’s Shadow of a Doubt (1943); there is a mysterious uncle who re-emerges into the life of a family after many yrs. of absence. It soon becomes obvious that this man could be dangerous.

India: He [her father] used to say, sometimes you need to do something bad to stop you from doing something worse.

This film (w/ a run time of 1 hr. 39 mins.) is a character-driven thriller which is moody, atmospheric, and tense (though NOT in an obvious way). The pacing may seem slow to some viewers, as it takes some time for the plot to get moving. The main location is an elegant/historic estate in Nashville, TN. Though they play Americans, Wasikowska and Kidman are Aussies and Goode is a Brit. Two of India’s classmates (Alden Ehrenreich and Lucas Till) would go on to their own movies and TV shows in a few yrs.

Mia’s posture: her stillness and her straightness speaks to the personality of a character who likes everything ordered around her. -Park Chan-wook, director

We know that life as a teen can be V tough, esp. when you don’t fit in w/ your family and/or peers. Evie laments the fact that she and India don’t have a close relationship; India was more of a “daddy’s girl” (we see them hunting/bonding in flashback). India is an outcast at her HS; she wears a sullen expression, doesn’t speak much, and dislikes being touched. After school, a few of the boys bully her w/ insults (yikes), though there is one boy who is sympathetic. India plays the piano, as does her Uncle Charlie; this brings them together in a (pivotal) scene. So far, I’ve seen Wasikowska in HBO’s In Treatment, Jane Eyre (2011), and Tracks (2013) co-starring Adam Driver. I think that (like Driver) she has intensity onscreen (even w/o speaking) and plays troubled/sensitive characters V well. If you’re looking for something out of the ordinary, you can rent this movie (Amazon).

[1] The look and feel of Stoker is impressive. The atmosphere is well-sustained throughout. If I had a criticism, it would simply be that the story ultimately isn’t all that original and there aren’t really a lot of surprises. What it does do though is to take a fairly standard psychological thriller story and make it interesting by way of cinematic techniques.

[2] The film has a set of amazing talents. […] The violence is a bit tamed for a Chan-wook Park film, but here, he aims more at the fortitude. He fills them with an impressively energetic style which helps executing its eeriness. The gorgeous cinematography captures the melancholia of their world. Everything is just stunning.

...the film rather tests the anxiety of the audience in these strange haunting exteriors. The film is not trying to be innovative, but the reason why it’s interesting is because of its intense use of filmmaking styles.

-Excerpts from IMDb reviews