G.I. Nick Blake (John Garfield), a successful con man in pre-military life, has just received an honorable discharge from the Army. Rather than return to his old life, he plans to settle down in NYC (his hometown) w/ his blonde/glamorous/singer gf, Toni Blackburn (Faye Emerson; also daughter-in-law of FDR), and the money he amassed before WWII: $50,000. When that plan doesn’t pan out, Nick decides to head to LA w/ fellow con man/pal, Al Doyle (George Tobias- the comic relief), and live it up at the beach for a while. He is informed by Pop Gruber (Walter Brennan), his aging former mentor (now running small street cons in L.A.) of a potential big mark. A former associate, Doc Ganson (George Coulouris- one of Orson Welles’ Mercury Players in Citizen Kane), has found a Midwestern widow worth $2M vacationing in town, Gladys Halvorsen (Geraldine Fitzgerald; also Laurence Olivier’s wife in Wuthering Heights). Doc doesn’t have either the bankroll or the charms to carry out this con himself. Nick agrees both to bankroll and carry out the con, negotiating 2/3 of the take for himself, leaving Doc and his 2 associates w/ a minimum of $30,000. Doc doesn’t like the conditions, but he accepts the offer, being desperate for a score. The con becomes complicated as Nick must also deal w/ Gladys’ business manager, Charles Manning (Richard Gaines), gets recognized by people from his past, and grows to genuinely like Gladys (who is young, kind, and pretty).
Unlike in The Postman Always Rings Twice (which was also released in 1946), the romance here is more demure. […] The bad guys have more mirth than menace. -Eddie Muller, host of Noir Alley (TCM)
Garfield (as filmmaker Sydney Pollack commented) was a Method actor and a bridge between the classic Hollywood studio actors and those actors who changed acting forever- Marlon Brando, Montgomery Clift, and James Dean. This is one of Garfield’s lesser-known films (a blend of noir and romance). Nick is a charmer who lies effortlessly; it’s easy for him to ingratiate himself into Gladys’ lonely life. They swim at the beach, eat fine meals, and share some convos. I esp. liked their day trip to the mission (a historical church w/ beautiful grounds); Nick is filled w/ regret and reveals some truth about his past. Despite thinking he won’t change, he does end up in love w/ Gladys and can’t bring himself to steal her money. The actors have nice chemistry, though it’s more sweet than steamy.
The screenplay is by W.R. Burnett, who also wrote a number of film crime classics, incl. Scarface, Little Caesar, High Sierra, and The Asphalt Jungle. Burnett’s dialogue is sharp and tough, and he displays insight (and even sympathy) for the criminal mind. Director Jean Negulesco knows how to create a mood. Cinematographer Arthur Edeson (Casablanca; Frankenstein) make this mood memorable and visually appealing. Though it lags at times, if you like the noir genre, it’s worth watching!
[1] Many films from the mid-40s deal w/ men struggling to readjust to their civilian lives after their wartime service. This film offers a twist: the hero’s pre-war career was as a successful con artist. He doesn’t have any trouble getting his job back, but does he still want it? WWII is a source of anxiety and moral confusion in many postwar noirs, but this film (set during the war) suggests that a stint with Uncle Sam can straighten out a crooked guy.
[2] The stars are lovely together, and the film has a rich atmosphere throughout, each setting clearly defining the moment. The nightclub scenes evoke the ’40s postwar feeling, the California scenes are bright and sunny, and the scenes on the pier are spooky and dense with fog. A very good film.
[3] The movie contains many elements of noir, as well as the fine cast. Despite these positive elements, Negulesco’s slow, deliberate pacing is more consistent with a romantic or psychological approach than with a crime drama.
HEARTBREAK… Poised on a Trigger of Terror! -A tag line for the film
Actor Lester Blaine (Jack Palance- his 1st lead role w/ Oscar nom) has almost landed the lead in Myra Hudson’s (Joan Crawford- in her 3rd/last Oscar-winning role) new Broadway play. However, Myra (a writer/patroness of the arts) vetoes the director and producer b/c she doesn’t think Lester looks like a “romantic leading man.” On a train from NYC to San Fran, Lester and Myra meet again by chance; he sets out to prove her wrong- by romancing her for real! Later on, we meet Irene Neves (Gloria Grahame), who has recently been dating Myra’s friend/young lawyer, Junior Kearney (Mike Conners- a former football player). Another long-time pal/lawyer of Myra’s is Junior’s older bro, Steve (Bruce Bennett- also Crawford’s no-good ex-hubby in Mildred Pierce).
Lester [after being rejected for the lead role]: Miss Hudson, in your own native city of San Francisco, there’s an art gallery in the Legion of Honor in which there’s an oil painting of Casanova. It’s quite obvious that you have never seen this painting. For your information, Miss Hudson, this is what Casanova looked like: he had big ears, a scar over one eye, a broken nose, and a wart on his chin, right here. I suggest, Miss Hudson, that when you return to San Francisco, you visit this gallery and see this painting!
Crawford was a “boss lady” BOTH in front of and behind the camera, as many of y’all classic fans know! As the executive producer (EP), she was heavily involved in ALL aspects of the production. Crawford hired Lenore J. Coffee (screenwriter), David Miller (director), and suggested using Elmer Bernstein (composer). The music score comes partly from Igor Stravinsky’s ballet Rite of Spring. She insisted on Charles Lang (cinematographer) and personally cast Palance and Grahame as co-stars. Crawford’s 1st choice for Lester was Clark Gable; Brando was offered the role also.
Lester: [quoting Myra’s play] When I wake in the morning, when I go to sleep at night, I think of you. You’re like the air which surrounds me, the sky which spreads above me, the earth beneath my feet. When I hear music, when I see beauty, when I breathe in the sunlight, I think of you. You are the sister I never had, the mother I have almost forgotten, the wife I have always dreamed of. There isn’t a relationship you can name which exists between a man and a woman of which I wouldn’t say let it be you. Let it be you.
On the train, Lester tells Myra he was born in Pittsburgh and spent some of his early years as a coal miner. In real life, Palance was born in Lattimer (in the eastern part of PA), and he did follow his father (an immigrant from Ukraine) into the anthracite coal mines for a time. Lester also mentions being in the Army during WWII; Palance was in the Air Force during the war. Palance (just in his early 30s) is a great match for Crawford both w/ his acting talent and physicality (height, severe cheekbones, square jawline, and intense gaze). Grahame’s character is more clever, nasty, and take-charge here (than in other roles); she looks a BIT fragile in scenes w/ Palance (w/ an imposing physique).
[1] This is a real edge-of-your-seat nail-biter. David Miller did a terrific job of directing this one, and the cinematography is spectacular by Charles Lang. Some of the shots are as inspired as anything ever seen in Hollywood…
[2] The three leads, Joan Crawford , a wealthy lady getting old and thinking she ‘s found true love, Jack Palance, not the romantic lead of her play but a disturbing character, and Gloria Grahame at her bitchiest are terrific.
[3] Truly thrilling in places and just plain classic Crawford. Watch for the moment when Joan embraces her love interest Palance and asks, “I was just wondering what I’d done to deserve you.”
A masterpiece of sexual creepiness, institutional corruption and suffocating, ugly passion. -James Ellroy, novelist (L.A. Confidential; The Black Dahlia) commenting on this film noir (his favorite movie)
I learned re: The Prowler while listening to The Big Picture podcast ep w/ guest Patton Oswalt; he’s also a big fan of the noir genre. John Huston (uncredited producer) conceived this project as a star vehicle for former wife, Evelyn Keyes, as a parting gift. She’d complained about her lack of challenging roles while under contract at Columbia Pictures. Keyes is best known as Sue Ellen, Scarlett O’Hara’s lil sis on Gone With the Wind (1939), though she appeared in many other films. I saw her in The Killer Who Stalked New York (1950); this is relatable in today’s pandemic life.
In an affluent suburb in SoCal, blonde/glam housewife, Susan Gilvray (Keyes), sees a prowler outside her house late at night and calls the police. Officer Webb Garwood (Van Heflin) and his partner, Officer Bud Crocker (John Maxwell), answer the call, but don’t find anyone. Later that night, Webb returns to Susan’s house with the pretext of checking if everything is OK. Susan (a former actress) invites him in to have coffee; it turns out they’re from the same small town in Indiana. Susan is married to the broadcaster of a late-night radio show; they don’t have any kids. Webb comes by another night and kisses Susan; she tries to put him off, but they soon become involved romantically.
Webb: [picking the lock of her husband’s storage box to get some cigarettes] Does he keep everything locked up?
Susan: Mostly.
Webb: You, too?
Susan: That’s a leading question.
Webb: Ha, probably does. A mean, jealous guy like that wants his wife all to himself. I can’t say I blame him, though. I’d do the same myself…
Webb: [opening the storage box] There. See how silly it is to keep things locked up?
Susan: Maybe. But it did delay you for a little while.
Webb: Is that all he wants, just to delay things?
Susan: Sometimes a little delay does the trick.
This film was considered shocking in its day; after all, it focuses on a cop that’s a bad guy. Heflin shifts about, scratches himself, and moves like a panther. Webb is an expert in gaslighting; he uses psychological manipulation to put self-doubt and confusion in Susan’s mind. Eddie Muller (host of TCM’s Noir Alley) became good friends w/ Keyes later in her life; this was her fave role. Muller noted that this film can be looked at through the lens of a woman desperate to have a baby. To bring attention to this issue, the song “Baby” is repeated a few times throughout the film.
[1] Very much a two character piece, The Prowler flips the favoured femme fatale formula around to great effect. Here it’s the male protagonist that is the seducer, a cop no less, the abuse of power hanging heavy over proceedings like, yes, some “prowler” lurking in your back garden. It’s made clear to us very early on that Garwood is troubled, he’s up to no good, with a snarl here and a shifty smirk there, we just know that poor Susan is under threat from a man meant to protect her. […]
A criminally undervalued actor in his generation, Heflin serves notice here that he could play a bad guy convincingly, almost terrifyingly so too. His shift from meek, almost puppy dog love yearner, to conniving bastard is handled adroitly and gives film noir one of its best homme fatales.
[2] This is the kind of film noir that has its foot rooted in the ‘B’ tradition. What I mean is Losey and his writers (including blacklisted Dalton Trumbo) are keeping their aims low, and scoring high within their limitations.
[3] It is very beautifully and atmospherically shot and tightly edited, although the sets are on the sparse side. While it is not exactly lavish or expensive-looking, ‘The Prowler’ also doesn’t look cheap. The music looms ominously without being intrusive. Joseph Losey… directs with a sure and stylish hand, that indicates somebody who knew what he was doing. The script on the most part is taut and intelligent, and it was amazing too at how daring and subversive it was for back then.
Post-apocalyptic sci-fi is set in a world/civilization after nuclear war, plague, or some type of disaster. I found a V long list of movies (on IMDB); here are ones I’ve seen so far: Mad Max: Fury Road (2015), Children of Men (2006), Planet of the Apes (1968), The Matrix (1999), and The Handmaid’s Tale (1990). While dystopian fiction usually explores social or political struggle, society has NOT yet collapsed (BUT might be on the brink). In apocalyptic fiction, the focus is more on the characters or on man vs. nature.
The World, the Flesh, & the Devil (1959) starring Harry Belafonte, Inger Stevens, & Mel Ferrer
Ralph Burton (Harry Belafonte) is a miner trapped for several days after a cave-in somewhere in Pennsylvania. When he finally manages to dig himself out, it looks like civilization has been destroyed in a nuclear incident. He drives to NYC and finds it deserted. Making a life for himself in a luxury high-rise apt bldg, he’s shocked to eventually find another survivor, Sarah Crandall (Inger Stevens), a 21 y.o. blonde socialite. They start to rely on each other and form a close friendship. Some time later, they hear of another survivor who arrives via his small boat- Ben Thacker (Mel Ferrer). Ralph gives Ben an injection that saves his life; Sarah takes care of him while he recovers. In time, tensions start to rise as Ben and Ralph vie for Sarah.
Ben: I have nothing against negroes, Ralph.
Ralph: That’s white of you.
This unique/lesser-known movie showed up under recommendations on Amazon after I watched Z for Zachariah (see review below). The director here, Ranald McDougall, worked for Warner Bros. from 1944-50; he got an Oscar nom for his screenplay of the noir classic Mildred Pierce (1945) starring Joan Crawford. From the mid-’50s, he was primarily active in TV and worked on lower-budget films. Belafonte (who does sing a BIT here and looks gorgeous) was at the top of his career at this time. Though perhaps known more as a singer and civil rights activist, he acted in several V fine films and even had his own production company! So far, I’ve seen Belafonte in Carmen Jones (1954) w/ Dorothy Dandridge, Island in the Sun (1957)- which also contains a interracial love story, and the noir Odds Against Tomorrow (1959) w/ Robert Ryan.
The first 40 mins of the story is ALL about Ralph; we see a lonely (yet positive-minded) Belafonte navigate the empty/eerie streets of Manhattan. I hadn’t seen the acting of Stevens (a Swedish-American w/ a tragic life/early death) and Ferrer (Audrey Hepburn’s 1st husband; born to a Cuban father and American mother) before; they do fine in their roles. Race is a big issue here; a Black man and white woman wouldn’t be seen as equals or allowed be a romantic pair onscreen (in a segregated society). In one pivotal scene, we see the sexual frustration of both Ralph and Sarah as he gives her a haircut. Even on her birthday, Ralph doesn’t sit down to dinner w/ her, as Sarah wants, but provides the music and food. He acts like it’s OK when Ben and Sarah start to go out alone (on dates). The ending wasn’t quite what I expected, BUT it was intriguing! I think fans of classics will enjoy this movie.
[1] This movie will grab your interest and exercise your moral fiber. Race, prejudice and pride are but minor subplots in this excellent film. […] Black and white has never been so colorful.
[2] Belafonte is terrific especially in his early scenes and Miss Stevens registers quite strongly during their tense exchanges. Most of all, director Ranald MacDougall captures a barren, decimated-looking New York City to awesome, jaw-dropping effect.
[3] A very thought provoking movie that was not accepted at the time, but in retrospect, way way ahead of its time. In a racially charged world, it put forth the premise that race, in the final analysis, is superficial and meaningless. Once you strip away the layers of conditioning and socialization, you find, at the core, good and evil and the age old struggle as to which will prevail. A simple story, told directly and honestly.
-Excerpts from IMDb reviews
Z for Zachariah (2015) starringChiwetel Ejiofor, Margot Robbie, & Chris Pine
After the end of the world she thought she was alone. She was wrong. -A tagline for the movie
A woman in her early 20s, Ann Burden (Margot Robbie- an Aussie), lives w/ her dog (Faro) on a farm in the Appalachian Mtns, sheltered from radioactivity by rocky hills and a clean underground water supply. After about a year of being alone, Ann encounters John Loomis (Chiwetel Ejiofor- a Brit), a research engineer who (aided by meds and a HAZMAT-type suit) walked from a govt bunker to her valley. Unknowingly, John bathes in a contaminated waterfall, so quickly gets V sick! He is nursed back to health by Ann in her house; she is a Christian and prays to God to save him (thinking he’s a good man). John regains his strength and starts to improve their lives w/ his ideas/skills. They become friends and- eventually- think of pursuing a romanticrelationship. Before that can happen, about 42 mins in, Faro runs ahead of Ann to another survivor- Caleb (Chris Pine- an American)!
This movie is based on the sci-fi book Z for Zachariah (1974) by Robert C. O’Brien; after his death, his wife and daughter crafted it into a YA novel. The “love triangle” was added in by the screenwriter (Nissar Modi- a Brit); only Ann (a 16 y.o. farm girl) and Loomis (a middle-aged engineer) are protagonists in the novel. The books has many convos btwn the characters re: religion vs. science, as a few readers have noted. The director (Craig Zobel- an American) recently gained some attention for HBO’s Mare ofEasttown (starring Kate Winslet). Tobey Maguire (who served as a producer) and Amanda Seyfried were originally cast in the lead roles, BUT both had to drop out. The title recalls a children’s book that John takes off a shelf: A is for Adam. As some viewers noted, Zachariah is the prophet murdered between the temple and the altar (the last of the prophets killed) in The Bible.
This movie was shot on location in New Zealand; the main set was about 40 mi. from the nearest town. Zobel commented that it “felt like a Summer camp” working w/ his small cast and crew. He and the 3 actors had a week of rehearsal; they did some improv while shooting (as I learned from watching a few interviews from Sundance film fest). Ejiofor (now in his mid-40s) is an actor I’ve admired since seeing his debut role in the indie Dirty Pretty Things (2002). He can express a LOT w/ little (or no) words; he has large/expressive eyes and was classically-trained (as many British actors). After Ejiofor was cast, one line was added in re: race (one of the funny moments). Speaking of great eyes… Pine (now in his early 40s) does quite well w/ his role here; Caleb knows how to use his sex appeal/charm on Ann. Robbie does well also: she (now just 31 y.o.) achieved a LOT of success at an early age. I learned that she just also started producing- V smart move. Check this movie out IF you’re looking for something thoughtful!
[1] Chiwetel Ejiofor gave a compelling performance. It was so real, I think the majority of us would understand what he’s going through. I was shocked by how outstanding Chris Pine was in this movie, just perfect. Margot Robbie was amazing as well, just a solid piece of acting by all.
It made for the perfect emotional love triangle. Even though only three people appear in this movie, it said so much about us as a society.
[2] This is probably the quietest and most understated post-apocalyptic movies you’ll ever see, but deep down, it is truly fascinating. With great performances, impressive directing and an intriguing plot, this film is massively engrossing and surprisingly simple to understand from start to finish.
…a fascinating study of humans in their most basic state: survival and animalistic desires, relating itself almost to Adam and Eve and biblical theory.
[3] Some films make you cry, some films make you laugh and some films just amaze you. Well, this one will make you think and digest information that you will see. Z for Zachariah may not be the most romantic film nor may it be an adventure, but hours after watching it, I was still thinking about what this film represents.
When was the last time you invited death into your car? -A tag line for the film
Two friends, Roy Collins (Edmond O’Brien- who has appeared in several noir films) and Gilbert Bowen (Frank Lovejoy- the more conventionally handsome of the pair), on their way to Mexico for a fishing trip, pick-up a stranded motorist, Emmett Myers (William Talman- the prosecutor on Perry Mason) who turns turns out to be psychopath/escaped convict. Myers has a facial deformity which prevents one of his eyes from ever closing- creepy! He has murdered other good Samaritans; he taunts/threatens the two pals, getting joy from holding them hostage w/ his gun. Myers’s destination is a ferryboat in Baja, CA. Collins and Bowen hope to stay alive long enough to escape or maybe get rescued by Mexican cops.
EmmettMyers: You guys are soft. You know what makes you that way? You’re up to your neck in IOU’s. You’re suckers! You’re scared to get out on your own. You’ve always had it good, so you’re soft. Well, not me! Nobody ever gave me anything, so I don’t owe nobody!
The Hitch-Hiker is the ONLY film noir of the classic era directed by a woman- Ida Lupino! She was born/raised in England, then came over to the US as a teenager in the ’30s. At Warner Bros. (where she was contracted), Lupino often played characters much older than her years (b/c she had the maturity and talent). As a V slim/petite ingenue, she had her hair colored platinum. In the late ’40s, Lupino (inspired by Italian neo-realist directors, incl. Vittorio De Sica and Roberto Rossellini) decided to take on a new role; she and her writer/producer husband (Collier Young) may’ve been the first to coin the phrase “the filmmakers.” While Lupino was directing, she always wore pants, explaining that they were more suited to the work than skirts/dresses. Her production company wasn’t afraid of controversial topics or centering stories of females: Not Wanted deals w/ a teenager’s unwanted pregnancy, Never Fear is centered on a dancer who has polio, and Outrage considers what happens after a woman survives rape.
Ida Lupino is the most talented and versatile woman in the history of movies. -Eddie Muller, TCM host
This tense/atmospheric movie is available in the public domain; the run time is at 71 mins. It is based on an incident that happened in California in the early ’50s. At this time in the US, hitch-hiking wasn’t that uncommon. A man named Billy Cook murdered a family of 5, incl. 3 children, then killed a traveling salesman. He kidnapped 2 hunting buddies (James Burke and Forest Dameron) and took them across the border into Mexico, intending to kill them, too. However, Cook was captured by Mexican police and extradited to the US. Lupino somehow met Dameron at an event in Palm Springs, FL, and felt this story would make a compelling movie. She also met w/ Cook while he was on death row in San Quentin- wow!
Talman recalled an incident that happened shortly after the release of The Hitch-Hiker. He was driving his convertible in LA w/ the top down, and he stopped at a red light. Another driver in a convertible stopped next to him stared at him for a few seconds, then asked: “You’re the hitchhiker, right?” Talman nodded. The other driver got out of his car, slapped Tallman across the face, then drove off. Talman said: “You know, I never won an Academy Award, but I guess that was about as close as I ever will come to one.”
[1] This flawlessly acted and directed thriller sustains a uniquely tense atmosphere from start to finish, and this without reverting to explicit violence or dreadful clichés.
[2] We’ve seen many similar plots over the years, but I thought this was a fresh and unpredictable. Lupino’s direction really suits the material, the tension builds throughout, and Talman is unforgettable.
[3] This is a low budget, black and white suspense thriller that has more tension in it than a dozen recent movies. The low budget works in its favour, with tight camera angles making for a claustrophobic viewing experience. Actress Ida Lupino certainly knows what she’s doing behind the camera, as she rarely puts a foot wrong here: the pacing is exact and the performances are excellent.
Knightleyemma 