Category: Movie Reviews

“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.

“The Breaking Point” (1950) starring John Garfield, Patricia Neal, & Phyllis Thaxter

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[1] Peppered with sparkling dialogue throughout, everything in the film is splendidly executed. The movie just rattles along at a well defined pace.

[2] ...this contains one of John Garfield’s best performances. Always a fine actor, he gets under the skin of his character and makes you understand his desperation and moral conflict, he’s riveting every second he is on screen.

[3] The relationship between Juano Hernandez’ Wesley and Garfield’s Harry is about as race neutral as it could be. … they are partners – and they seem truly friends beyond their business relationship.

-Excerpts from IMDB reviews

Tagline: There’s nothing more deadly than a gentle man pushed too far!

This film is smart, touching, entertaining, well-acted, and well-shot. The Breaking Point comes from a novel by Ernest Hemingway (To Have and Have Not). This was identified by critic Thom Andersen as an example of film gris, a suggested sub-category of film noir w/ a left-wing narrative. Michael Curtiz, who also directed Casablanca, shows he had a tough side. The screenplay by Ranald MacDougall is considered (in certain scenes) to be even better than the novel! TCM’s Eddie Muller noted that star John Garfield thought this was his best performance and the film of which he was most proud. He provided many ideas to the producers and director, unofficially taking on an executive producer role. This was Garfield’s second to last role before being blacklisted.

Harry: A man alone ain’t got a chance.

Garfield was the type of leading man who resembled a working man- rugged, blue collar, and wearing a leather jacket. This kind of leading man would rise to prominence after WWII w/ actors such as: James Dean, Marlon Brando, Paul Newman, and Steve McQueen. In Balboa, CA, Capt. Harry Morgan (Garfield) doesn’t quite fit in during peacetime. He earned a Purple Heart for his service in WWII, but now struggles to make payments on his boat and provide for his family (wife and two daughters). The domestic scenes between Harry and wife- Lucy (Phyllis Thaxter)- are touching and realistic. Though devoted to her stubborn husband, she’s determined and strong-willed. Harry’s mate, Wesley Park (Juano Hernandez- a pioneer among Black actors), is loyal, wise and patient; they worked together on the boat for 12 yrs. Unlike some other characters of the period, “he is not an example of noble Black suffering” (as Muller commented). Wesley has a shy/young son who walks to school w/ Harry’s daughters.

Harry: [to Leona as she reaches into his shirt pocket for a cigarette] Yuh know, one of these days you’re gonna get your arm broke reachin’ for something that don’t belong to yuh.

Leona: It’s all in a good cause.

The femme fatale in the story is Leona Charles (Patricia Neal); she meets Harry on one of his trips down to Mexico w/ her older male friend, Hannagan (Ralph Dumke). Leona is a platinum blonde, wears nice clothes, and leads w/ her feminine charms. Harry tries to ignore her (but in a nice manner); she keeps trying to get him interested. After the two-week fishing trip, Hannagan suddenly flies off before paying Harry, and stranding Leona! A shady lawyer, F.R. Duncan (Wallace Ford), offers to help Harry make up for the loss and maybe earn a lot more. Harry has never done anything illegal, but now is faced w/ a desperate situation.

“They Drive By Night” (1940) starring George Raft, Humphrey Bogart, Ann Sheridan, & Ida Lupino

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[1] The dialogue is salty and well-delivered… while the background stuff- the diners, rented rooms and garages- is beautifully detailed and always believable.

[2] …it features a top-flight cast of actors who are usually fun to watch.

[3] It’s mile-a-minute banter delivered by pros (this film played a big part in landing bigger roles for Bogie).

-Excerpts from IMDB reviews

[Paul is checking out Cassie, a waitress, at a roadside diner.]

Cassie Hartley: All right, that’s enough of the X-ray treatment.

This is the story of the Fabrini brothers, ladies’ man Joe (George Raft) and married man Paul (Humphrey Bogart), independent-minded truckers somewhere in California. They’d like to buy their own rig, but can’t afford one. There is tough competition and long-haul trucking is dangerous. Cassie Hartley (Ann Sheridan) is the wise-cracking waitress the brothers pick up on the road. Joe obviously has eyes for her. Later that night, they witness a terrible accident after a fellow trucker falls asleep at the wheel! Later on, circumstances drive them to work for Ed Carlsen (Alan Hale), a former trucker who runs his own business. His much younger wife, Lana (Ida Lupino), is very interested in Joe.

Joe Fabrini: Do you believe in love at first sight?

Cassie Hartley: It saves a lot of time.

This film is considered an underrated/lesser-known noir. Raft and Bogart are close in age and have great chemistry, so you believe them as brothers. It’s refreshing to see Bogie (before he became a leading man) as a regular guy; I don’t think I’ve seen him smile so much! I reviewed Thieves’ Highway (1949) earlier on this blog; it also deals w/ the trucking business. The screenplay of They Drive by Night was based on a novel by A. I. “Buzz” Bezzerides, who wrote Thieves’ Highway (based on his experiences as a first gen American/former trucker).

Producer Mark Hellinger’s wife, Gladys Glad (a former showgirl on Broadway for Ziegfeld), was responsible for getting this film made. Hellinger brought home a stack of scripts to read, skimmed this script, but felt that “nobody would pay money to see a bunch of truck drivers.” Glad read this script, liked it, and pressured her husband to read it. The film became the sleeper hit for Warner Bros. It was directed by Raoul Walsh and shot in just 33 days (in sequence).