[1] Joseph Cotten is the perfect charming monster.
[2] As for Teresa Wright, she finds some good notes as well in playing off of Cotten… …those kids are just the right icing to the cake the film cooks up.
[3] One of my favorite elements in the movie is the ongoing dialogue between Henry Travers and Hume Cronyn, avid mystery readers who are constantly discussing the best ways to murder each other. Apart from being a bit of comic relief… it also demonstrates how lightly people think of murder and murderers… until they encounter them face-to-face.
-Excerpts from IMDB reviews
Young Charlie: We eat and sleep and that’s about all. We don’t even have any real conversations. We just talk.
Charlotte “Charlie” Newton (Teresa Wright) is bored w/ her uneventful life, living in Santa Rosa, CA, w/ her family. She knows exactly what they need- a visit from her well-traveled/sophisticated Uncle Charlie Oakley (Joseph Cotten), her mother’s younger brother. Out of the blue, they receive a telegram from Uncle Charlie announcing that he is coming to visit. Uncle Charlie creates a stir as the new man in the small town, dressing stylish and charming locals. Young Charlie begins to notice some odd behavior on his part. Two strangers, Graham (Macdonald Carey) and Saunders (Wallace Ford), come to interview the Newton family, saying they were chosen for a national survey. It turns out that they are (undercover) detectives!
Uncle Charlie: The whole world’s a joke to me.
Uncle Charlie: I guess heaven takes care of fools and scoundrels.
One reason Sir Alfred Hitchcock considered this to be his favorite movie was that he loved the idea of bringing menace to a small town. Hitchcock believed that the expensive and sturdy, but weathered and worn, look to the house would give the suggestion that the Newton family could be anyone, an average American family in any American town. Edna May Wonacott (book-loving/chatty Ann) and Estelle Jewell (Young Charlie’s friend Catherine) were locals of Santa Rosa, where the movie was filmed. Many of the extras were also locals of the town. The story is lightened up by the patriarch, Joseph (Henry Travers), and his eccentric neighbor, Herbie (Hume Cronyn- in his first movie).
Young Charlie: We’re not just an uncle and a niece. It’s something else. I know you. I know you don’t tell people a lot of things. I don’t either. I have a feeling that inside you there’s something nobody knows about… something secret and wonderful. I’ll find it out.
In his interview with François Truffaut in 1967, Sir Alfred Hitchcock said the dense, black smoke coming from the train that brings Charles to town was a deliberate symbol of imminent evil. Some viewers may have missed his cameo; he is playing cards on the train w/ his back to the audience. The waltz tune is Franz Lehár’s “the Merry Widow;” the nickname of the killer is the Merry Widow killer. Charlie’s sister, Emma (Patricia Collinge), mentions that he’d had an accident on a bike as a boy; his personality changed after the accident (getting into mischief). I learned that Collinge wrote the romantic scene in the garage between Young Charlie and Graham.
The title derives from Matthew Arnold’s poem Dover Beach (1867):
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.
Mae: What do you want, Joe, my life’s history? Here it is in four words: big ideas, small results.
Directed by Lee Strasberg, Clifford Odets’ play, Clash by Night, had a short Broadway run from late 1941 to early 1942. The cast included Robert Ryan as Joe Doyle (the character who is Marilyn Monroe’s boyfriend in the film), Joseph Schildkraut as Earl Pfeiffer, Lee J. Cobb as Jerry Wilenski, and Tallulah Bankhead as Mae Doyle. Wow, how cool would it have been to see Cobb (one of Hollywood’s best character actors) perform live!? The production revolved around a Polish family on Staten Island, NY, before the US gets into WWII. In the original play, Jerry (the cuckolded husband) kills Earl (his wife’s lover) in their climactic fight; Hollywood (of course) had a different idea.
Earl: Jerry’s the salt of the earth, but he’s not the right seasoning for you.
Mae: What kind of seasoning do I need?
Earl: You’re like me. A dash of Tabasco or the meat tastes flat.
This was one of Monroe’s early roles, she was under an acting coach (who worked for 20th Century Fox where Monroe, then only 25, was on contract) and wanted her on the set. The coach would stand behind director Fritz Lang and tell her when a scene was good enough. When Lang (known for his difficult personality) realized this, he demanded the coach leave the set. After Monroe complained and wouldn’t act w/o her, Lang allowed the coach to return, on the condition that she not direct Monroe. The actress was loaned out to RKO Pictures for this film; she shows a lot of potential here (brightening up the mood of the story).
Jerry: I like you – you know that.
Mae: You don’t know anything about me. What kind of an animal am I? Do I have fangs? Do I purr? What jungle am I from? You don’t know a thing about me.
The film noir drama is set Monterey, CA, a town where almost everyone is connected to the commercial fishing industry. After 10 yrs, Mae Doyle (Barbara Stanwyck) returns home, feeling tired, bitter, and depressed. Her macho/judgmental younger brother, Joe (Keith Andes), wonders what she has been doing w/ her life. Mae fell for a married politician who died; she has nowhere left to go. Joe’s spunky/beautiful 20 y.o. girlfriend, Peggy (Monroe in an early supporting role), takes a liking to Mae. After a short time dating, Mae decides to marry a fisherman, Jerry D’Amato (Paul Douglas), a naive/optimistic bear-like man who feels “safe.” Of course, she isn’t in love w/ Jerry (and he knows that). After a year of domestic life and having a baby girl, Mae feels stifled. She has an affair w/ Jerry’s friend, Earl Pfeiffer (Robert Ryan), a film projectionist who is recently divorced. Jerry finds out about their betrayal- he could explode w/ jealousy and anger!
Earl: Mae – what do you really think of me?
Mae: [coolly] You impress me as a man who needs a new suit of clothes or a new love affair – but he doesn’t know which.
Earl: [stung] You can’t make me any smaller. I happen to be pre-shrunk.
There is some great scenery- the ocean waves breaking on the beach, seagulls flocking, seals playing on rocks. We see the rough-and-tumble lives of blue-collar people; Peggy works in a fish cannery while Joe works on Jerry’s boat. People in this community fight loudly and drink heavily (drowning the disappointments of their unfulfilled lives). Jerry’s Sicilian immigrant father drinks b/c he can’t get any work at his advanced age. His bachelor uncle, Vince, also drinks and avoids responsibility.
[1] The power of “Clash by Night” lies… in the no-nonsense acting of Stanwyck and Ryan, tough as nails, but raw at the core. They have an animal eroticism together between them that sparkles like fireworks, but they are also, alas, quite self-pitying.
[2] Stanwyck has never better than she is here, and she dominates the film, vanquishing such heavyweight co-stars… she is magnificent in this movie, which seems almost to flow from her. As her simple, trusting husband Paul Douglas is almost as good; and Robert Ryan nearly steals the show as a sadistic loser who is somehow magnetic, pathetic and yet highly observant, all at the same time.
-Excerpts from IMDB reviews
I heard about this movie from a film noir group on Facebook; you can rent it for $2.99 on Amazon. It has some fine/memorable dialogue, which is why many people watch classics. Stanwyck (who was going through a divorce from actor Robert Taylor) inhabits her conflicted character; she is rarely at ease (note her body language, esp. in the early scenes). This is the type of role usually given to an anti-hero man in Hollywood. Instead, Mae is a conflicted woman who must choose between Jerry- the nice guy (security/respectability)- and Earl- the bad boy (danger/uncertainty). Though these are middle-aged people, they are not quite settled in their minds. Mae and Earl expected much more from life; they are drawn to each other like magnets. Jerry is content to be the breadwinner, husband, and father. The younger couple project a different energy in their scenes, but soon we realize that Joe would be a controlling husband (and perhaps) diminish Peggy’s spirited personality.
Odets was born/raised in Philly and came from Jewish heritage (Russian and Romanian). He dropped out of HS to work as an actor. He was understudy on Broadway in 1929 to the young Spencer Tracy in Conflict by Warren F. Lawrence. Odets became one of the founding members of The Group Theatre, which became one of the most influential companies in the history of the American stage. They based their acting technique (new to the US) created by Russian actor/director Constantin Stanislavski. It was further developed by Group Theatre director Lee Strasberg and became known as The Method (or Method Acting). From working in the theater, Odets developed a great love of language, and was inspired to write his own plays. His socially relevant dramas, popular during the time of the Great Depression, inspired several generations of playwrights: Arthur Miller, Paddy Chayefsky, Neil Simon, and David Mamet.
The Enterprise is transporting several diplomatic delegations to a conference on Babel re: the future of the mineral-rich planet, Coridan. This ep introduces the Andorians and the Tellarites; later in the series, we learn that they are two of the four founding members of the United Federation of Planets. Among the passengers are Mr. Spock’s parents, the Vulcan ambassador, Sarek (Marc Lenard), and his human wife, Amanda (Jane Wyatt from Father Knows Best). There is obviously a chill between father and son. It turns out that Sarek is very ill w/ a heart condition; Dr. McCoy wonders if/how he can be saved. To add to the drama, there tension among the delegations; a spy is transmitting messages to a hostile ship which is following closely. When Capt. Kirk is wounded in an attack, Spock takes command just as his father needs a transfusion (that only he can provide)!
In the first ep ever to feature Spock’s parents (who are fan faves); Lenard received more fan mail than Nimoy for two weeks after this aired. We learn that Vulcans have a longer lifespan than humans. Being new to the show, Lenard and Wyatt asked Nimoy for advice on how the two of them could display their love in a subtle way. Nimoy suggested Sarek and Amanda touch and stroke each other’s hand by the index and middle finger. In S1 of TOS, Lenard (who was only 6 yrs older than Nimoy) played the unnamed Romulan commander in another terrific ep- Balance of Terror. Lenard had been a potential candidate for the recasting of Spock (when salary negotiations w/ Nimoy were going on at the end of S1).
Writer D.C. Fontana chose the name “Amanda” for Spock’s mother b/c it means “worthy of love” in Latin- how cool! She had become curious about past references to Spock’s background and fully fleshed them out here. Fontana also thought this would be an interesting way to reflect issues of the Generation Gap. Roddenberry wanted Kirk to be more involved with the story, so he wrote the scene where Amanda explains to Kirk about the rift between her son and husband. However, Fontana felt that it would be inappropriate for Amanda to discuss this w/ someone she had just met.
[1] …though there are some humorous moments, it’s mostly an episode driven by intrigue, suspense and interesting drama on the Vulcan side, where even more backstory is revealed on Spock…
Nimoy gives another subtly excellent performance; his demeanor is slightly different when speaking with his mother about the situation between himself and his father. Despite the Vulcan reserve, you sense his discomfort and sadness.
[2] The presence of Spock’s parents allows writers D.C. Fontana and Gene Roddenberry to further their character development of Spock as a man half-Vulcan and half-human. There are a number of wryly humorous moments between Spock and his father, who we learn not only have the normal Vulcan unemotional relationship, but who have some bad feelings towards each other. Maybe because they’re feelings, they don’t talk about it, and just ignore the situation as best as they can. Amanda… proves to be a surprising fulcrum balancing the two.
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.
Bored with being a film star, Hedy became an accomplished amateur scientist, designing in the early 1940’s the basics of spread spectrum and frequency hopping for radio waves – a concept embodied in every wi-fi and cell phone in use today.
…I feel like the writers read Jane Eyre and Gone with the Wind in the same sitting and said “let’s combine the two”. FYI “Strange” was the term used for “adulteress women” back in the day.
I really see this movie as about a woman who learns that she can “pretend” her way into being a better person. She may seem sociopathic or narcissistic to some, but she is desperate to survive and thrive in a world where she has no education, no money, and only her looks and charm in a rough land.
-Excerpts from reviews on Amazon
I came across this film from a Facebook group; it is in the public domain (as are most films directed by Edgar G. Ulmer). It has a mix of historical melodrama, film noir, and feminism. In 1824 in the port city of Bangor, Maine, Jenny Hagar grows up w/o the love and guidance of her mother (who left her and her drunken/violent father). As a girl, she tries to drown her friend, Ephraim, but then saves him (while other kids look on in wonder). A wealthy local man, Judge Saladine, stops his carriage upon seeing this commotion. His young daughter, Meg, asks if Jenny can go to boarding school w/ her; the judge considers it for a moment, then says Jenny can come work/live in his household. Jenny’s father, Tim (Dennis Hoey), admits that he’s not equipped to raise a child properly. However, Jenny turns down the offer. She demonstrates both her anger at the inequity of her circumstances and her determination to rise by her bootstraps. Jenny tells her father not to worry, b/c “I’ll grow up to be beautiful!” Douglas Sirk (uncredited) directed the opening sequence.
Men like me… and it’s men that have the money in this world! -Jenny declares to her father
After her father hears of Jenny (Hedy Lamarr) walking out w/ a young sailor, he beats her so roughly that she runs to the richest man in town. The owner of several businesses, Isaiah Poster (Gene Lockhart), sent Ephraim (his son) away to college to keep him away from Jenny. After Jenny is cleaned up by his housekeeper, Mr. Poster marries Jenny that same night! He discussed the matter of her safety w/ Judge Saladine (Alan Napier) and the town pastor, Rev. Thatcher (Moroni Olson). Napier would later become famous as Alfred the Butler, in the 1960s series- Batman.
It wasn’t by knowing how to set a table that Cleopatra got along. -Jenny comments to her friend Meg
Jenny pledges a generous amount to the church, earning the respect of her neighbors. She starts doing charity work in the community, visiting those in need w/ food and kind words. Jenny remembers where she came from and she means to do something about those she left behind. When Epraim (Louis Hayward) returns home, he’s still deeply in love w/ Jenny, and she encourages his attentions. Mr. Poster is eager to have his son gone. After her husband falls ill, Jenny nurses him herself. Mr. Poster recovers and other town leaders come to him for help w/ a violent riot. Jenny is so concerned for her older friend, Lena (June Storey), that she takes her in after her tavern is burned down. Unlike Scarlett in Gone With the Wind, Jenny doesn’t care for propriety; she despises it, recognizing that its standards are applied far more strictly to women than men. Some of Mr. Poster’s lumbermen are called in from the hills to serve as a police force. Jenny becomes infatuated w/ one of the men; he is Meg’s (Hillary Brooke) fiance, John Evered (George Sanders).
There are similarities between Jenny Hager and Scarlett O’Hara, but Jenny’s intentions and the root of her flaws are much darker and more mysterious.
So often in films, femme fatales are portrayed to have no conscience, no sense of compassion for others, and yet Jenny does.
…Ulmer has crafted a moody and daring picture that strikes devilish notes without banging the drum too loudly. Striking scenes and imagery are many…
