Tag: Film Noir

“The Blue Gardenia” (1953) starring Anne Baxter, Richard Conte, & Raymond Burr

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In LA, on her birthday, telephone operator Norah Larkin (Anne Baxter), dresses up and makes a nice dinner at home. She sits w/ the picture of her fiance (a soldier in the Korean War) and starts to read his most recent letter. It turns out that he’s in love w/ an Army nurse who helped him recover and plans to marry her! Norah, though very upset/vulnerable, accepts a blind date from a man that calls up her place (wanting to reach one of her roommates). This man is an artist and noted “wolf” w/ women- Harry Prebble (Raymond Burr). He and Norah chat, eat Chinese food, and drink at the Blue Gardenia Club. Norah has some strong cocktails w/ rum (Polynesian Pearl Divers) and gets drunk. Harry takes her to his place and forces himself on her; Norah hits him w/ a poker on the head. The next morning, she wakes up at her own apt, but can’t remember what happened the previous night! In the newspaper, Norah reads that Harry is dead; also the police have her handkerchief, black pumps, and the blue gardenia she wore. Casey Mayo (Richard Conte), a star columnist, takes an interest in the murder case. Norah starts suffering from anxiety, thinking that she killed Harry.

The iconic musician, Nat “King” Cole, is seen at the piano singing the theme song- “The Blue Gardenia”- in the club. The police captain who has a friendly rivalry w/ Casey is played by George Reeves (who gained fame as TV’s Superman). Norah’s divorced/wise roommate, Crystal (Ann Sothern), notices her friend’s change in mood/behavior. Their quirky younger roommate, Sally (Jeff Donnell), prefers bloody thrillers by Mickey Mallet to a night out. This is an obvious spoof on Mickey Spillane, known for his Mike Hammer novels. There is another Hammer connection which noir-istas might notice; the photo of Norah’s fiance is that of actor Ralph Meeker (who played Hammer in Kiss Me Deadly).

This is considered a lesser noir from a master of the genre, director Fritz Lang; it was shot in only 20 days. Lang and cinematographer (Nicholas Musuraca) developed a revolutionary dolly for the camera that allowed for sustained tracking shots and intimate close-ups. Lang liked tracking into a close-up shot of an actor over cutting to a close-up later in editing. I liked the interplay between the roommates, the chemistry between Baxter and Conte, the music, and the mood. The ending is wrapped up too neatly and feels rushed. The story was by Vera Caspary, who also wrote Scandal Sheet, Laura, and A Letter to Three Wives. I saw it (for free) on YouTube.

[1] Fritz Lang made a specialty in harassed and harried protagonists getting themselves into some real jackpots… These are people who in fact were guilty. For the first time however Lang’s harried protagonist is a woman and Anne gives a great performance.

[2] One thing this film has going for itself is atmosphere. Making it all seem relevant is the featured song, more than just a theme, an integral part of the movie, sung by the enchanting man with the melodious voice, Nat “King” Cole, who makes a much too brief appearance…

Besides the hypnotic melody, the interplay among the three room mates, Norah Larkin (Anne Baxter), Crystal Carpenter (Ann Sothern), and Sally Ellis (Jeff Donnell), represents the apex of this enjoyable Fritz Lang outing… If “The Blue Gardenia” is to be classified at all, it would possibly be labeled lighter Noir.

[3] I am surprised that so many people who review it here seem not to grasp it. They complain about lack of suspense… It’s about Anne Baxter, the world through her point of view. Her life is a beautiful dream of hopes of love and happiness for the future, which turns into a horrible nightmare that spirals downward with sickening realism and pathos.

-Excerpts from IMDB reviews

“Murder by Contract” (1958)

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Claude (Vince Edwards) is a young man who recently held a regular job and has no history of trouble w/ the law. He also has the arrogance, intelligence, and emotional detachment to become a hit man, as he proves to Mr. Moon (a go-between to a crime boss). A string of successful hits on the East Coast gets Claude sent to LA for his latest job. He is accompanied by two minders (George and Marc): one is often nervous (Herschel Bernardi) and the other comes to admire Claude for his cool demeanor (Phillip Pine). Though self-assured in his previous kills, Claude becomes unglued learning that the target is a woman. She’s a witness set to testify against Clause’s boss, so under police protection 24/7. Claude is worried b/c women are unpredictable- they don’t do what you expect!

Claude: The only type killing that’s safe is when a stranger kills a stranger. No motive. Nothing to link the victim to the executioner. Now why would a stranger kill a stranger? Because somebody’s willing to pay. It’s business. Same as any other business.

I’m sure that the writer was thinking of Hitchcock’s Strangers on a Train (1951) when he came up w/ the above lines! You have to be in a certain mood to enjoy this type of movie; it has a lot of style, though not much dialogue. Edwards looks a bit dangerous, yet also handsome, and is comfortable in his role. He is tall (6’2″), athletic (a former swimmer), w/ thick dark hair and dark eyes. The film has some comic moments when Claude unsettles the two men sent to accompany him. Scorcese and Tarantino consider this to be one of their favorite B-movies.

[1] Is he worried about killing her because he has more moral fiber than he would like to admit or is it genuinely harder to kill a woman? Whatever the case, this is a fascinating look into a dangerous mind.

[2] Stylish direction and some interesting camera work compliment a thoughtful script. Be watching for one particularly unsettling scene which unfolds in a barber shop.

[3] Vince Edwards’ character… was also fun to enjoy. His dialogue, and just the way he carried himself through this film, was fascinating.

-Excerpts from IMDB reviews

“Kiss Me Deadly” (1955)

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Christina: You have only one real lasting love.

Mike: Now who could that be?

Christina: You. You’re one of those self-indulgent males who thinks about nothing but his clothes, his car, himself. Bet you do push-ups every morning just to keep your belly hard.

A scared young woman in a raincoat is running barefoot on the highway, trying to flag down a car. After some cars pass her by, the woman sees a fancy sports car approaching and stands directly in its path! PI Mike Hammer (Ralph Meeker) is behind the wheel, and after almost hitting the woman, he tells her to get in. The woman’s name is Christina Bailey (Cloris Leachman in her first movie role); she’s on the run from a mental institution (“laughing house”). Whoever was after her eventually catches up w/ them! Christina dies while being questioned under some sort of torture. The killers fake an accident by pushing Hammer’s car off the road; he survives and wakes up in hospital. Mike starts to investigate Christina’s death, even after told by the police (and FBI) to stay out of it.

In the hands of the director Robert Aldrich, the film becomes a starting point for a delirious expression of 1950s anxiety and paranoia, starting with opening credits that run backwards…

Noir b&w has never been photographed (Earnest Laszlo) more effectively than some of those night scenes… plus the long, dark hallways and staircases that suggest an enclosed world without redemption.

Right from the electric opening scene and the audacious opening credit sequence, the audience is drawn into Hammer’s seedy world, where morality is suspended, and the credo of the end justifying the means dominates Hammer’s actions.

 The “great whatsit” which Hammer searches for is one of the great movie gimmicks…

-Excerpts from IMDB movies

Based on Mickey Spillane’s novel and adapted by Al Bezzerides, the movie has an unique style and it’s recommended for fans of film noir. The story is transported from NYC to LA; the suitcase filled w/ drugs (too controversial) becomes something more dangerous.This is one of the first instances where a car in traffic looks realistic. Aldrich strapped a camera to the back of Hammer’s car. Martin Scorcese and Quentin Tarantino were influenced by this B movie.

Velda: Do me a favor, will you? Keep away from the windows. Somebody might… blow you a kiss.

It’s implied the characters have a sex life. Some of the camera angles are modern and unusual. The supporting characters are diverse; we see Greek and Italian immigrants, a black boxing coach (Juano Hernandez from The Breaking Point), and a nightclub singer and bartender (who are also black). The acting is a mixed bag, but Meeker does a fine job as the tough, unflinching protagonist; he was a theater actor. We hear a song by Nat King Cole in the opening (“I’d Rather Have the Blues”). You can watch the movie on YouTube (for free)!

“A Double Life” (1947) starring Ronald Colman, Signe Hasso, Edmond O’Brien, & Shelley Winters

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[1] Electrifying suspense, laced with crackling dialogue and melodrama. Winters, in one of her earliest roles, is divine… This film gives new meaning to the phrase “disappearing into a character.”

[2] Milton Krasner’s dark cinematography and Miklos Rozsa’s dissonant score supports George Cukor’s pessimistic direction.

[3] …can an actor get that wrapped up in a role? I heard different things about this. Some actors have admitted taking a role home with them from the theater or movie set. Others have found a role they have to be stimulating, influencing them on a new cause of action regarding their lives or some aspect of life.

-Excerpts from IMDB reviews

Anthony John (Ronald Colman in an Oscar winning role) is a successful/middle-aged/British actor whose life is influenced by the characters he plays. When he’s acting in a comedy, he’s light-hearted and fun to be around. When he’s acting in a tragedy, he becomes brooding and very difficult to handle. That’s the reason why his Swedish ex-wife, Brita (Signe Hasso), divorced him 2 years ago. They still love each other, respectfully work together, but can’t live together. One night, Anthony ends up at a restaurant in Little Italy; he meets a young waitress, Pat (Shelley Winters). He accepts the title role in Shakespeare’s Othello and devotes himself entirely to the challenging part. Anthony begins to suspect that Brita is involved w/ a press agent, Bill (Edmond O’Brien), and grows jealous!

Anthony: You want to know my name- Martin.

Pat: Thank you!

Anthony: Also Ernest and Paul, and Hamlet and Jo and, maybe, Othello. I’m French and Russian and English and Norwegian.

Pat: I got mixed blood too!

The role of Anthony John was written for Laurence Olivier, but he was unavailable when the film went into production. In real life, actor Paul Robeson (the first black actor to star in Othello on Broadway) had just completed the longest run of the play. In the movie, Anthony and Brita act in more than 300 performances of the tragedy; I assumed this was highly unlikely. I learned that most Shakespeare productions on Broadway are lucky to run several months; Richard Burton had a 4 month stint in a 1964 production of Hamlet. Director George Cukor (best-known as a “women’s director”) does a fine job w/ darker subject matter than he usually handles. The script was written by the husband-and-wife team of Garson Kanin and Ruth Gordon. This talented duo also wrote Adam’s Rib (1949) and Pat and Mike (1952), which became films starring two iconic actors (Katharine Hepburn and Spencer Tracy).

Anthony [narrating]: The part begins to seep into your life, and the battle begins. Reality against imagination.

When an actor has to play an actor, I’m sure it’s a challenge. Colman shows the character’s tortured double personality, using costumes, facial expressions, body language, and tone of voice. He reveals what Anthony is going through as himself and as Othello. I esp. liked the witty banter between Anthony and Brita; they seem like a real former couple who turned into close friends. Winters looks sweet, vulnerable, yet also has a bit of toughness; this was her breakout role (after small roles in 20 movies). I learned that she was roommates w/ Marilyn Monroe when they were new to Hollywood. Though they went to a lot of parties, Winters commented that Marilyn always gravitated toward the intellectuals. If you like Shakespeare and film noir (like me), check this unique movie out!

“Fallen Angel” (1945) starring Alice Faye, Dana Andrews, & Linda Darnell

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[1] The tainted, ambiguous relationships that Dana Andrews forges… make this film a dark study in romantic pathology. It also features Linda Darnell at her most sultry and mercenary… Andrews’ very layered tension between rich good gal Faye and gold-digging bad girl Darnell keeps the viewer off balance all the way through.

[2] Preminger’s fluid camera work and long takes here reach perfection… Each scene is shot and elaborated with precision, with minimum amount of edits to elucidate the emotions of the characters.

The magnificent chiaroscuro photography by Joseph LaShelle has certain crispness and lucidity…

-Excerpts from IMDB reviews

Stella: What do you do when you don’t tell fortunes?

Eric: I help make ’em for others.

Eric Stanton (Dana Andrews) is thrown off a Greyhound bus for not having enough fare to reach San Francisco. With just a dollar in his pocket, he lands in Walton, a small coastal town. Eric goes to a little diner by the beach and meets the owner, Pop (Perry Kilbride), retired NYC cop Mark Judd (Charles Bickford), and young waitress Stella (Linda Darnell- then only 21 y.o.) An “old friend” of Eric’s, Professor Madley (John Carradine- in a brief supporting role), is coming to the local hotel to hold a “spiritual” (psychic) show. Madley’s assistant, Ellis, laments that there may not be a show, since the former mayor’s daughter (a respected leader) disapproves of “spooks.” Eric (“a promoter”) goes to the Mills house to speak w/ this woman, Clara (Anne Revere- a character actress descended from Paul Revere). She’s unimpressed by his words, but her younger sister, June (Alice Faye), later convinces her to support the show. Then the drama begins!

Stella [to Eric on the beach]: You talk different, sure. But you drive just like the rest. Well, you’ve got the wrong girl.

TCM’s Eddie Muller noted that it’s a shame that this film suffered, as it was compared to director Otto Preminger’s previous film- Laura (1944)- which was a big hit. I saw Fallen Angel recently and really enjoyed it! The story comes from a novel written by a young woman (Mary Hallen); she wrote under a male pen name. Preminger (known for his demanding personality) was one of the best directors of his time; he made Angel Face (1953) and Anatomy of a Murder (1954)- two notable noir movies. He used much of the crew from Laura; we also see Dorothy Adams (Laura’s loyal “domestic”) as Stella’s neighbor. Andrews (who played a straight-shooting NYC cop in Laura) didn’t want to do Fallen Angel, as he disliked his character. I thought he did a fine job playing a charming con man (who can be shady or sweet). He and Darnell have terrific chemistry when they banter and are esp. good at playing the romance angle.

Eric [to June after their first date]: No. One kiss goes a long way with you. You need a guy who will take it the same way. Who will give you marriage, with all the trimmings. Home and kids. Who will walk to church with you every Sunday. Save all your good nights for him.

Faye (at age 28 y.o.) was already a big star in Hollywood; this is why she has top billing. After taking a break to start a family, she was very disappointed w/ how 20th Century Fox finally cut this film. Faye left the studio once she saw that her best scenes were edited out. Instead of balancing out the love triangle, producer Daryl Zanuck put the focus more on Eric and Stella; he was involved in a romantic relationship w/ Darnell during filming. Thus, Eric and June’s relationship comes off as rushed. There is a great scene between Andrews and Faye in the third act. You can see the movie (in HD) below!