Tag: Film Noir

“Raw Deal” (1948) starring Dennis O’Keefe, Claire Trevor, & Marsha Hunt

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Bullets! Women! –Can’t Hold a Man like This! -Tagline

This is one of only a few noir films narrated by a woman – Claire Trevor (the “Grand Dame” of film noir). -Eddie Muller (TCM) in intro to movie

After a year behind bars, Joe Sullivan (Dennis O’Keefe), is anxious to get out and “breathe” again. He took the rap for a San Fran gangster, Rick Coyle (Raymond Burr), who owes him $50,000 (which would equal about $615,000 today). Rick sets up a jail break for Joe, thinking he’ll be caught escaping, locked away for many yrs, or killed. However, w/ the help of his street-wise/loyal gf, Pat (Claire Trevor), and a young/ idealistic social worker, Ann (Marsha Hunt), Joe gets a LOT further than he was supposed to. Is Joe a cold-hearted criminal, or is there still goodness under that tough exterior? Will Joe stay w/ Pat or fall for Ann?

Joe: [being visited in prison by Ann] Next time you come up, don’t wear that perfume.

Ann: Why not?

Joe: It doesn’t help a guy’s good behavior.

This (cult classic) film noir was directed by (NOT yet famous) Anthony Mann; he is more known for Westerns. The screenplay was written by John C. Higgins; there is memorable dialogue packed into 80 mins. The cinematographer is John Alton (one of the best); he can do a LOT w/ a little (low budget). O’Keefe (a leading man in B-movies) does a good job; he’s tall, traditionally masculine in looks, yet the acting is subtle. We sense that there are strong emotions coiled inside Joe. Rick (a V nasty villain) throws a tureen on fire at a woman- yikes! Burr is shot from the waist up, so he looks like a menacing “heavy.” Rick’s dressing gown is a silk and he smokes w/ a solid gold Cartier cigarette holder. It is the two women who shine in this film; they’re more complicated than we expect! Trevor (who usually had many glam outfits) mostly wears one suit and hat here. Trevor and Hunt play off each other V well. As one thoughtful viewer said: “They act like a devil and an angel on Joe’s shoulders.”

Joe: You’re wonderful, baby. I don’t know what I’d do without you.

Pat: Remember to tell me later, with gestures.

Some viewers commented on the “dream-like” tone; others were reminded of tropes common in “fairytales.” Pat has a sorrowful tone to her narration; underneath, a theremin plays (which has an unusual sound). Alton makes it look like “stars” are shining in her eyes when Pat visits Joe; she’s in love and goes along w/ his plans. Looking for another ally, Joe sneaks into Ann’s apt through her bedroom window. We know he is (potentially) dangerous, though he awakens her w/ a gentle kiss (as we’d expect from a fairytale prince). Joe and Ann share a pivotal/romantic scene in the woods (which could symbolize a place of knowledge and fear). This is a must-see for noir-istas; you can rent it on Amazon.

[1] Some of the characters may be losers but the movie is a true winner.

[2] …manages to seem authentic all the way through because it doesn’t hold back on the violence or the threat of violence.

[3] Mann & Alton move the tight screenplay thru a shadowy world of half-lit images and high contrast brutality. Jittery cameras are supplemented by unbalanced angles…

-Excerpts from IMDb reviews

“Black Widow” (1954) starring Ginger Rogers, Van Heflin, Gene Tierney, & George Raft

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At a cocktail party thrown by nabes, a married Broadway writer/producer, Peter Denver (Van Heflin), meets a 20 y.o. young woman, Nancy “Nanny” Ordway (Peggy Ann Gardiner), an aspiring writer. He tells his actress/wife, Iris (Gene Tierney- in a small role), about this new acquaintance; she’s out of town helping her ailing mom. Peter decides to take her under his wing, giving her advice, and a bright place to write (his apt). A few weeks later, Nanny is found dead in his apt! At first thought to be a suicide, it is later discovered that she was murdered; suspicion falls on Peter. He begins his own investigation in order to clear his name; he discovers that Nanny wasn’t as naive/innocent as she appeared to be. The lead cop on the case, Lt. Bruce, is played by George Raft (in his gray-haired/character actor era). Classic film fans may know him from his leading roles (’30s-’40s).

Peter’s nabe/friend, Brian Mullen (Reginald Gardiner), started an affair w/ Nanny (who became pregnant) b/c she made him feel appreciated. This happened weeks before she met Peter. Brian (who has no current job) is married to a successful/glam Bdwy actress, Carlotta “Lottie” Marin (Ginger Rogers). From the early scenes, we see that Lottie is “the one that wears the pants” (and has a strong personality). Rogers uses a haughty/theatrical voice in her role; she wears several stylish outfits. Though Brian acts humble/self-deprecating in public re: being “a nobody,” Nanny realizes that it bothers him to be perceived of as less than his wife.

This is a movie that made me wonder: Are men doing OK? It seems that (even today), some men have a prob when gfs/wives make more money and/or have more power/influence than themselves. Actress Keke Palmer’s bf (w/ whom she had a baby recently) called her out (on Twitter) re: her outfit at an Usher concert. I don’t know what (IF anything) he does for a living; I’m guessing that Palmer is the breadwinner. Sarah Brady, a pro surfer/ex-gf of Jonah Hill, released texts (on IG) where the actor was trying to counsel her re: clothing and friendships when they were a couple. Were these actions (taken by Palmer’s bf and Hill’s ex) on social media in good taste? No, BUT they do reveal the insecurity some men feel when they can’t control the women in their lives. So why NOT pursue women who have more “regular” jobs or those who choose to dress “conservative?” Well, that wouldn’t be a challenge to men w/ this mindset! They want to tear down women that society puts above them (when it comes to money, status, looks, etc.)

“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).

“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

Quick Reviews of Three Noir Films

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Impact (1949) starring Brian Donlevy, Ella Raines, Charles Coburn, & Helen Walker

A unfaithful wife plots with her lover to kill her husband, but the lover is accidentally killed instead. The husband stays in hiding and lets his wife be charged with conspiracy.

This is a B-movie w/ a lead actor (Donlevy) who usually plays the 2nd lead. Walker is the cold-hearted femme fatale in the big city; Raines is the charming small-town widow/businesswoman (good girl). Raines is esp. lovely, even wearing overalls! As usual, Coburn does a fine job; here he plays a wise (yet also kindly) cop. There are a LOT of twists and turns that keep it interesting. I was reminded of Out of the Past in the country life scenes. If you want to take a deeper dive into noir, then check this out.

Niagara (1953) starring Marilyn Monroe, Joseph Cotten, & Jean Peters

As two couples are visiting Niagara Falls, tensions between one wife and her husband reach the level of murder.

This is a rare (technicolor) noir which highlights Niagara Falls and Monroe- two gorgeous sights (no doubt)! Two V different types of marrieds staying at a mobile lodge in Canada get to know each other… and vacay drama ensues! There are many close-ups on Monroe’s face (always w/ glam makeup), her figure, and signature walk- the typical “male gaze” comes to mind. Monroe does a good job, as does Cotten as her troubled/PTSD-affected war vet husband. Peters is beautiful also, BUT she gets the “girl next door” role and some action scenes. Unfortunately, Casey Adams (more known for his light/TV roles) acts like he’s in a totally different movie! If you’re a fan of Monroe and like suspense/psychological dramas (such as Hitchcock), then I esp. recommend this movie.

Elevator to the Gallows (1958) starring Jeanne Moreau & Maurice Ronet

A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.

This film ushered in the French new wave; it was directed by Louis Malle (who was ONLY 24 y.o.) I’m a fan of his 1992 erotic thriller- Damage (starring Jeremy Irons and Juliette Binoche). The music was composed by an American jazz great- Miles Davis. Malle shot Moreau (before fame) in close-up and natural light (often w/o make-up). The scene of Moreau walking down the Champs Elysees at night was shot using fast film in a camera mounted on a baby carriage; it used ONLY natural light from the street and store windows. Check it out if you’re in the mood for something different.