Tag: Film Noir

“Yellow Sky” (1948) starring Gregory Peck, Anne Baxter, & Richard Widmark

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In 1867 in the West, a band of bank robbers flee from the U.S. Cavalry into the desert on horseback. These men are: James Dawson AKA Stretch (Gregory Peck- one of Hollywood’s top leading men), Dude (Richard Widmark- a film noir darling/respected character actor), Lengthy (John Russell- a tall/darkly handsome actor who later became a lead on TV), Bull Run (Robert Arthur), Half Pint (Harry Morgan- long before fame on M*A*S*H), and Walrus (Charles Kemper). Near death from lack of water, all (except Walrus), stumble into what appears to be a ghost town (Yellow Sky). However, they soon discover a prospector, Grandpa (James Burton), and his “tomboy” granddaughter, Constance Mae AKA Mike (Anne Baxter- already an Oscar winner for her supporting role in All About Eve). After Dude discovers that this old man has been mining gold, the gang plan to steal from his claim.

James (Stretch) Dawson: Quite a punch you got there, ma’am. Come in mighty handy when you get married.

I learned that Widmark acted in a few Westerns, thanks to another classic movie fan (via Twitter). Yellow Sky is categorized as a noir Western. The director’s name may be familiar; William Wellman directed the original version of A Star is Born (1937). The story was by W.R. Burnett (one of the most influential writers in film history); the screenplay was by Lamar Trotti. The music was composed by one of the best in the field, Alfred Newman; he created the 20th Century Fox logo theme (which is still used today). In 1940, Newman was nominated for 4 Oscars for 4 different films- wow!

Shakespeare’s The Tempest influenced the plot/characters; I learned this from the review that indie director John Sayles did. However, Wellman said in the book, The Men Who Made the Movies, that he had no idea of the connection. In the fight between Lengthy and Mike at the spring, Baxter’s stunt double- Martha Crawford- was used. Peck broke his ankle in 3 places after falling from his horse in one scene, so the man wrestling w/ Baxter in the hay was his stunt double, Jock Mahoney. Wellman noted that Baxter hated working w/ Peck, BUT never gave a reason why. Hmmm… I found this surprising, b/c I’ve never heard of Peck’s co-stars having serious issues w/ him!

I’m NOT yet V familar w/ the Western genre, though I mostly grew up in the desert (Tucson, AZ). This movie is visually stunning w/ stark black and white photography of the natural landscapes. The filmmakers received permission to shoot in Death Valley, which had the dangers of extreme heat, scorpions, and tarantulas- yikes! Peck and Widmark make believable frenemies; they’re NOT only opposites physically, BUT also have different personalities. Each of the 6 men has his own style of speech, unique costume, and scene in which to reveal his character. The romance develops over a few scenes, as Mike learns that Stretch is NOT a bad man (deep down). The last scene looks tacked on (by Hollywood studio execs), as Sayles commented. This movie was re-made in South Africa as The Jackals (1967) starring Vincent Price.

[1] Gregory Peck plays the leader Stretch, an actor normally associated with a straight-laced gait, here he is is weather worn and tired, his portrayal of Stretch as convincing as a role I have seen him tackle. Richard Widmark, in what I believe to be his first Western entry, is truly magnetic, a smirking, snarling Dude that you just know you couldn’t trust if your life depended on it. Anne Baxter plays the sole female character of the piece (Mike), and she is pivotal to the whole film’s strength, tough and full of spunk, her grasping of the situation in amongst these ragged men gives the piece it’s time bomb ethic, and boy does Baxter do well with it.

[2] Performances are superb from all concerned. Peck gives one of his usual stalwart portrayals. Richard Widmark, in his first western is superb as the slimy, crafty double crosser. Also excellent is John Russell as the womanizing gang member (“Now ma’am, you wouldn’t shoot a fine young handsome fella like me, would ye?”)

[3] The main thing you might not catch is that this is an adaptation of “The Tempest,” by Shakespeare. Here, the band of travelers crosses a metaphoric sea (the desert) and reaches a “New World” where they sort out what matters between them. The set was built (and deliberately destroyed) from an old silent film set that was left over.

William Wellman was one of those consistently excellent directors who never really made a bad film, but didn’t always make exceptional ones, and this one is right in his usual mix of strong visuals, tight editing, fairly simple dramatic plots, and a key actor or two to identify with.

-Excerpts from IMDb movies

“Don’t Bother to Knock” (1952) starring Richard Widmark, Marilyn Monroe, & Anne Bancroft

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SHE’S DYNAMITE! It Opens the Door on the Screen’s Most Exciting New Personality- MARILYN MONROE -A tag line (on the movie trailer)

An airline pilot, Jed (Richard Widmark), stays at the NYC hotel where his gf, Lyn (Anne Bancroft- just 20 y.o.) is a singer. Some guests have lived in this hotel for yrs (and call it “home”); others are visiting for a short time (business/vacay). Some employees have been around a long time also; Eddie (Elisha Cook, Jr.) has been an elevator operator for 7 yrs. Jed notices a young woman (wearing a black kimono) across the courtyard on the opposite side of the hotel. They start out flirting by playing w/ their window blinds, then he calls her on the phone. They decide to meet-up in her room. As they drink and talk, Jed comes to realize that this woman, Nell (Marilyn Monroe at 25), is NOT as uncomplicated as she looks. I’m NOT going to reveal more, as I don’t want to spoil the surprises!

Jed [to Nell on the phone]: Are you doing anything you couldn’t be doing better with somebody else?

The screenplay was written by Daniel Taradash, based on the novel- Mischief– by Charlotte Armstrong, published in 1951. I had never heard of the director, Roy Ward Baker, before; he worked in small-budget Hollywood films for a time after (before returning to his native England). There is nothing showy re: the style; it’s understated (NOT unlike an ep of a TV show). The acting is well-done when it comes to each role, incl. the minor ones that add flavor to the story. We get the (rare) chance to see Widmark (star of many noirs) as a regular (and mostly relatable) guy! He shows a lighter (and charming) side. Bancroft is beautiful, mature beyond her age, and sings V well.

I learned that 1952 was a great year for Monroe; she made her mark in Clash by Night (acting opposite Stanwyck), Monkey Business (I still need to see), and this film. She’d played small roles in 2 great films released in 1950: the much-acclaimed All About Eve and the noir classic The Asphalt Jungle. The (iconic) actress commented that this was one of her fave roles. Some fans noted that Monroe’s hair/make-up is much more natural than in her later film; she’s gorgeous (of course). However, when you see the fine quality of her acting, you’ll be wow-ed even more!

Marilyn Monroe wanted to be this great star, but acting just scared the hell out of her. That’s why she was always late- couldn’t get her on the set. She had trouble remembering lines. But none of it mattered. With a very few special people, something happens between the lens and the film that is pure magic. And she really had it. -Widmark on his co-star

“Whirlpool” (1949) starring Richard Conte, Gene Tierney, Jose Ferrer, & Charles Bickford

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Tomorrow she will know what she did tonight! -A tagline (on the movie poster)

Ann Sutton (Gene Tierney), the wife of a well-known psychoanalyst, Dr. William Sutton (Richard Conte), falls prey to a smooth-talking hypnotist, David Korvo (Jose Ferrer), when he discovers she’s a shoplifter. Ann is V ashamed and refuses to reveal her problem (“kleptomania”) to her husband, BUT thinks Korvo may be able to help her out. What are this man’s true intentions? Soon, one of Korvo’s former patients, Teresa Randolph (Barbara O’Neill)- now being treated by Dr. Sutton- is found murdered. When police find Ann at the scene of the crime, suspicion points her way! The man in charge of the case is Lt. James Colton (Charles Bickford), a grizzled cop and recent widower.

David Korvo: You were wise not to tell your husband, Mrs. Sutton. A successful marriage is usually based on what a husband and wife don’t know about each other.

This movie was directed by Otto Preminger, known for his talent and also V difficult personality. However, there is no doubt that he could get fine performances from actors (though his style was NOT pleasant). I think Preminger used close-ups well to build tension in this movie. The screenplay was written by Ben Hecht and Andrew Solt; it was adapted from the novel Methinks the Lady by Guy Endore. The cinematography was by Arthur C. Miller. The music was composed by David Raksin (a protege of Alfred Newman). Noir-istas MAY have noticed, as in the movie Laura (also directed by Preminger/starring Tierney), some of the same works of art appear as here (a standing Buddha and a collection of masks).

Some viewers commented that though the script was weak, the acting was good. Tierney (as always) looks beautiful, acts graceful, and has a sophisticated air. Conte does well, though this isn’t the type of (intense/exciting) role he usually plays; you’ll hear his New York slip out sometimes. I liked the scene where William confronted Korvo in the hospital; we see anger mixed w/ sadness (suppressed tears) in Conte’s eyes. Director Elia Kazan and actor John Garfield “discovered” Conte while he was working at a resort in the Catskills (frequented by members of The Group Theater). They saw his potential and encouraged him to study acting.

Jose Ferrer (no relation to actor Mel Ferrer) was a Puerto Rican actor/director; he won the Best Actor Oscar for playing the title role in Cyrano de Bergerac (1950). He was the 1st Puerto Rican actor to win an Academy Award, and also the 1st Hispanic actor to do so. Ferrer was married for many yrs to singer/actress Rosemary Clooney (aunt of George). Like many of his era, Ferrer came from the theater; he appeared in many Broadway plays (most notably as Iago in Othello: 1943-1944). Here he plays another compelling villain; Korvo navigates high society w/ charm/manners (but is dangerous to know). Who doesn’t like (or like watching) a “bad boy?”

[1] …Preminger’s movie is a compelling little piece of cinema. The central theme of hypnosis as a weapon gives the film a dark edge and Preminger nicely portrays a world containing sympathetically flawed characters.

[2] There’s a lot of pop psychology hokum floating around in the story, which needn’t be gone into, except to say that hypnosis is a curious altered state of consciousness that isn’t well understood at all. Some people are good subjects and some not. The good ones are really good. […] Sometimes, with some people, it really WORKS. I’m not so sure about self hypnosis though. We’ll know more, I guess, in another generation or so.

The surprises are real enough and the story is engaging. Ferrer stands out as the heavy, Tierney with her little girl voice doesn’t have to do much, and Richard Conte as the psychoanalyst is stolid, which is what the role calls for. Worth seeing.

-Excerpts from IMDb reviews

“Hollow Triumph” (1948) starring Paul Henreid & Joan Bennett

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His scar marked them both!!! -A tagline for the film

John Muller (Paul Henreid) is an educated man-turned-criminal (he dropped out of med school yrs ago) who plans a holdup that goes wrong. Soon, he’s being followed by goons who work for a powerful/vindictive gambler (to whom he owes money). Hiding out, John stumbles onto a chance to assume a new identity, that of respected psychiatrist Victor Bartok, who happens to be his virtual double (aside from a scar on the left cheek). John gets close to Bartok’s secretary, Evelyn Hahn (Joan Bennett), in order to learn more about her employer.

[regaining her composure after mistakenly kissing Muller, thinking he was Dr. Bartok]

Evelyn: What can I do for you?

John: What more could any reasonable man ask?

I learned about this movie on the film noir pod- Out of the Podcast. This is a “Poverty Row” production; this is a slang term used to refer to Hollywood films produced from the 1920s-1950s by small B movie studios (as my noir-istas will know). While some Poverty Row studios had a brief existence, releasing ONLY a few films, others operated on more-or-less the same terms as- if on a smaller scales from- major film studios (MGM, Warner Bros, and Paramount). Though Steve Sekely is credited as the director, Henreid (uncredited) ended up directing the film mostly on his own! Director of Photography John Alton had a prolific career; he wrote one of the 1st book on cinematography. Alton worked on many noir films, incl: He Walked by Night, Witness to Murder, and The Big Combo. He collaborated w/ Spencer Tracy on several films: Father of the Bride, Father’s Little Dividend, and (most notably) The People Against O’Hara.

John: What happened? Did he hurt you?

Evelyn: Do I look hurt?

John: I should say you do.

Evelyn: Well, don’t fool yourself. You don’t get hurt these days.

John: No?

Evelyn: No. It’s very simple. You never expect anything, so you’re never disappointed.

John: You’re a bitter little lady.

Evelyn: It’s a bitter little world full of sad surprises, and you don’t go around letting people hurt you.

When you imagine film noir villain, Paul Henreid is probably NOT in your list -LOL! Henreid (blonde, 6’2″ tall, and best known for Casablanca) decided to produce this film himself, so that he could play a bad guy for once. As my classic film fans will know, Henreid was an immigrant to the US who became a success in Hollywood; he was born in the Austro-Hungarian empire (now a part of northern Italy). I recently learned that his father was an aristocratic banker of Jewish heritage; he changed their last name from “Hirsch” to “Hernreid.” I was skeptical, BUT he makes a compelling character. Henreid (looking posh in his suits) reveals a cold/dangerous side, BUT also keeps some charm/sophistication. You can watch this movie free on YouTube, as it is now in the public domain; the alternative title is The Scar.

Jerry [to John at the garage re: his dream to become a ballroom dancer]: My height, right? Being short isn’t as insuperable a handicap as you might think. If your personality is powerful, you can project the illusion of height.

[1] This is a well-directed, sometimes brutal, atmospheric thriller which is something of a lost classic. It is now available on DVD under its alternative title of ‘The Scar’… Joan Bennett was really made for these films, as she proved in ‘The Woman in the Window’ and ‘Scarlet Street’ for instance. There is something ambiguous about her, something hard that is soft, you can’t quite figure her. That’s just right for noir. You should never be able to figure noir, everything should stay in the shadows where it belongs.

[2] …it sure does raise my opinion of Henreid, who I’ve seen to somewhat underwhelming effect in “Of Human Bondage,” “Casablanca,” and “Meet Me in Las Vegas.” I’ve always felt like he’s just eye candy for the ladies, but in this film he really carries the story with a lot of screen presence and authority. He’s in a very different role from some of those milquetoasts- here he’s a daring, ruthless criminal who steals another man’s identity after a botched casino robbery…

-Excerpts from IMDb reviews

“Born to Be Bad” (1950) starring Joan Fontaine, Robert Ryan, Zachary Scott, Joan Leslie, & Mel Ferrer

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Baby-faced Savage in a jungle of intrigue! -A tagline for the movie (featured on the poster)

Donna Foster (Joan Leslie), assistant to publisher John Caine, has agreed that his niece/small-town gal, Christabel Caine (Joan Fontaine), can stay in her apt while she attends business school in San Fran. Donna won’t need the place much longer; she and her philanthropist fiance, Curtis Carey (Zachary Scott), will soon be married. Also, Mr. Caine is preparing Christabel for Donna’s current job. While living w/ Donna, Christabel befriends NOT only Donna and Curtis, but two of her artist pals- struggling painter, Gabriel “Gobby” Broome (Mel Ferrer), and aspiring writer, Nick Bradley (Robert Ryan), who lives next door.

Christabel: You don’t care very much for women, do you?

Gobby: My dear girl, apart from painting my major occupation is convincing women’s husbands that I’m harmless.

RKO had originally scheduled this film to be made 2x previously. This film (directed by Nicholas Ray) was shot in 1949, BUT released a year later. Now, I’m NOT a fan of Fontaine (though my mom likes her in certain roles); I prefer her sister (Olivia de Havilland). I decided to watch this b/c it had Ryan (an actor I’ve admired from several fine noir films). Jeff Bridges said that Ryan was his fave actor- wow! Fontaine isn’t a femme fatale, BUT a conniver who projects the persona of a humble, soft-spoken, guile-less woman. As one astute viewer commented: “she’s reminiscent in her way of a non-show biz Eve Harrington” (All About Eve). Unlike Donna (the hard-working career gal), Christabel has zero interest in work; she quits business school (much to her uncle’s disappointment). Just how bad is she though!?

Nick: [to Gobby, as they both look at Gobby’s painting of Christabel] Looks like a cross between Lucrezia Borgia and Peg o’ My Heart. Even with two heads you couldn’t look like this – or do you know something I don’t?

What does this (above) comment mean? I looked up the references. Lucrezia Borgia (1480–1519) was a Spanish-Italian noblewoman of the House of Borgia who was the daughter of Pope Alexander VI and Vannozza dei Cattanei. According to Mandell Creighton in History of the Papacy, “Lucrezia… was personally popular through her beauty and her affability. Her long golden hair, her sweet childish face, her pleasant expression and her graceful ways, seem to have struck all who saw her.” Lucrezia was known for her cunning and became notorious for suspicious deaths and political intrigue in 16th c. Italy. Peg o’ My Heart was a 1933 Pre-Code film adaptation (there are earlier versions also) of a play by J. Hartley Manners. Marion Davies plays a poor/orphan/Irish girl who stands to inherit a fortune from her wealthy English relatives, if she satisfies certain conditions.

Donna: [to Christabel] I can just hear you, being so helpful – and so helpless. Helping to mess up people’s lives for your own selfish purposes. And just about as “helpless” as a wildcat. Somebody should have told the birds and bees about YOU!

The other reason to see this film (aside from Ryan) is the terrific dialogue; the best (and sometimes biting) lines are given to Gobby (the observer) and Nick. This movie was considered controversial; Gobby is (subtly) characterized as gay and there are (obvious) hints at extramarital sex. Ann Parrish wrote the source novel, All Kneeling, which was adapted by Charles Schnee. The screenplay was by Edith Sommar w/ additional dialogue contributed by Robert Soderberg and George Oppenheimer (who had a prolific writing career in movies/TV shows).

Robert Ryan was an actor first, a star second. He could play the good guy. He could play the bad guy. You name it, he could play it. That’s what good acting is all about. -Ernest Borgnine, co-star of Ryan in 3 movies (TCM tribute)

Nick: [to Christabel] You little fake. Don’t you know what you really want? Make up your mind, and make it up now, because I’m a restless guy.

I liked ALL the scenes between Fontaine (about 5’3″ tall w/ slight build) and Ryan (6’4″/former collegiate boxer), though physically they make an unlikely couple. In the “meet cute” in Donna’s kitchen, Nick jokes w/ Christabel, BUT she’s a little intimidated. At Donna’s party later that night, he’s eager to get to know her and puts on the charm, BUT she doesn’t stay by his side too long. Notice how Ryan’s hand totally swallows up Fontaine’s? Some time passes and Christabel (finally) goes to have dinner at Nick’s place. Ryan’s chest is heaving as they talk just before their 1st kiss. As the romance begins to sour, we see the undercurrent of danger emerge from Ryan (perhaps his trademark). Nick is the one man that Christabel can’t fool!

There is nothing exceptional re: the directing, though Nicholas Ray went to work on some big movies. Though it is set in San Fran, we don’t get many exterior shots of the city or its landmarks (too bad). I liked most of dresses worn by Fontaine and Leslie. One viewer commented: “Ray must’ve had a sense of humor,” as BOTH Nick and Curtis tightly hold and kiss Christabel in the same way- LOL! Much is done w/ sly/knowing looks, though a few viewers commented that they found Fontaine “campy.” The story moved along at a good pace. I got a big kick out of seeing Ryan in domestic settings, being a friend, and esp. – a love interest. Though he gets to play romance in Clash by Night (1952), Nick here is a more fun/intelligent/sophisticated character. However, the romance (w/ Stanwyck) is darker/hotter in the other film. There was another ending shot by Ray for this movie, but the studio rejected it based on moral grounds. You can rent this movie on Amazon Prime.