Tag: Identity

“Possessed” (1947) starring Joan Crawford, Van Heflin, & Raymond Massey

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A woman wanders the streets of LA in distress. She approaches some men who she calls “David.” Eventually, an ambulance is called and she’s taken to the hospital. She is placed in the psychiatric ward, where she is given some meds to help her remember by Dr. Willard. He is then able to get learn about her life over the next few days. About a year ago, she- Louise Howell (Joan Crawford)- was employed as a nurse by a wealthy businessman, Dean Graham (Raymond Massey). She took care of his (bedridden/sick) wife, Pauline, at their lake house near D.C. Pauline (who MAY be suffering from paranoia) believed that Dean and Louise were having an affair. David Sutton (Van Heflin) is a civil engineer who lives across the lake from the Grahams; he and Louise were involved in a secret affair. The relationship was meant to be casual; David tries to break-up w/ her when Louise grows obsessive in her love. One evening (during Louise’s time off), Pauline ends up dead (drowned in the lake)!

Louise: “I love you” is such an inadequate way of saying I love you. It doesn’t quite describe how much it hurts sometimes.

The screenplay was written by Silvia Richards and Ranald McDougall (who also wrote Mildred Pierce). The director is Curtiz Bernhardt; the cinematographer is Joseph Valentine. The score is by Franz Waxman; he features Schumann’s Carnaval – Opus 9 on the piano (which is played by David). As one astute viewer commented: Crawford does go over the top, but it’s part of the character. Van Heflin (an underrated actor) doesn’t play a villain; David says he is “restless b/c of the war” (so is NOT in the mindset to settle down). I esp. liked the early scene of Louise and David’s relationship; the chemistry and dialogue worked V well. As the story goes on, some scenes go on a BIT too long. There are some things to admire in this film noir, so check it out for yourself!

[1] Possessed is post-war, and after the war, the new rage was psychology. This movie is full of it. […]

This is Joan Crawford’s show and she makes the most of it. The script will keep you interested, and you won’t be able to take your eyes off of Joan descending into madness.

[2] Crawford, fresh from winning an Academy Award for “Mildred Pierce” looked as if she was trying for another one here…

[3] Some of the film does get a little too melodramatic, particularly in the middle where some of the psychology waffles a little too self-indulgently and if Waxman’s score was a little more subtle, at times, that would have helped.

-Excerpts from IMDb reviews

“Young Man with a Horn” (1950) starring Kirk Douglas, Lauren Bacall, & Doris Day

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Put down that horn, jazz man… I’m in the mood for love! -Tagline on the movie poster

A lonely/orphan boy in LA, Rick Martin, learns he has a gift for music and falls in love w/ the trumpet. A talented Black trumpeter, Art Hazzard (Juano Hernandez), takes the boy under his wing and teaches him ALL he knows. The issues of identity and race come up in this story, as it’s focus is on a white man playing (traditionally) Black music; the undercurrent of racism (against the Black artists) is present also. The adult Rick (Kirk Douglas) struggles for a time, as his volatile personality and desire to play jazz (rather than standard dance tunes) land him in trouble. Soon, he becomes a star trumpeter featured in a NYC band and makes good money. Rick meets a young socialite studying to be a psychiatrist, Amy North (Lauren Bacall). In the novel by Dorothy Baker (upon which this film is loosely based) the characters of piano player/Rick’s best pal, Willie “Smoke” Willoughby (Hoagy Carmichael), and the singer, Jo Jordan (Doris Day), were African-American.

Rick: I don’t play for people. I play for myself!

Art: Look, boy, a man’s got a lot of living to do in this world. But, you, you’re kind of locked up inside yourself. You’re like a – like bird trying to fly on one wing. You’ll stay up for awhile. Then you’re going to fall.

Douglas’ trumpet licks were performed by Harry James, who also taught Douglas the correct fingering of the instrument. Carmichael was a friend of the real-life jazz musician, Bix Beiderbecke, and helped Douglas w/ his role. Carmichael received a thank-you letter from the director, Michael Curtiz, for his valuable input in several areas of production. Carmichael co-starred previously in Bacall’s 1st film, To Have and Have Not (1944). This was only the 4th film for Day; Curtiz was impressed enough w/ her work to recommend that Warner Bros. consider casting her in a dramatic role. Day gets to sing 3 popular standards, With A Song In My Heart, The Very Thought of You, and Too Marvelous for Words.

Amy: People try to find security in a lot of strange ways. You seem to have solved your problems – at least while you’re playing that trumpet.

Rick: I don’t understand a word you’re saying, but I love the sound of your voice. It’s got a wonderful rough spot in it.

Douglas and Bacall were close friends; they’d gone to drama school together (and have great onscreen chemistry). Bacall recommended Douglas to director Lewis Milestone; he got his first movie role in the noir classic- The Strange Love of Martha Ivers (1946). One viewer commented that this was the rare movie where Bacall played “a bad girl.” Rick is socially isolated, yet content w/ his life, as long as he has his horn/music. Jo is interested in him, though he is oblivious. Later, Jo introduces Rick to Amy; he doesn’t understand a LOT of what she’s saying, BUT is intrigued. Amy treats Rick V coldly after they’re married. The film contains a reference to homosexuality, although the Hays Code required any mention to be subtle. Amy is a lesbian; she leaves Rick to go to Europe w/ an artist (a woman). Decades later, Bacall told TCM that the reference was so subtle, and being was young/naive, she didn’t understand this until years later! If you like this story, you may want to check out Paris Blues and ‘Mo Better Blues.

[1] The directing from Michael Curtiz is as you would expect very tight to the drama, and the photography from Ted McCord captures the smoke filled nature of jazz clubs perfectly. The acting from the cast principals is never less than above average. […] The music of course is excellent, and as long as one is prepared for the melodramatic turn of events, this is a very rewarding piece.

[2] …the cinematography in this black & white film was amazing–very, very artistic and just beautiful. It reminded me a lot of Film Noir combined with the sensibilities of Ansel Adams.

[3] …film’s outstanding support performance comes from Juano Hernandez who runs the emotional gamut from confidante and advisor to dependent and admirer with his usual dignity and assurance.

-Excerpts from IMDb reviews

Spoiler-Free Review: “The Lord of the Rings: The Rings of Power” (Episodes 1 & 2)

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Epic drama set thousands of years before the events of J.R.R. Tolkien’s The Hobbit and The Lord of the Rings follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-Earth. -Synopsis from Amazon Prime

Episode 1: A Shadow of the Past

Galadriel (Morfydd Clark) is disturbed by signs of an ancient evil’s return. Arondir (Ismael Cruz Cordova) makes an unsettling discovery. Elrond (Robert Aramayo) is presented with an intriguing new venture. Nori Brandyfoot (Markella Kavenagh) breaks a deeply held community rule. -Synopsis from Amazon Prime

This show (which started streaming on SEPT 1st on Amazon Prime) is the MOST expensive ever made! Much money was spent on getting the rights to some appendices written by J.R.R. Tolkien. The showrunners (J.D. Payne and Patrick McKay) are relative newcomers to Hollywood; they’re long-time friends (and fans of Tolkien) who grew up in religious households in the DC suburbs. J.A. Bayona is a Spanish film director who made the films: The Orphanage (2007), The Impossible (2012), A Monster Calls (2016), and Jurassic World: Fallen Kingdom. He directed the 1st 2 eps of this show. There will be other directors also at the helm of future eps. I’m a BIT of a “late bloomer” when it comes to the fantasy genre. I loved the LOTR movies (which I was re-watched recently) and think The Hobbit trilogy had some good parts, too.

The story starts out w/ a narration of past events, NOT unlike what was heard in The Lord of the Rings: The Fellowship of the Ring. In Middle-Earth, an evil being, Morgoth, was defeated before the current time period (the Second Age). Sauron (briefly seen in that spiky helmet/imposing armor, as in Peter Jackson’s trilogy) is somewhere out there. As most creatures don’t live as long as elves, they’ve come to forget Sauron/his dark magic. As a child, Galadriel looks up to her older brother, Finrod (Will Fletcher). Years later, she is a “commander” leading a group of elves as they hunt for Sauron (after a long war which left MANY elves dead). Galadriel explains that she has searched for hundreds of yrs; those under her command are almost ready to give up. The High King, Gil-galad (Benjamin Walker), calls Galadriel back from the North; he declares that it’s time for peace. Galadriel tells Elrond (now in role of a “herald”) that she is NOT ready to stop fighting. Elrond cares for Galadriel; they have friendly banter.

We meet several original characters (OCs) who are NOT in Tolkien’s works. The Harfoots (meaning “hard of foot”) are ancient Hobbits; they’re migratory creatures who believe in community and staying out of the concerns of others. Eleanor “Nori” Brandyfoot and her friend Poppy Proudfellow (Megan Richards) come upon a Stranger (Daniel Weyman). The characters seen in the Southlands are also OCs. A Sylvan elf, Arondir (Ismael Cruz Cordova), and his company of elves have been in this region for MANY yrs. There are several types of elves (as some of you may’ve recalled from LOTR). Legolas is a Sindarin Elf from the Woodland Realm of Northern Mirkwood. His father, Thranduil, is the King of the Silvan Elves living in that realm, making Legolas the Prince of Mirkwood. Haldir is guard of the borders of Lothlórien and guides the Fellowship while they are in his forest. We also meet a single mom/healer, Bronwyn (Nazanin Boniadi) and her teen son, Theo (Tyro Muhafidin). The people of this community are NOT friendly to elves; we will learn why that is so.

This ep was quite slow, which will put off those viewers who were expecting the show to start out w/ a bang. There is one action scene, BUT it happens quickly (and some viewers thought it was unrealistic). I thought that the scenery (S1 was shot in New Zealand), CGI, music, and costumes were interesting. I wasn’t blown away w/ any aspect, BUT will continue to watch. I really hope the dialogue gets a LOT better! Some viewers (active on Twitter, YT, or on podcasts) are discussing who the Stranger could be.

Episode 2: Adrift

Galadriel finds a new ally. Elrond faces a cold reception from an old friend. Nori endeavors to help a Stranger. Arondir searches for answers while Bronwyn warns her people of a threat. -Synopsis from Amazon Prime

Elrond travels to another region (Eregion) and meets w/ Celebrimbor (Charles Edwards), a master smith among the High Elves. In the near future, Celebrimbor plans to “create something great,” BUT needs help to build a giant forge. Elrond goes to Khazad-Dun and meets w/ an old friend, Prince Durin IV (Owain Arthur), thinking that perhaps dwarves can contribute. The music used for the dwarves is really cool! We get to see the kingdom of the dwarves at its height (unlike the ruin that it was in LOTR). We see how the relationship is between elves and dwarves. We learn that Durin’s wife, Princess Disa (Sophia Nomvette), has a bubbly personality. King Durin III (Peter Mullan- a Scottish veteran character actor) appears briefly; I’m curious to know more about him.

The Southlands could be facing a great threat; Arondir goes to check out a nearby town (and Bronwyn joins him). Theo had found a broken weapon under his house, from which comes whispers (maybe Black Speech); he keeps it hidden from his mom. There MAY be other dangers lurking! This ep raises the action; there are 2 action-oriented scenes which MAY be scary for younger audiences.

Galadriel ends up in the middle of the ocean; she had decided NOT to go to Valinor (Heaven for the elves). She comes upon a rickety raft w/ a small group of humans who are dirty, tired, and angry. They’d recently been attacked- we soon see from what exactly. After facing more threats on the water, Galadriel and one man, Halbrand (Charlie Vickers), come out as survivors. They will have to trust and rely on each other now; they face a violent storm! Some viewers think that Halbrand will turn out to be Sauron (in disguise); others think he’ll be like Aragorn (a reluctant hero and future king). Hmmm… keep on watching to find out more!

“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

“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