Tag: Robert Ryan

#Noirvember: “On Dangerous Ground” (1951) starring Ida Lupino & Robert Ryan

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A Woman With an Empty Heart… A Man With a Loaded Gun whose only chaperone was MURDER! -A tagline for the film

We start with the cop in the big city being called up for his violence. He’s a vicious cop, vicious to criminals because he can rationalize it. Criminals are criminals to him, they’re not people. So he’s sent out of the city, into the mountains. -A.I. Bezzerides, screenwriter

A cop from the city, Jim Wilson (Robert Ryan), is disciplined for his violent behavior by his boss, Capt. Brawley (Ed Begley). He’s sent to a small/mountain town where the local sheriff needs help to solve the case of a murdered girl. The father of the victim, Walter Brent (Ward Bond), is determined to find/kill whoever is responsible. While on the trail of the suspect, Jim and Mr. Brent come to the home of Mary Malden (Ida Lupino). She is keeping a secret, and though nearly blind, Mary can “see” that Jim has a troubled/lonely soul.

Mary: Tell me, how is it to be a cop?
Jim: You get so you don’t trust anybody.
Mary: [who is blind] You’re lucky. You don’t have to trust anyone. I do. I have to trust everybody.

Director Nicholas Ray and screenwriter A.I. Bezzerides researched the daily life and procedures of police in prep, incl. riding w/ detectives in Boston’s South End. The screenplay was developed from the novel Mad with Much Heart by Gerald Butler. The urban scenes were shot in L.A. while the country scenes (in real snow) were shot outside Denver in 2 small towns. Savvy viewers may’ve noticed that a hand-held camera was used to give a “live action” feel to some sequences (rare for the time)! Composer Bernard Hermann (one of the best of his field) wrote the score (which is V memorable). At around 30 mins (when Jim is driving upstate), the music heard was also used 8 yrs. later in Hitchcock’s North by Northwest (1959).

I hate film-makers who want long discussions with actors over a scene. An actor who doesn’t know what a scene he’s going to play is in the wrong profession. -Robert Ryan, actor

This is an unusual/compelling noir which delves into the dark side and the light side of man’s nature. This is also a fave of Scorsese and one of the influences for Taxi Driver (which I haven’t seen yet). I’ve watched this movie a few times in recent yrs; it’s like 2 movies in one- a gritty police procedural and a touching melodrama. Lupino (who directed for a few days when Ray got sick) doesn’t appear until 39 mins. into the story. Ryan and Lupino got along well on set; they create quiet tension onscreen (romantic potential). You can rent this on Amazon Prime Video.

[1] The process of humanization of Jim Wilson is depicted through his relationship with Mary and is very touching. Ida Lupino and Robert Ryan have great performances under the direction of Nicholas Ray in this credible story.

[2] Right from the outset, we are in no doubt that Nicholas Ray is about to take us on a noir journey. Herrmann’s pulse like score accompanies its nighttime opening, Diskant’s photography immediately painting a harsh city where life on the streets is tough.

[3] Ryan is terrific, a real powerhouse and believable performance, while Lupino beautifully realises Mary’s serene impact on Wilson and the counter opposite to the darkness within the picture. It’s a given really, but Herrmann’s score is potent, listen out for the opening, the crossover section from city to countryside and the rock face pursuit. While Ray directs with his customary knack of blending the grim with the almost poetic.

-Excerpts from IMDb reviews

Two Movies from Noir City DC (OCT 13th-26th, 2023)

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Introduction

Hey y’all, how is your Fall season going? Thanks for reading! As local noir-istas may know, Noir City DC film fest is going on (OCT 13th–26th) at AFI Theatre here in my area (downtown Silver Spring, MD). Eddie Muller (TCM host; founder of the Film Noir Foundation) helped to curate the movies for this event. Muller introduced screenings on the opening weekend (OCT 13th–15th); I saw 2 movies (for the 1st time).

The Big Clock (1948) starring Ray Milland, Maureen O’Sullivan, Charles Laughton, George Macready, Pauline York, & Elsa Lanchester

The Strangest and most Savage Manhunt in History! -A tagline for the film

When a publishing tycoon, Earl Janoth (Charles Laughton), commits murder in a heat of passion, he begins to cover his tracks. Janoth frames an innocent man he doesn’t know, BUT who knew the victim, Rita Johnson (Pauline York). That man, George Stroud (Ray Milland), works for one of Janoth’s magazines and is enlisted to trap the “killer.” George must “help” his boss, elude the police, and find proof of his innocence and Janoth’s guilt!

Rita Johnson: You know, Earl has a passion for obscurity. He won’t even have his biography in ‘Who’s Who.”
George Stroud: Sure. He doesn’t want to let his left hand know whose pocket the right one is picking.

Kenneth Fearing’s 1946 novel and this film adaptation bear many similarities to Samuel Fuller’s novel Dark Page (1944) and its screen adaptation Scandal Sheet (1952). Janoth’s right-hand man/lawyer, Steve Hagen (George MacCready), does his dirty work; they’re close (though- b/c of censorship- we don’t see how much). Neo-noir fans will find similarities btwn this movie and (the 2nd adaptation of The Big Clock) No Way Out (1987) dir. by Roger Donaldson. In that movie, Sen. Brice (Hackman) has a V clever/loyal aide, Scott (Will Patton), who cleans up his messes (and is obviously in love w/ the politician).

Don Klausmeyer: Our organization, the Janoth Publications, is trying to find someone, possibly a collector of your pictures.
Louise Patterson: So have I- for fifteen years.

Milland got the roles that Cary Grant turned down, Muller noted; he’s best known for The Lost Weekend (1945) and Hitchcock’s Dial M for Murder (1954). Like Michael Douglas, he has the air of a man who could be a “regular” guy, yet w/ a “shady” side. According to Muller, Louise Patterson (Elsa Lanchester) is based on (IRL American artist) Alice Neel. Laughton and Lanchester were married at this time, though we later learned that he was gay. Director John Farrow and Maureen O’Sullivan (who plays Georgette Stroud) were also married. Unlike what you’d expect from a “typical” noir, there are some of funny moments; Lanchester made my audience LOL during a few scenes.

Act of Violence (1948) starring Van Heflin, Robert Ryan, Janet Leigh, Mary Astor, & Phyllis Thaxter

The Manhunt No Woman Could Stop! -A tagline for the film

Robert Ryan is like one of my top 2 or 3 actors in noir. -Eddie Muller, in intro to the film

WWII veteran Frank Enley (Van Heflin- age 40) is a family man/builder in SoCal. He has a modest house, a beautiful/young wife, Edith (Janet Leigh- just 21 y.o.) and toddler son; he’s respected as a “war hero” in his small town community. One day, he learns that Joe Parkson (Robert Ryan- age 39) is searching for him; he is out for revenge, b/c of something which occurred while they were POWs. Joe drags his right leg as he walks; he carries a handgun. Ann (Phyllis Thaxter- age 29) is the woman following Joe, in the hopes of stopping him from doing something drastic. When Frank has to leave for a builders convention in LA, Joe is close behind! When Frank happens upon a bar, he meets Pat (Mary Astor- in a daring/unglamorous role at age 40).

Joe [to Edith]: Sure, I was in the hospital, but I didn’t go crazy. I kept myself sane. You know how? I kept saying to myself: Joe, you’re the only one alive that knows what he did. You’re the one that’s got to find him, Joe. I kept remembering. I kept thinking back to that prison camp. One of them lasted to the morning. By then, you couldn’t tell his voice belonged to a man. He sounded like a dog that got hit by a truck and left in the street.

No one wore makeup on this movie. Zinnemann wanted somewhat of a documentary look. -Cheyney Ryan (son of Robert Ryan) on the podcast Robert Bellissimo At The Movies (10/12/22)

Some viewers were surprised to see issues tackled so soon after the end of WWII. At the forefront is the question: How does an individual adjust to “normal” life after surviving war? I was excited to watch this movie; it’s currently NOT on any streaming platform. This is a tense noir that’s unpredictable both in its character development and plotting. It’s V well-paced (at only 82 mins), has great dialogue, and important themes. Director Fred Zinnemann (an Austrian Jew who fled Europe before WWII) went on to work on some big movies: High Noon (1952) and From Here to Eternity (1953). As Muller said, Zinnemann learned that both parents were killed in a Nazi concentration camp. The writers of the screenplay are Robert L. Richards and Collier Young (husband of actress/director Ida Lupino).

Edith: Suppose there is a grain of truth to it. Suppose you did have some kind of trouble with him. I can understand how something like that could happen in a prison camp.
Frank: No. You don’t know what happened.
Edith: What was it Frank? Whatever you did you must have had reasons.
Frank: You can always find reasons. Even the Nazis had reasons.

Ryan (who Scorsese called “one of the greatest actors in American film”) and Lupino later starred together in 2 unique noirs- On Dangerous Ground (1951) and Beware, My Lovely (1952). Ryan and Leigh were co-stars in the Western The Naked Spur (1953). Ryan (nearly 6’4″) towers over almost all the others; his simmering rage adds to the intimidating effect. When he talks w/ Edith, his voice is NOT loud/frightening, BUT holds pain/regret. I wanted to see more of Joe’s relationship w/ Ann; they discussed re: what happened in wartime (unlike Frank and Edith). The two leads are opposites in looks: Ryan is brown-haired w/ small/dark eyes, while Heflin is blonde/wide-eyed. Heflin (almost 6″ tall) gets to stretch himself, showing more depth (and emotion) than is usually required of his “Everyman” roles. Leigh does a fine job w/ her role (opposite these experienced men) at such a young age (early in her career). I really liked the cinematography; light, dark, and shadow are used quite effectively.

[1] One of the most daring elements of the film is its suggestion that Heflin is deserving of forgiveness, because the codes of conduct that govern men in the theater of war are different from those that govern us in our day-to-day lives. That maybe doesn’t seem like a daring thing to say now, but at the time it would have been.

Heflin and Ryan are both terrific; Ryan is one of my favorite film noir actors. But the women in the film make quite an impression… If the mens’ world- both at war and at home- is one of violence and revenge, it’s the women who act as the voice of reason and sanity, trying to impose a sense of stability amid the chaos.

[2] This grim look at a couple of de-mobbed soldiers continuing their private war at home rarely get mentioned in lists of essential noirs; maybe, upon release in 1949, it was just a little too close for comfort- hinting a truths the victorious American public were unwilling to acknowledge. If so, the film has yet to be rediscovered- or reappraised. […]

Though the script opts for a strange and bitter “redemptive” ending, the acrid taste of Act of Violence lingers long.

-Excerpts from IMDb reviews

Brief Reviews of Recent Views (DEC 2022)

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Dead End (1937) starring Sylvia Sydney, Joel McCrea, Humphrey Bogart, Wendy Barrie, & Claire Trevor

The Dead End Kids (a teen ensemble of actors who’d also appeared on Broadway) are introduced in their Midtown East (NYC) slum, overlooked by the new apts of the ultra-rich. Their antics, some funny, some vicious, alternate w/ subplots: jobless architect Dave (Joel McCrea- one of Hollywood’s “Everyman” actors) is torn btwn Drina (Sylvia Sydney- a big star of the ’30s), his hard-working/childhood friend and Kay (Wendy Barrie), the glam mistress of a rich man; gangster “Baby Face” Martin (Humphrey Bogart- before his leading man days) returns to his old neighborhood and finds that nobody is glad to see him. Then violent crime, BOTH juvenile and adult, impacts the neighborhood and its inhabitants.

Samuel Goldwyn acquired the rights to Sidney Kingsley’s play for $165,000 – a V large amount at the time (equivalent to nearly $3M today). The play had been a huge success on Broadway; its content had to be altered b/c of censorship in film. As some of my fellow classic movie fans know, producers had a LOT more power than directors in the Hollywood studio system. William Wyler (director) wanted to film on location on the streets of NYC, but Goldwyn insisted that the movie be made in the studio. Richard Day (art director) was assigned to design the sets, which were the some of the MOST elaborate sets in film history. Bogart (who was borrowed from Warner Bros.) got his role after George Raft turned it down; James Cagney was Goldwyn’s 1st choice. In order to get past the censors, references to Francey (a young Claire Trevor) being a prostitute were veiled (though mentioned in the original play).

The Mark of Zorro (1940) starring Tyrone Power, Linda Darnell, & Basil Rathbone

The Jagged Mark of His Sword Struck Terror to Every Heart – But One! -A tagline for the movie

I’m a big fan of The Mask of Zorro (1995) starring Antonio Banderas, Catherine Zeta-Jones, and Anthony Hopkins. Many of you will know re: the premise of this movie: a young Spanish aristocrat, Don Diego Vega (Tyrone Power- 26 y.o.), pretends to be a “fop,” BUT protects the poor/powerless folks of Los Angeles (then a part of Mexico) as the masked vigilante- Zorro (“fox” in Spanish). Many viewers have commented that Zorro (who hails from the early 1820s) is a precursor to the superheroes we know/love today. Lolita Quintero (Linda Darnell- just 16 y.o.) is the love interest; she meets Zorro (in disguise) and is impressed by his words. Lolita’s greedy/corrupt uncle, Don Luis Quintero (J. Edward Bromberg), has taken over Diego’s father’s job; his elegant/shrewd wife, Inez (Gale Sondegaard), dreams of being presented in the royal court of Spain. However, the main threat to Zorro is Don Luis’ right-hand man- Capt. Esteban Pasquale (Basil Rathbone- a trained fencer). The swordfight btwn Power and Rathbone will amaze you- WOW!

Blood and Sand (1941) starring Tyrone Power, Linda Darnell, Rita Hayworth, & Anthony Quinn

Love flamed in the shadow of death! -A tagline for the movie

Illiterate Spanish peasant Juan Gallardo (Tyrone Power) rises meteorically to fame and fortune as a bullfighter, ONLY to sow the seeds of his own downfall. This movie didn’t impress me as much as the previous one; Power and Darnell are paired up again, BUT then Hayworth comes into the mix. The costumes looked great (IMO), esp. the ones worn by the bullfighters. There is a steamy (for that time) dance btwn (real) Latin hotties- Hayworth and Anthony Quinn (who plays Power’s friend/competitor). Power was Irish-American, though this dark hair/eyes and gorgeous looks got him cast in “exotic” roles.

The Racket (1951) starring Robert Mitchum, Lizabeth Scott, & Robert Ryan

The big national crime syndicate has moved into town, partnering up with local crime boss Nick Scanlon (Robert Ryan). There are ONLY two probs: First, Nick is the violent type, preferring to do things the old-fashioned way instead of using the syndicate’s more business-like methods. The 2nd prob is Capt. McQuigg (Robert Mitchum), an honest cop and the loyal Officer Johnson (William Tallman). They take on the Nick and try to foil the syndicate’s plans to elect Welch, the crooked prosecutor running for judge. I wanted to see it b/c of Mitchum and Ryan; Eddie Muller (TCM) commented that they should’ve switched roles. Muller also noted that it had 3 different writers and 5 directors over its (V troubled) production! Mitchum later said there were many reshoots.

Back from Eternity (1956) starring Robert Ryan, Anita Ekberg, & Rod Steiger

A South American plane loaded with an assortment of characters crash-lands in a remote jungle area in the middle of a storm. The passengers then discover they are in an area inhabited by cannibals, so MUST escape before they are found. Ryan is giving it his 100% (as he does in every role), BUT he doesn’t come in until 15 mins. into the movie. He speaks a BIT of Spanish- V cool! Swedish model Ekberg (sadly) can’t act and is NOT confident w/ her English. That doesn’t matter to the director/producers, as she’s there mainly for her looks (tall, blonde, and curvy). Later on, there is an (unneeded) catfight btwn Ekberg and another actress- ugh! The standout here is Steiger (looking youngish w/ dark/curly hair); he gets the best lines and is the most interesting (yet potentially volatile) character. Beulah Bondi (mom/grandma in MANY classic films) finally gets out of the house- LOL!

“The Naked Spur” (1953) starring James Stewart, Janet Leigh, Robert Ryan, & Ralph Meeker

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Packed with Technicolor Thrills! -A tagline for the movie

A former rancher/Civil War vet, Howard Kemp (James Stewart), has been searching for a murderer, Ben Vandergroat (Robert Ryan), for a long time. Circumstances compel Kemp to take on 2 partners- an old prospector, Jesse Tate (Millard Mitchell), and a dishonorably discharged Union soldier, Roy Anderson (Ralph Meeker). When they learn that Ben has a $5,000 bounty on his head, greed starts to get the better of Jesse and Roy. Howie and Ben have a (troubled) history, and Ben takes every chance he can to sow doubt btwn the other 2 men. To add to the drama, there is a beautiful/young woman riding w/ Ben- Lina Patch (Janet Leigh in one of her early leading lady roles).

You can take any of the great dramas- it doesn’t matter if it’s Shakespeare or if it’s any of the Greek plays- you can always lay them in the Western and somehow, they come alive. There is this kind of passion and drama. You can have patricide, any kind of -cide- but if you’re in a Western, you can get away w/ it… b/c it’s where… all action took place. -Anthony Mann, director

The Naked Spur (directed by Anthony Mann- who started in B-movies of the noir genre) is the MOST successful Western movie of 1953. It’s a “psychological Western” filmed on location (mainly in the Colorado Rockies) and doesn’t shy away from (gritty) violence. There are several scenes of exciting action, plenty of character development, and terrific dialogue. This is the 1st screenplay by Sam Rolfe and Harold Jack Bloom, who shared an Oscar nom; they went on to have long/successful careers as writers/producers. Mann and Stewart would collaborate on a total of 11 films, incl. 5 Westerns!

Ben [to Howie]: Choosin’ a way to die? What’s the difference? Choosin’ a way to live – that’s the hard part.

As the bitter/troubled Howie, Stewart (44 y.o.) reveals darkness, intensity, and vulnerability; the actor was working to let go of his bumbling/youthful/Everyman image (after returning from WWII). A strong protagonist needs a strong antagonist; Ryan (43 y.o.) wears his black hat (villain role) perfectly. As Ben, Ryan (unshaven/floppy-haired) effortlessly switches btwn grinning nonchalance and deep-thinking (in what is considered one of his best roles). Meeker (a leading man on Broadway) looks at ease as the volatile/sleazy womanizer; the Method-trained actor (32 y.o.) sports a bushy blonde mustache. Paul Newman was Meeker’s understudy in a Broadway play. Leigh (at just 25 y.o.) does a fine job alongside her (older/more experienced) co-stars; she gets a few moments to shine (rare for women in Westerns). Even if this is NOT your fave genre, you may enjoy it a LOT! You can rent the movie on Amazon Prime.

[1] Spectacular location photography in the Rocky Mountains lends a ring of authenticity to the story.

[2] …Ryan’s charming, snake-like villain who dominates this rugged western despite strong performances from the entire cast. He obviously relishes his role and is a joy to watch.

[3] …an outstanding western and has lost none of its glow over the years and like all classic westerns- it just gets better and better with the passing of time.

[4] …Mann directs very assuredly, James Stewart is wonderfully ferocious and Robert Ryan is very charismatic in a more convoluted role. The film looks great, with wonderful sets, scenery, costumes and photography. The music adds to the mood of each scene without feeling too intrusive. The dialogue is excellent and the story- even with the well-worn themes and such- is very compelling.

-Excerpts from IMDb reviews

#Noirvember: “The Set-Up” (1949) starring Robert Ryan & Audrey Totter

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An “over the hill” (35 y.o.) boxer Bill “Stoker” Thompson (Robert Ryan) insists he can still win, though his wife, Julie (Audrey Totter), pleads w/ him to quit (before he sustains a serious injury). His manager, Tiny (George Tobias), is so confident that he will lose, he takes money for a “dive” from a gambler, Little Boy (Alan Baxter), w/o telling Stoker. Tension builds as Stoker hopes to “take” 23 y.o. newcomer, Tiger Nelson (Hal Fieberling), unaware of what will happen to him if he wins.

Stoker: Yeah, top spot. And I’m just one punch away.

Julie: I remember the first time you told me that. You were just one punch away from the title shot then. Don’t you see, Bill, you’ll always be just one punch away.

This movie is based on a poem published in 1928 by Joseph Moncure March, who gave up his job as the 1st managing editor of The New Yorker to focus on writing. He went to Hollywood for a dozen years and worked as a screenwriter. In 1948, he volunteered to work on this film, BUT was turned down! Moncure March was angered that his Black boxer (Pansy Jones) was changed into a white character for The Set-Up. In the original poem, Pansy is depicted as a bigamist. The main reason for the change of race was b/c RKO had no Black leading men on contract. James Edwards (who plays Luther Hawkins), could’ve fit the bill, BUT the studio decided that he wasn’t well-known enough to carry a movie. Director Robert Wise suggested Canada Lee (who’d played a boxer in Body and Soul); RKO didn’t think that would work either.

While he was a student at Dartmouth, Ryan was an undefeated boxing champion- V cool! Former boxing pro, John Indrisano, choreographed the match and is credited onscreen for “fighting sequences.” Fieberling was also an expert boxer. Martin Scorsese is a big fan of the film; he was so impressed by the boxing that he had to deliberately avoid copying Wise’s camera moves when it came to Raging Bull (1980). Wise (who’d begun his illustrious career as an editor) used 3 cameras to capture the boxing scenes: one capable of seeing the entire ring, one focused on the fighters, and a handheld for quick shots and close-ups. This was Wise’s 9th film for RKO; after this, his contract obligations were complete and could work freelance.

Wise credited screenwriter Art Cohn (a former sportswriter) w/ much of the film’s realism. Cohn knew the boxing world; many of the script’s colorful supporting characters came from his own experiences. After attending several matches, Wise added other characters himself; he hung out in dressing rooms before and after fights. Scorsese (who 1st saw this film as a college student) considers it as an allegory for the chaos of life, populated by characters who are flat-out of luck.

The events occur in real-time (over the tight running time of 73 mins); this is unusual for a Hollywood movie. Ryan plays a good/straight-talking guy; you can’t see the acting (as he inhabits the role). I esp. liked the early scenes w/ Ryan and Totter; they make a believable married couple going through a rough patch. All the supporting characters have something to contribute; some of the boxers are jaded (after experiencing disappointment), while others remain hopeful. The crowd can be bloodthirsty, entertained by the (potentially dangerous) fighting.

It’s really a happy ending, in a truthful way. And maybe there’s a hope to that, a hope for the weaker ones in the world.

-Martin Scorsese

[1] I love Robert Ryan films. Whether playing a scum bag or a hero, his gritty and realistic performances have always impressed me.

[2] The end result is a film that is dark, low key and gripping throughout; it exists in the gutter, in the small time where all our characters seem destined to remain regardless of heart or talent. […]

The fight is realistic and tense throughout, I was genuinely unsure how it would go.

[3] What first struck me the most watching this was just how vile everyone- apart from the boxers- are. The fighters are actually the only ones with honesty and integrity running through their veins. These guys are the ones with the self respect being a chief issue for them, they are fighting not just for glory, but for a basic human trait.

[4] Although unnoticed at first, The Set-Up has slowly built a reputation as one of the great noir films out of RKO and one of the best boxing films ever made.

-Excerpts from IMDb reviews