Tag Archives: film noir

The Window (1949)

The Window
Directed by Ted Tetzlaff
Written by Mel Dinelli based on a story by Cornell Woolrich
1949/USA
RKO Radio Pictures
First viewing/Warner Archive DVD

[box] Police Officer: A good lickin’ never hurt anybody, boy. My old man used to give me enough of ’em when I was a kid. Hey, still in all, I never thought of callin’ the cops when he did.[/box]

This is a gritty urban version of “The Boy Who Cried Wolf”.

Ten-year-old Tommy (Bobby Driscoll) is an imaginative child whose tall tales are driving his father (Arthur Kennedy) and mother (Barbara Hale) to distraction.  One hot summer night while he is sleeping on the fire escape of the tenement building where they live, Tommy wakes to see the upstairs neighbors murdering a man.  He tries to tell his parents and the police but nobody will believe that those nice Kellersons (Paul Stewart and Ruth Roman) could be killers … except the Kellersons, of course.  When the terrified Tommy is left at home alone, he must use all his courage and cunning to evade them.

I didn’t find this film too visually striking but the premise certainly is intriguing.  It had me thinking of how tough it can be to be child and not believed or even taken seriously.  Paul Stewart (the butler in Citizen Kane) is an appropriately sinister murderer and the chase through the city streets and into a condemned building is harrowing.  I was surprised at the amount of threatened and actual violence to a child for a movie of this period.

The Window was nominated for an Oscar for Best Film Editing.

For clips from the film on TCM go here http://www.tcm.com/mediaroom/video/579260/Window-The-Movie-Clip-You-Never-Mean-Any-Harm.html  – cinematography by Robert de Grasse and William O. Steiner

Nora Prentiss (1947)

Nora Prentissnora prentiss poster
Directed by Vincent Sherman
Written by Paul Webster, Jack Sobell and N. Richard Nash
1947/USA
Warner Bros.
First viewing/Warner Archive DVD

 

Dr. Richard Talbot aka Robert Thompson: I’m writing a paper on ailments of the heart.Nora Prentiss: A paper? I could write a book!

A melodrama of adulterous love turns pitch black by the end.

Heart specialist Dr. Richard Talbot (Kent Smith) lives on a tight schedule dictated by his wife of twenty years, who strictly disciplines their two children as well.  One day, his orderly existence is knocked on its ear when he gives first aid to sassy nightclub singer Nora Prentiss (Ann Sheridan) when she is slightly injured by a car.  Opposites attract and, when Talbot’s wife goes away with the children one weekend, they begin a love affair against Nora’s better judgement.

nora prentiss 2

Before long, she tires of hiding and lying and decides to go to New York for a fresh start. Sadly, Talbot can neither bear to ask his wife for a divorce nor part with Nora.  His guilt and despair are tearing him apart and he can no longer hold a scalpel steady.  When a heart patient suddenly dies of a heart attack late at night in his office, Talbot sees a way out involving a switch in identities.  By now the film has turned noir, though, and Fate has other ideas.

nora prentiss 1

Surprisingly for film noir, Nora is actually the sane and decent party to the relationship.  It is the man, struggling to escape the restrictions of his domestic obligations, that will not let go of her.  I have noticed that smothering wives and girlfriends make frequent appearances in film noir and that its heros are inevitably punished for defying them. Here, also, the hero is suffering from his inability to be seen as in the wrong.  How else could it seem preferable to let his wife and children mourn him than to ask for the divorce?

Ann Sheridan makes a very appealing heroine.  Smith (Cat People) is fine though a more dynamic actor might have been preferable.  The first part of the story drags a bit but after Richard and Nora arrive in New York it picks up speed and builds to a devastating climax.

Trailer – cinematography by James Wong Howe

 

31 More Days of Film Noir

 

As the temperatures soar here in the desert, it is time for me to escape into the shadows with another month of film noir.  It will be all film noir all the time for the next 31 days.   I hope I have found a good mixture of lesser-known and more famous films noir.  I plan to select from films on this list:  http://www.imdb.com/list/ls070777713/?publish=save.

noir month images by alton

Images by cinematographer John Alton – from He Walked by Night

This time through the “rules” are:  The film 1)  appears in Michael F. Keaney’s Film Noir Guide; 2) was made between 1941 and 1959 in the USA in black-and-white; 3) has some connection to crime; and 4) has a user rating of over 7/10 on IMDb.

Images by Nicholas Musuraca

Images by Nicholas Musuraca – from Stranger on the Third Floor

Of course, I’m looking for films that meet some additional criteria.  Ideally, they will feature:  an alienated hero with a Past; a femme fatale to lure him to his doom; lots of wet nighttime streets; plenty of low-key photography and crazy angles; and a running-time of less than 90 minutes.  I’ll see whether the films fill the bill as I go along.

Lighting for Film Noir

What Is Film Noir?

Raw Deal (1948)

Raw Deal
Directed by Anthony Mann
1948/USA
Edward Small Productions (as Reliance Pictures Inc.)

First viewing

 

 

[box] Joseph Emmett Sullivan: [referring to Ann] Keep your eye on Miss Law & Order here. She might go soprano on us.[/box]

I love it when a movie I have never heard of shows up and becomes a new favorite.  This fabulous B-noir is available now on Netflix Instant streaming and is not to be missed by fans of the genre.

Joe (Dennis O’Keefe) is itching to get out of prison for a breath of fresh air and to collect $50,000 owed to him by crime boss Rick (Raymond Burr).   At the same time, good-girl Ann (Marsha Hunt) has been visiting Joe and encouraging him to work for parole.  Rick has financed the escape with the thought that Joe will almost certainly be killed in the attempt and faithful moll Pat (Claire Trevor) is there to help with the getaway.

When Joe is forced to find a hideout, Pat and he run to Ann’s apartment and eventually flee with her as a kind of hostage.  The story follows the trio on the run as they evade the police and eventually confront Rick and his thugs.  The escape is complicated by the growing feelings between Ann and Joe and Pat’s jealousy.

 

Publicity still

I loved everything about this picture.  The story has unexpected twists and turns, with great noir dialogue and a poignant voice-over narration by Claire Trevor.  All the acting is good but my favorite is Raymond Burr in a chilling turn as the villain.  The cinematography by noir great John Alton is fantastic as is the unique theramin-dominated score.  My highest recommendation.

Clip – Raymond Burr and John Ireland – inspiration for the Big Heat?

Clip – showdown in the fog with theramin

 

99 River Street (1953)

99 River Street
Directed by Phil Karlson
1953/USA
Edward Small Productions

First viewing

[box] Ernie Driscoll: There are worse things than murder. You can kill someone an inch at a time.[/box]

I could not get behind this odd and violent noir effort from B-picture specialist Phil Karlson.

Ernie Driscoll (John Payne) is an ex-boxer who was barred from the ring after suffering repeated blows to his eye during a championship bout.  His wife has lost all use for him now that he his driving a cab and is having an affair with thug Victor Rawlins (Brad Dexter) who recently pulled off a diamond heist.  Unfortunately for her, his fence doesn’t like dealing with women and is not happy that Victor murdered a man in the process.

During Ernie’s very bad day, he discovers the affair.  Then his friend Linda James (Evelyn Keyes) deceives him into helping her with a murder cover up.  Finally, Victor offs his wife and dumps her body in Ernie’s cab.  Ernie proves his continued ability with his fists by pummeling his many antagonists.  Linda gets off easy when she uses her seductive ways to help Ernie beat the murder rap.

This two-fisted thriller just wasn’t for me.  It’s pretty brutal with sound effects heightening all the many punches and the plot is all over the place.  For example, Ernie has an arrest warrant out against him for assault during the “murder cover-up” episode and this is never referred to again during the second half of the movie.  The film also features some of the most totally unnecessary voice-over coverage of a fist fight in cinema history.  Everything is pumped up to the max and made as lurid as possible.  It is, however, a relatively highly rated film and could be a fun watch for those in the mood for it.  The trailer gives a very good feeling of what is in store.

http://www.youtube.com/watch?v=MNrKueIJbko

Trailer

 

Angel Face (1952)

Angel Face
Directed by Otto Preminger
1952/USA
RKO Radio Pictures

First viewing
#244 of 1001 Movies You Must See Before You Die

 

[box]Frank Jessup:  I’d say your story was as phony as a three dollar bill.[/box]

This is another great noir I’m catching up on late.  Not only does the female lead put the “fatal” in femme fatale, but it has a fascinating production history.

Diane Tremayne (Jean Simmons) is a confused rich girl.  She idealizes her father (Herbert Marshall) and hates her wealthy stepmother (Barbara O’Neill).  Frank Jessup (Robert Mitchum) is a working stiff who can’t win.  His troubles begin when the ambulance he drives is called to the Tremayne house because of a gas leak in Mrs. Tremayne’s bedroom.  Frank consoles the weeping Diane and when she follows him to a coffee shop he steps out on his girlfriend Mary with her.  So begins the cycle that lands Frank on trial for a murder rap and married to pathologically lovelorn Diane.

I enjoyed this very much.  It features uniformly good acting, wonderful cinematography by Harry Stradling Jr., a nice pace, lush Dimitri Tiomkin score, and an awesome ending.

I love my DVD commentaries and this one contained the very juicy back story to the film.  Jean Simmons left England to be with beau Stewart Granger.  Howard Hughes was smitten with her, so RKO bought up her seven-year contract with the Rank organization.  Hughes was interested in more than a professional relationship and creeped Simmons out so much that she sued RKO to get out of the deal.  The case settled with Simmons agreeing to make three movies for the studio.  Since Hughes was famous for dragging out productions indefinitely, the settlement specified that the three movies had to be made within three years.  Eighteen days were left on the settlement when production on Angel Face began.

Hughes borrowed Preminger from Fox because he was known for being able to work fast. Preminger brought the equally speedy Stradling with him.  Before shooting started, Hughes attempted to change Simmons hair style so many times that she cut her hair short and wore wigs throughout the filming.  There is a scene where Mitchum slaps Simmons to snap her out of hysterics.  Preminger made the actors do the scene over and over until Mitchum hauled off and slapped Preminger.  Preminger rode Simmons so hard that Mitchum finally had to threaten to walk off the project.  The commentator opined that this conflict probably got a more engaged performance out of Mitchum.  Simmons, who was only 23, gave a wonderful performance despite her travails.

Every commentary I hear about Hughes’ years at RKO makes me like him less.

http://www.youtube.com/watch?v=rBo5WvyBBl4

Trailer

Kansas City Confidential (1952)

Kansas City Confidential 
Directed by Phil Karlson
1952/USA
Associated Players and Producers

First viewing

 

[box] Tim Foster: What makes a two-bit heel like you think a heater would give him an edge over me?[/box]

Tough-as-nails heist noir about a “perfect” armored-car robbery.  A man meticulously plans the robbery and ensures that his team is always masked and do not know each other’s identity.  The heist involves a mock florist’s van and the innocent driver of the real van, a small-time ex-con, is hauled in and given the third degree.  The driver (John Payne) makes it his mission to round up the true criminals.  His quest takes him to a resort in Mexico.  With Jack Elam, Lee Van Cleef, and Neville Brand as robbers, Preston Foster as an ex-Police Chief, and Coleen Gray as the chief’s law-student daughter.

Although this is far from the “perfect” noir, I enjoyed it very much.  If some of the dialogue and acting is a bit over-earnest, the story is clever.  Karlson has a distinctive style reminiscent of Sam Fuller’s but a little bit more orthodox.  Very nice to meet up with a woman studying for the Bar Examination in a 1952 movie!

Clip – job interview sequence

 

The Enforcer (1951)

The Enforcer
Directed by Bretaigne Windust (credited) and Raoul Walsh (uncredited)
1951/USA
Warner Brothers presents A United States Picture

First viewing

 

[box] Joseph Rico: I’m forgetful. Sometimes I meet a guy and then I never see him again. I got a big turnover in friends.[/box]

 

This is a “B” movie with an “A” star – Humphrey Bogart.

Bogart plays District Attorney Martin Ferguson.  Ferguson is about to try Alberto Mendoza (Everett Sloane), boss of a contract murder organization, for murder.  His only witness is Joseph Rico, Mendoza’s former right hand man.  Rico gets cold feet at the last minute and becomes unavailable.  Ferguson has a nagging feeling that there was something overlooked during the investigation.  He decides to go over the record piece by piece starting from the beginning starting a long flashback.  With Zero Mostel in an early role as a gang member.

This is an OK programmer about on par with a very good TV police procedural. Raoul Walsh took over from ailing director Windust but insisted Windust take the credit.  It was Bogart’s last film for Warner Bros.

http://www.youtube.com/watch?v=YFOXasBlU4A

Trailer

Beat the Devil (1953)

Beat the Devil
Directed by John Huston
1953/UK/USA/Italy
Rizzoli/Haggiag; Romulus Films; Santana Pictures Corporation

First viewing
#268 of 1001 Movies You Must See Before You Die

 

[box] Purser: Do you know that your associates are all in hoosegow? Oh, not that I’m a bit surprised. I put them down as thoroughly bad characters, right off the bat. But then there are so many bad characters nowadays. Take mine, for instance.[/box]

A group of scoundrels plans to smuggle uranium out of British East Africa in this noirish farce.  The plot is scant and convoluted at the same time, but ultimately does not matter much.  With Humprey Bogart, Jennifer Jones, Gina Lollabrigida, Robert Morley and Peter Lorre.

I enjoyed this film.  The story is but an excuse for some charming actors to trade bon mots penned by director Huston and Truman Capote.  Jennifer Jones, in particular, is delightful as an imaginative Englishwoman who gets accidentally caught up in the plot, along with her very square husband, and falls for Bogart.  I have never seen her like this and she manages one of the most believable English accents I have yet heard from an American.    Bogie is Bogie but he looks somehow worn out here.

Promotional teaser

 

 

No Way Out (1950)

No Way Out
Directed by Joseph L. Mankiewicz
1950/USA
Twentieth Century Fox Film Corporation

First viewing

 

[box] Edie Johnson – Mrs. John Biddle: Yeah I’ve come up in the world. I used to live in a sewer and now I live in a swamp. All those babes do it in the movies. By now I ought to be married to the governor and paying blackmail so he don’t find out I once lived in Beaver Canal.[/box]

This is an interesting cross between a film noir and a message picture featuring Sidney Portier’s debut as a 22-year-old and dynamite performances by Richard Widmark and Linda Darnell.  It was quite a departure for director/screenwriter Mankiewicz who made this between his Academy Award winning turns in Letter to Three Wives and All About Eve.

Dr. Luther Brooks (Sidney Portier) is a newly licensed physician working at a county hospital.  He has the misfortune to be assigned to duty on the prison ward when Ray (Richard Widmark) and Johnny Bidell are brought in with gunshot wounds suffered in a shootout with police.  Ray is almost psychotically racist.  Brooks believes Johnny may have a brain tumor and does a spinal tap.  When Johnny dies during the procedure Ray accuses him of murdering his brother and plots revenge.  Brooks is desperate to get an autopsy done on Johnny to prove his diagnosis but Ray refuses.  Brooks then turns to Johnny’s estranged wife Edie (Linda Darnell) to try to get her consent.  Ray is one evil SOB and manages to terrorize everyone he can get his hands on.  With Ossie Davis and Ruby Dee as Brooks’ brother and sister-in-law.

This suffers from a little preachiness but is basically a gripping revenge tale.  Widmark makes a great psychopath and he is made even more repellant than usual by his racist rants.  Linda Darnell is quite good and Sidney Portier was solid right from the beginning.  This also features some beautiful cinematography by Milton R. Krasner.  Apparently the film flopped on release and then was buried for years because television didn’t want to touch it.   (Widmark must use the “n” word 100 times.)

http://www.youtube.com/watch?v=lAb2zHuE9vw

Trailer