Monthly Archives: July 2014

Side Street
Directed by Anthony Mann
Written by Sydney Boehm
1949/USA
Metro-Goldwyn-Mayer
First viewing/Film Noir Classic Collection Vol. 4 DVD

[box] [first lines] Capt. Walter Anderson: New York City: an architectural jungle where fabulous wealth and the deepest squalor live side by side. New York is the busiest, the loneliest, the kindest, and the cruelest of cities – a murder a day, every day of the year and each murder will wind up on my desk.[/box]

This movie has everything you could possibly ask from a fillm noir except the femme fatale.

Joe Norson (Farley Granger) has lost his gas station and is now living with his in-laws in New York City and working as a part-time mail carrier.  His wife Ellen (Cathy O’Donnell) is about to deliver their first child.  One day, he makes a delivery to law office and sees a couple of hundred dollar bills on the floor.  The next day he comes when nobody is in and cannot resist the temptation to break into a file cabinet  Big, big mistake.

When he has a chance to look inside the file folder he snatched, he finds that instead of the few hundred he expected there are $30,000 in carefully batched bills.  Terrified, he goes back to the law office to return the money.  Second big mistake.  The lawyer denies that it is his money or that he even had a file cabinet.   Joe leaves and stashes the loot, in a gift box, with a bartender.  Worse and worse.

After checking with his sources that Joe is not a cop, the lawyer sends his goons after Joe. Joe finds he is a suspect in two murders.  The rest of the story is taken up with Joe’s frantic search for the money and its origins and flight from the goons and the police.  With Jean Hagen in a small but choice part as a boozy nightclub singer who is the girlfriend of one of the goons.

Anthony Mann is becoming one of my very favorite noir directors.  With Academy Award winning cinematographer Joseph Ruttenberg, he creates a visual feast in Side Street. Mann loved to experiment with camera angles and a variety are used here without distracting from the story.  The car chase that ends the film is very innovative, including helicopter views of the tiny cars winding through crowded city streets.  The lighting is rich and expressive.   Granger makes an excellent angst ridden noir hero and O’Donnell and Hagen do what they do best. Recommended.

Trailer – cinematography by Joseph Ruttenberg

Too Late for Tears (AKA “Killer Bait”)
Directed by Byron Haskin
Written by Roy Huggins
1949/USA
Hunt Stromberg Productions/Streamline Pictures
First viewing/Amazon Instant Video

[box] Danny Fuller: Don’t ever change, Tiger. I don’t think I’d like you with a heart.[/box]

Lizabeth Scott is cast against type as the deadliest of femme fatales.  She’s even too much for Dan Duryea’s villain.

Jane Palmer (Scott) is tired of being a member of the “poor” middle class.  She wants to outdo the Joneses.  She is married to conventional hardworking Alan (Arthur Kennedy), however.  One day, Jane sees her opportunity when a valise containing $60,000 in old bills is thrown in the back of their convertible.  Howard wants to turn the money in to the police but Jane convinces him to put it in a safe place for a week so they can think about it some more. The couple leave the bag at the stored luggage department of a railway station and Alan takes the claim check.

Soon enough, the blackmailer Danny Fuller (Duryea) shows up and starts threatening all kinds of mayhem if Jane does not return his money.  He gives her until the next day to come through.  She hides the visit from Alan.  Alan plans a romantic evening to compensate for turning the money into the cops.  But Jane has a gun and nothing and nobody is going to come between her and her dream.  Meanwhile, a mysterious visitor (Don DeFore) befriends Alan’s sister and helps her to get to the bottom of Alan’s disappearance.

This is an OK “money isn’t everything” noir.  I think the role of the truly evil Jane did not suit the more girlish charms of Lizabeth Scott in the least.  One can only imagine someone like Barbara Stanwyck in the part.  As usual my beloved Duryea acquits himself well. He has a bit of a conscience, too, for a change.

I watched this on Amazon Instant Video because I feared the print on the Alpha DVD Netflix rental would be really bad and the movie has recently been restored.  I needn’t have bothered.  The print was quite fuzzy.  The 35-mm restoration is showing on the festival circuit so maybe there is a better DVD coming in the future.

https://www.youtube.com/watch?v=6avldLNY5mY

Clip – cinematography by William C. Mellor

T-Men
Directed by Anthony Mann
Written by John C. Higgins; story by Virginia Kellogg
1947/USA
Edward Small Productions
First viewing/Netflix rental

[box] Dennis O’Brien: Did you ever spend ten nights in a Turkish bath looking for a man? Don’t.[/box]

This police procedural is enlivened by the direction of Anthony Mann and the gorgeous cinematography of noir master John Alton.

A new batch of counterfeit bills is in circulation that is printed on dangerously good paper. Treasury Agents Dennis O’Brien (Dennis O’Keefe) and Tony Genaro are assigned to infiltrate a conterfeiting gang and determine the source of the paper.  They elaborately plan their new identities down to the last detail.

The Schemer (Wallace Ford), a small time hood who puts the bills into circulation, leads them to the mob bosses.  After that it is a deadly game of cat and mouse as the agents offer some excellent printing plates to go with the paper.  With Charles McGraw as an assassin.

This is an early police procedural with extensive third-person voice-over narration.  It was made with the cooperation of the Treasury Department and shows the work of its Secret Agents in considerable detail.  The story could be pretty dry but for Anthony Mann’s mastery at creating tension and framing shots and the low-key lighting provided by Alton. The scenes in the steam bath are particularly impressive.

T-Men was nominated for an Academy Award for Best Sound, Recording.

Clip – the bathhouse murder (spoiler) – cinematography by John Alton

Compulsion
Directed by Richard Fleischer
Written by Richard Murphy based on the novel by Meyer Levin
1959/USA
Darryl F. Zanuck Productions
First viewing/Netflix rental

[box]Jonathan Wilk: In those years to come, you might find yourself asking if it wasn’t the hand of god dropped these glasses… And if he didn’t, who did?[/box]

This is a superb  treatment of the Leopold and Loeb case, also adapted for Hitchcock’s Rope.

Arthur A. Straus (Bradford Dillman) and Judd Steiner (Dean Stockwell) are two highly intelligent and privileged law students.  Artie also happens to be a psychopath and Judd gets his kicks from playing at a master-slave relationship with him.  They decide to commit the “perfect murder” simply to see if they can get away with it.  Their crime of choice is kidnapping a child, murdering the boy, and throwing his body into a ravine.  They follow up by sending his parents a ransom note.

The boys are not as smart as they think they are and the body is found before they can collect on the ransom.  Artie has more fun by insinuating himself with the police and sending them on wild goose chases after teachers, servants, etc., ruining several careers in the process.  D.A. Harold Horn has strong suspicions about some glasses found at the scene though and eventually the killers are brought to justice.  The remainder of the film is devoted to their trial at which liberal defense attorney Jonathan Wilk (Orson Welles) – a stand-in for Clarence Darrow who defended Leopold and Loeb – admits their guilt but makes an impassioned argument against the death penalty.

Orson Welles does not make his appearance until the last third of this film.  The first part of the story is devoted to the awful but fascinating characters of the murderers, compellingly played by Dillman and Stockwell.  Dillman’s is a fairly straightforward psychopath but Stockwell gets to show a more rounded portrayal as a twisted young man who just might have a conscience buried somewhere inside.  Welles’s anti-death penalty monologue ending the film was the longest in film history and is very moving.  Fleischer also makes this compelling to look at. Highly recommended.

Dean Stockwell, Orson Welles, and Bradford Dillman jointly won the Best Actor Award at the Cannes Film Festival.  The film was nominated for the Palme d’Or.

The story has also been made into the movies Rope (1948), Swoon (1992) and Murder by Numbers (2002)

Trailer – cinematography by Willaim C. Mellor