Angel Face Directed by Otto Preminger
1952/USA
RKO Radio Pictures
First viewing
#244 of 1001 Movies You Must See Before You Die
Frank Jessup: I’d say your story was as phony as a three dollar bill.
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, 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.
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!
The Enforcer Directed by Bretaigne Windust (credited) and Raoul Walsh (uncredited)
1951/USA
Warner Brothers presents A United States Picture
First viewing
Joseph Rico: I’m forgetful. Sometimes I meet a guy and then I never see him again. I got a big turnover in friends.
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 small 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.
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
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.
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.
Call Northside 777 Directed by Henry Hathaway
1948/USA
Twentieth Century Fox Film Corporation
First viewing
Tomek Zaleska: Sure, I could say I did it. Then maybe have a chance of getting out, like you say. And if I confessed, who would I name as my partner, Joe Doaks? I couldn’t make it stick for one minute. That’s the trouble with being innocent – you don’t know what really happened.
This is an enjoyable film noir/docu-drama based on a true story and filmed on location in Illinois. The performances are all good and fairly understated and the story is photographed with style.
James Stewart plays Chicago reporter P.J. McNeil, who is assigned to look into a classified ad that offered $5,000 for information on the murder of a policeman 11 years earlier. The mother of Frank Wiecek (Richard Conte) published the ad in hopes of proving the innocence of her son. Although McNeil is quite sceptical, his editor (Lee J. Cobb) asks him to dig further. Slowly, McNeil becomes convinced of Wiecek’s innocence as well and ends up championing his case despite many difficulties in tracking down evidence.
In a departure from his usual gangster roles, Richard Conte gives a sensitive portrayal of the convicted man. According to the commentary on the DVD, James Stewart sought out his role after the box-office failure of his previous two movies, Magic Town and It’s a Wonderful Life. Stewart was turning 40 and decided his persona of a gangling, sincere young man no longer suited him. This was the film that formed his character for the darker roles he would play in the Mann and Hitchcock films of the 1950’s.
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.)
Hangover Square Directed by John Brahm
1945/USA
Twentieth Century Fox Film Corporation
First viewing
George Harvey Bone: All my life I’ve had black little moods.
The story is set in London, Laird Cregar plays George Harvey Bone, a gifted young composer who is subject to strange blackouts when he hears discordant sounds. He has no memory of what occurs during these episodes but the viewer knows that he becomes a vicious murderer. When he consults a Scotland Yard psychiatrist (George Sanders) about his problem, the psychiatrist advises him to relax and take a break from his hard work on a piano concerto. Unfortunately, during his first night on the town George meets a beautiful but devious music hall singer (Linda Darnell) who manipulates him to get songs for her act.
This was Laird Cregar’s last performance. He is fine in the role though he might mug a bit much. The movie is otherwise chiefly notable for its fantastic high-contrast cinematography, the score by Bernard Hermann, and a couple of impressive set pieces – a Guy Fawkes Day bonfire and the concluding concerto performance.
The DVD I rented was packed with extras. There were two full-length commentaries and a documentary on Cregar. Cregar certainly had a sad story. He was a big and heavy man who went on a drastic weight loss regime in hopes of winning leading man roles. He lost over 100 pounds for this film and had bariatric surgery shortly after it wrapped. Five days later he died of a massive heart attack. He was 31 years old. One of the interviewees in the documentary speculated that Cregar probably never would have been a leading man no matter what he weighed but that he could have had a career similar to that of Vincent Price.
Out of the Past Directed by Jacques Tourneur
1947/USA
RKO Radio Pictures
Repeat viewing
#198 of 1001 Movies You Must See Before You Die
IMDb users say 8.1/10; I say 10/10
Jeff Bailey: You can never help anything, can you? You’re like a leaf that the wind blows from one gutter to another.
This visually beautiful film has a classical film noir plot involving a protagonist who is doomed by his obsession with a femme fatale and haunted by an inescapable past. The laconic Robert Mitchum is perfect as the fatalist hero of the tale and Jane Greer is one of the most perfidious shady ladies in all of noir.
I love this movie and have seen it at least ten times. With the last viewing I think I have at last figured out the confusing second half of the movie. This only added to my enjoyment but folks that have not seen the movie may not want to know the part between the spoiler alert notices.
The rather mysterious Jeff Bailey (Robert Mitchum) runs a gas station in a small town in the Sierra Nevada. He is in love with a local girl named Ann. One day, a thug named Joe Stephanos comes looking for Jeff. Joe’s boss Whit Sterling wants to see him. Jeff and Ann drive to Lake Tahoe. On the way, Jeff tells Ann his story. The first part of the picture is thus one long flashback with voice-over narration.
Jeff – real name Markham – used to be a private detective. Whit (Kirk Douglas) hired him to find Kathie Moffet, a woman that shot Whit and made off with $40,000 of his money. Whit wanted Kathie back, with or without the money.
Jeff trailed Kathie to the Mar Azul cafe in Acapulco and was immediately obsessed with her to the exclusion of his job or the consequences. They began an affair and Kathie agrees to go away with him. She admited shooting Whit but denied taking his money. The couple returned to the U.S. and begin living in San Francisco. Whit hired Jeff’s partner Jack Fisher to track them down. When Fisher caught up with them, he attempted to blackmail the couple. Kathie shot Fisher dead and fled in Jeff’s car. A bank book she left behind showed that she had a balance of $40,000.
SPOILER ALERT
Segue to the present, a few years later. Jeff arrives at Whit’s mansion at Lake Tahoe. Kathie has returned to the fold. Whit tells Jeff that an accountant named Leonard Eels is blackmailing him with records that will show Whit owes the IRS $1 million. Whit asks Jeff to go to San Francisco to retrieve the records. Jeff is suspicious but agrees.
Jeff goes to see Eels’ secretary and girlfriend Meta Carson (Rhonda Fleming). The plan is that Jeff will pose as Meta’s cousin and meet her at Eels’ place after which they will steal the records from the office. Jeff senses a frame up and attempts to tip off Eels that he is in danger. He follows Meta and sees her steal the records from the office. When Jeff returns to Eels’ apartment, he finds Eels murdered. Jeff hides Eels’ body in an empty apartment.
He returns to Meta’s apartment and overhears Kathie calling Eels’ building and asking the superintendent to check on Eels. Kathie is shocked when the superintendent does not find a body. Jeff confronts her and she says she is afraid of Whit and acting under his orders. Jeff tells her Eels escaped. She says Whit made her sign an affidavit saying that Jeff killed Fisher. The affidavit is now locked in Eels’ safe. She says she still loves Jeff and tells him where he can find the tax records so that they will be able to blackmail Whit into giving them money and letting them go off together. Jeff melts.
Jeff finds the records and mails them somewhere. In the meantime, Kathie learns from Joe Stefanos that he did kill Eels. Jeff finds Joe and Kathie together. He reveals that he has the records in a safe place and says that he will hand them and Eels’ body over in exchange for the affidavit and $50,000. Whit’s henchmen are now very suspicious as it looks like the only way Jeff could have found out about the affidavit was from Kathie. Kathie and Joe say they are going to get the affidavit but instead give Jeff the slip.
Jeff takes a deaf-mute kid that works for him and goes fishing in the High Sierras. Somehow Joe and Kathie locate the kid and get Jeff’s whereabout’s from him. Joe goes off to shoot Jeff but the kid sees him first and causes Joe to falls into the river and be killed.
Jeff goes back to Tahoe and confronts Kathie. He finds out Whit knew nothing about the plot for Joe to kill him and that Kathie told Whit that he killed Fisher. Jeff again agrees to turn the records over to Whit for money and the affidavit. When Whit and Kathie are alone, Whit becomes furious, hits Kathie, and threatens to kill her if she does not do exactly what he says.
Jeff returns to Bridgeport and sees Ann. He again professes his love for her. Later, Jeff goes to Tahoe to finalize the deal and finds that Kathie has murdered Whit. Kathie wants Jeff and herself to have a fresh start in Mexico. This time, she will be in total control. She is willing to threaten Jeff with being framed for the murders of Fisher, Eels, and Whit to get what she wants. While Kathie is finishing her packing, Jeff calls the police. Kathie shoots Jeff when their car runs into a police roadblock and dies herself when the car crashes during a shoot-out with the police.
END SPOILER ALERT
Clearly, I had been missing a lot for a long time! This viewing made Kathie seem much more evil than before and Whit not quite so bad. I was wondering whether Whit would have gone after Jeff at all if he had known Kathie killed Fisher.
Probably 75% of my enjoyment of this film lies in it exquisite compositions and chiaroscuro lighting. I don’t seem to have the words to explain the shots but I know that I am enraptured by them. The music is also very beautiful and the dialogue is a kind of hard-boiled poetry.
The Strange Love of Martha Ivers Directed by Lewis Milestone
1946/USA
Hal Wallis Productions
First viewing
Sam Masterson: Don’t look back, baby. Don’t ever look back.
There are some fine performances in this noirish melodrama about childhood secrets.
The film opens in 1928 in Iverstown with rebellious young Martha Ivers and Sam Masterson in a freight car preparing to run away to join the circus. Detectives soon apprehend the girl and return her to her hated aunt (Judith Anderson). The aunt is waiting along with Martha’s tutor and his timid son Walter O’Neill. Sam briefly sneaks into the house to say goodbye to Martha. When the aunt attacks Martha’s cat, Martha grabs a poker out of her hands and strikes her, killing her. Walter is a witness and backs up Martha’s lie about a mysterious intruder. His father does the same and the O’Neills have a lifetime grip on Martha and her money. Martha goes on to marry Walter.
Segue to 1946 and Sam Masterson (Van Heflin) wrecks his car while driving through Iverstown. He must stick around to have it fixed and soon meets sultry ex-con Toni (Lizabeth Scott) who has just been paroled from jail. Sam catches up with District Attorney Walter when Toni is picked up for a parole violation. Walter (Kirk Douglas) is terrified that Sam will blackmail Martha (Barbara Stanwyck) and him for the aunt’s death and is also jealous of his wife’s continued love for Sam. He has Sam roughed up to encourage him to leave town but Sam does not scare easily.
Although I thought the story did not quite hold together, I enjoyed this, largely for the performances. Barbara Stanwyck is my favorite actress of classic Hollywood and she is very good here as the wounded but steely Martha. Van Heflin has more to do than in other films I have seen him in and is excellent. Lizabeth Scott was OK but too obviously a stand-in for Lauren Bacall for her own good. It was Kirk Douglas in his film debut that was the most interesting.
Douglas’s Walter is repeatedly referred to by Sam as looking like “a scared little boy.” He is evidently a chronic alcoholic and spends much of his screen time drunk. I could almost see Douglas smoothing out the lines of his face through sheer willpower as he tried to act weak and cowardly. He couldn’t quite manage it. That aggressive, macho Douglas persona was not to be repressed. This is not to say Douglas was bad, far from it. His star quality shines through and he is compelling. It was just a whole lot of fun to see him play against type and to try to remember that he was supposed to be afraid of Sam and not the other way around.
The Phenix City Story Directed by Phil Karlson
1955/USA
Allied Artists Pictures
First viewing
#297 of 1001 Movies You Must See Before You Die
[box] Albert L. Patterson: Rhett, I’m not stickin’ my neck out. Why should I? Phoenix City has been what it is for 80, 90 years. Who am I to try to reform it?[/box]
This semi-documentary film tells the story of a crusade to fight a vice racket that had run Phenix City, Alabama for the better part of a century. While it is well-regarded, I could not get past some pretty bad acting and overblown writing.
The film was made during the murder trial for the assassination of Alabama Attorney General-elect Albert Patterson. The version I watched began with a segment in which newsman Clete Roberts interviews many of the real participants in the events portrayed. Rhett Taylor (Edward Andrews) is the boss of an organized crime racket that runs gambling, prostitution, and other criminal activities in Phenix City, which is near a U.S. Army Base. He holds on to power through brutal strong arm tactics, including open murder, while the police look the other way. Former Senator and local lawyer Albert Peterson (John McIntyre) is content to defend Taylor’s men in court, figuring that nothing can be done about the situation. Peterson’s son John (Richard Kiley) comes home from service as an Army lawyer in Germany and soon is determined to fight the mob, spurred on by the violence and injustice he sees. After several more murders, Albert is persuaded to run for Alabama Attorney General on a reform ticket.
I’ve been a classic movie fan for many years. My original mission was to see as many movies as I could get my hands on for every year from 1929 to 1970. I have completed that mission.
I then carried on with my chronological journey and and stopped midway through 1978. You can find my reviews of 1934-1978 films and “Top 10” lists for the 1929-1936 and 1944-77 films I saw here. For the past several months I have circled back to view the pre-Code films that were never reviewed here.
I’m a retired Foreign Service Officer living in Indio, California. When I’m not watching movies, I’m probably traveling, watching birds, knitting, or reading.
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