Cleaning Out the DVR #17: Film Noir Festival 3

To take my mind off the sciatic nerve pain I was suffering last week, I immersed myself on the dark world of film noir. The following quartet of films represent some of the genre’s best, filled with murder, femme fatales, psychopaths, and sleazy living. Good times!!

I’ll begin chronologically with BOOMERANG (20th Century-Fox 1947), director Elia Kazan’s true-life tale of a drifter (an excellent Arthur Kennedy ) falsely accused of murdering a priest in cold blood, and the doubting DA (Dana Andrews ) who fights an uphill battle against political corruption to exonerate him. Filmed on location in Stamford, CT and using many local residents as extras and bit parts, the literate script by Richard Murphy (CRY OF THE CITY, PANIC IN THE STREETS, COMPULSION) takes a realistic look behind the scenes at an American mid-sized city, shedding light into it’s darker corners.

Andrews is solid as the honest DA who pumps the brakes when the politicians, fearing the wrath of the voters demanding action, pressure the police chief (Lee J. Cobb ) into arresting somebody – anybody – for the murder. But it’s Arthur Kennedy who steals the show as a down on his luck WWII veteran caught up in the hysteria, put on trial for a crime he didn’t commit so political hacks can save (as Mel Brooks would say ) their phoney-baloney jobs. The cast is loaded with marvelous actors, including Jane Wyatt as Andrews’ wife, Cara Williams as Kennedy’s bitter ex-girlfriend, Ed Begley as a shady pol, Sam Levene as a muckraking reporter, and a young Karl Malden as one of Cobb’s detectives. Cobb sums the whole thing up best: “Never did like politicians”. Amen to that, Lee J! BOOMERANG is a noir you won’t want to miss.

Director Nicholas Ray contributed a gem to the noir canon with IN A LONELY PLACE (Columbia 1950) . Noir icon Humphrey Bogart stars as Dixon Steele, a Hollywood screenwriter suspected of murdering a hat check girl. Steele has a violent history well-known to the police, but new neighbor Laurel Grey (another noir icon, Gloria Grahame ) provides him with an alibi. Bogart, as the obviously off-center writer who may or may not have killed the girl, goes deep into his dark side, giving one of his best screen performances – and that’s saying a lot! The viewer is never quite certain if Dixon Steele did the deed until the very end, as Bogart’s psycho scenarist keeps everyone off-balance.

Grahame is one cool customer at first, but as things progress and Bogart’s rage rises to the surface, she becomes more and more frightened of him. Grahame and Ray were married while making IN A LONELY PLACE, but the union was becoming unraveled by this time, and they would soon separate. Frank Lovejoy, whom I’ve always thought was a very underrated actor, plays Steele’s former Army buddy, now a cop on the case. I especially enjoyed Robert Warwick as Charlie Waterman, the alcoholic former screen star who relies on Steele for handouts. Other Familiar Faces include Carl Benton Reid, Morris Ankrum , Jeff Donnell, and famous restaurateur ‘Prince’ Michael Romanoff, a friend of Bogie’s playing (what else?) a restaurateur. If you love movies about the dark side of Hollywood, IN A LONELY PLACE is for you!

Joseph Losey’s THE PROWLER (United Artists 1951) gives us Van Heflin as an obsessed cop who falls for married Evelyn Keyes after responding to a peeping tom call. Heflin delivers a dynamite performance as the narcissistic ex-jock turned officer, unhappy with his lot in life, who has most everyone fooled he’s a “wonderful guy”. Keyes is alone most nights because her husband works the overnight shift as a disc jockey. After he tries (and fails) to put the make on her, he returns to apologize. The lonely housewife dances with him while the song “Baby” plays on the radio, cozying up cheek to cheek, and then… well, you know!

Heflin resorts to anything to get what he wants, including setting up Keyes’ hubby and shooting him. After being found innocent in a coroner’s inquiry, literally getting away with murder, he convinces her of his innocence and the two get married. Heflin buys a motel in Vegas, and is ready to live the American dream, but there’s a hitch to his plans when Keyes discovers she’s already four months pregnant, and her deceased hubby was impotent! Realizing questions will be re-raised regarding their relationship while she was married, the two take off to a deserted ‘ghost town’ in the desert to have the child, away from prying eyes. I won’t spoil the ending, except to say it packs a wallop! THE PROWLER is essential viewing for film noir lovers, written by blacklisted writer Dalton Trumbo under the name of “front” Hugo Butler (and as an inside joke, Losey hired Trumbo to provide the radio voice of Keyes’ disc jockey husband, without the knowledge of anyone involved!).

Last but certainly not least, we come to WHILE THE CITY SLEEPS (RKO 1956), directed by the legendary Fritz Lang , who knew a thing or two about crafting film noir! Casey Robinson’s extremely cynical script shows us the power struggle at a New York newspaper, with whoever discovers the identity of “The Lipstick Killer” terrorizing the town being named Executive Director. The characters are sleazy and unlikable, with everyone sleeping with everyone else, and only the top-notch cast makes them palatable, led by Dana Andrews as a Pulitzer Prize-winning TV broadcaster, Thomas Mitchell as the sly old-school pro, George Sanders at his smarmy, sarcastic best, Vincent Price as the dilettante son who inherits a media empire, Rhonda Fleming as his slutty wife (who’s banging art director James Craig on the side), Sally Forrest as Sanders’ secretary in love with Andrews, Ida Lupino as a gossip columnist Sanders sics on Andrews to seduce him, and Howard Duff as the lead cop on the case. You can’t get much better than that cast!

As the sex-killer with mommy issues, John Drew Barrymore (billed a John Barrymore, Jr.) looks more like Elvis than he does his famous father. Barrymore’s career never reached the heights of his dad, mainly due to his excesses, and his was a tragic life. Towards the end, he was cared for by daughter Drew, who’s had quite a career of her own. WHILE THE CITY SLEEPS is arguably Lang’s last great film, with moody cinematography by the great Ernest Laszlo (DOA, KISS ME DEADLY ). With that cast, Robinson’s pessimistic script, and Lang’s deft direction, it’s another must-see for film noir fans. Oh yes, before I forget, if that stylized ‘K’ for Kyne, Inc. looks familiar, it’s because it’s leftover from another RKO film:

That’s right, CITIZEN KANE! Who says RKO didn’t get the most for their money?

More CLEANING OUT THE DVR:

Five Films From Five Decades

Five Films From Five Decades 2

Those Swingin’ Sixties!

B-Movie Roundup!

Fabulous 40’s Sleuths

All-Star Horror Edition!

Film Noir Festival

All-Star Comedy Break

Film Noir Festival Redux

Halloween Leftovers

Five From The Fifties

Too Much Crime On My Hands

All-Star Western Roundup!

Sex & Violence, 70’s Style!

Halloween Leftovers 2

Keep Calm and Watch Movies!

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Fall in Love with LAURA (20th Century Fox 1944)

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If you’re like me, you’ve probably watched LAURA more than once. It’s one of the top film noirs, indeed one of the top films period of the 1940’s. LAURA is unquestionably director Otto Preminger’s greatest achievement; some may argue for ANATOMY OF A MURDER or even ADVISE AND CONSENT, and they’re entitled to their opinions. But though both are great films, only LAURA continues to haunt the dreams of classic movie lovers, its main themes of love and obsession transferring to its fans even 73 years after its initial release.

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Preminger, along with scenarists Jay Dratler, Samuel Hoffenstein, and Betty Reinhart, weave an intricate, sinister tapestry around the violent death of beautiful New York ad exec Laura Hunt. Cynical police detective Mark McPherson is determined to solve this particularly gruesome murder; Laura was killed at close range by a buckshot-loaded shotgun blast to the face. McPherson begins by questioning Waldo Lydecker, the acerbic newspaper columnist who relates via flashback how he “discovered” Laura and became her mentor, aiding her career and introducing her in high society circles, circles that contain lowlifes like the freeloading Shelby Carpenter, living off Laura’s Aunt Ann’s ‘generosity’ while becoming Laura’s fiancé.

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McPherson grills both Shelby and Ann, as well as Laura’s loyal housekeeper Bessie. He reads her intimate diary and letters from admirers, immersing himself in Laura’s life so deeply he becomes obsessed, falling in love with the dead woman. Waldo calls him on it, and McPherson lets on he’s uncovered Waldo’s own obsession and outright jealousy through the letters. McPherson gets drunk, falling asleep in the chair under a huge portrait of Laura.

Then Laura Hunt walks through the door, alive and well, and his entire world turns upside down….

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Now the fun really begins, as McPherson must discover who the dead girl was, and who knew what. The first comes easy, the second a bit more complicated. In the midst of all this mystery, McPherson and Laura fall in love, and the killer shows his hand in the exciting conclusion. LAURA has more twists than a pretzel, and is twice as tasty in its unfolding of the tale. The dark, moody cinematography by Joseph LaShelle deservedly won the Oscar that year; LaShelle was also nominated eight other times for films like MARTY, THE APARTMENT, and THE FORTUNE COOKIE. David Raskin’s haunting score includes Laura’s theme, which became a 40’s juke box hit with added lyrics by Johnny Mercer. Louis Loeffler’s skillful editing aids in ratcheting up the suspense.

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Dana Andrews and Gene Tierney are the most romantic couple in noir, and both became genre icons. The pair again teamed with Preminger for 1950’s WHERE THE SIDEWALK ENDS. Vincent Price is the sleazy gigolo Shelby, and Judith Anderson is good as Ann. But it’s Clifton Webb’s portrayal of the acid-tongued Waldo Lydecker who walks away with acting honors. The columnist “with a goose-quill dipped in venom” is simply stunning to watch as a man obsessed, going to any lengths to make Laura his and his alone, resorting to murder to achieve his goal. Webb had appeared in a handful of silent films, but this was his first foray to Hollywood since 1930, and he totally dominates every scene he’s in. He was nominated for, but did not win, Best Supporting Actor; the Oscar went to Barry Fitzgerald for GOING MY WAY. But LAURA put Webb on the map in Hollywood, and he went on to star in films like THE DARK CORNER,   THE RAZOR’S EDGE, TITANIC, THREE COINS IN THE FOUNTAIN, and his signature role as Mr. Belvedere in three film beginning with SITTING PRETTY.

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LAURA was also nominated for Preminger’s direction, Best Adapted Screenplay, and Best Black & White Art Direction, for a total of five. It should have won more, but Leo McCarey’s sentimental GOING MY WAY dominated the Oscars that year. Both are classics, but for my money LAURA’s the better film, its dark look at love, lust, and obsession way ahead of its time. This is Otto Preminger’s masterpiece, a true cinema classic that stands up to the test of time and deserves its reputation. Definitely must viewing for readers of this blog!

 

 

 

Darkness on the Edge of Town: WHERE THE SIDEWALK ENDS (20th Century Fox 1950)

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I recorded WHERE THE SIDEWALK ENDS way back in June, and haven’t watched it until just recently. It was well worth the wait, for this is one of the finest noirs I’ve seen yet. Director Otto Preminger reunited with the stars of his film LAURA, Dana Andrews and Gene Tierney, to give us a bleak crime drama that more than holds its own with the best films noir of the era.

Police Detective Mark Dixon (Andrews) is a proto-Dirty Harry cop, a tough SOB not above laying the smackdown on New York City’s criminal element. Another assault charge leads to Mark being demoted by his superiors. Mark’s got a reason for his brutality tactics, though: his father was a criminal, and he’s psychologically compelled to clean up the corruption in his city.

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He’s particularly got a hair across his ass about gambling czar Tommy Scalise (Gary Merrill), who was set up in business by Mark’s father. When a murder occurs at one of Scalise’s floating crap games, Mark wants to pin it on the gangster, but new Lt. Thomas (Karl Malden) warns him not to fly off the handle. Suspect Kenneth Paine (Craig Stevens) is tracked down by Mark, and a scuffle breaks out. Mark kills Paine accidentally, and covers it up by making it look like Paine’s left town. Paine’s ex-wife, model Morgan (Tierney) was also at the crap game, and Mark questions her. Things take a wrong turn when Morgan’s cab driver dad Jiggs (Tom Tully ) winds up implicated for Paine’s death, and now Mark has to prove the old man’s innocence without letting the truth about himself be known.

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WHERE THE SIDEWALK ENDS is a classic example of the “downward spiral” in noir. The web of lies Mark’s spun causes things to rapidly spin out of control. Preminger keeps things moving at a fast clip from a taut screenplay by Ben Hecht. DP Joseph LaShelle’s black & white photography is appropriately stark and as good as his Oscar-winning job on LAURA, as is Louis Loeffler’s editing. Cyril Mockridge’s score set just the right tone.

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Andrews and Tierney made a solid screen team, and Merrill is surprisingly good as a gangster type. Besides those previously mentioned, Familiar Faces in the cast are Bert Freed, Ruth Donnelly, Neville Brand, Robert F. Simon, and Harry Von Zell. And Tierney’s then-husband, fashion designer Oleg Cassini, has a bit as (what else?) a fashion designer. WHERE THE SIDEWALK ENDS may be no LAURA, but it compares favorably to genre titles like THE BIG HEAT and THE KILLERS. It’s an underrated treat noir fans won’t want to miss.