Tag Archives: Film Noir

Noirvember: Taking A Walk Through The Dark Alleys Of Film Noir

Yes it’s that time of year again, time to once again celebrate all things Film Noir. Put on your trench coats and hats, pour yourself a glass of bourbon and sit back and revel in a cinematic world of shadows, thrills, Femme and Homme Fatales, and plenty of darkness and danger.  

My first time venturing into the dark alleys of Film Noir happened when I watched The Big Sleep(1946). I loved Bogie’s performance and the complex plot. What I loved most of all about the film was the daring dialogue and use of innuendo, especially in scenes between Bogie and Bacall and between Bogie and Dorothy Malone in the bookstore scene. I knew after seeing this that I had to check out more Film Noir.

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Dorothy Malone and Humphrey Bogart in The Big Sleep. Image source IMDb.

Double Indemnity, The Maltese Falcon and Murder, My Sweet(1944) quickly followed. I’ve been a fan ever since. I’ve had great fun heading off down the side streets of Film Noir and discovering less famous/somewhat less discussed gems such as The Narrow Margin(1952), They Made Me A Fugitive(1947),The Phantom Lady(1944). 

If pressed to choose just one film genre as my all time favourite, I would certainly have to go with Film Noir. Why is this genre(yes, I do indeed consider it a genre rather than a style) such a favourite of mine? Because it’s so awesome. These films pushed against the restraints and restrictions of Joseph L. Breen’s ridiculous and prudish Production Code, and in the process provided audiences with the only truly adult film content on offer since the Pre-Code era.

Noir film directors quickly mastered the art of innuendo and double entendre. The result was a set of films which were extremely violent and brutal without wallowing in blood and graphic violence, and which were also sexy and daring, all without showing nudity or sex scenes. The films also featured some very psychologically complex and fascinating characters of both genders.

I also love these films because they reflect the truth of humanity back to those of us sitting in the audience. We all have good and bad within us, we are all complicated in some way, and we all do what we have to do to survive and get by in life. Noir films reflect this reality back at us. 

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Jane Greer and Robert Mitchum in Out Of The Past. Image source IMDb.

Following on from the horrors of WW2, 1940’s film audiences began to be bombarded with films which reflected the reality of the life they were living at the time. Not since the 1930’s gangster flicks had films been so gritty or violent. Noir films dished out a slice of real life for many viewers and captured the cynical and bleak mood of the times. People now were much more aware of the dark side of humanity, and everyone in some way had been affected by the darkness of the war. Noir films picked up on the mood of the times.

The Noir villains were ice cold, nasty pieces of work, while the women were independent, strong, and even manipulative in some cases. Even the heroes themselves were not always clear cut good guys. The public lapped these films up and they continued being made throughout the 1940’s and 50’s.

Where 1940’s Film Noir was all about cynicism and the dark side of man, the Noir films of the 1950’s focused more on the paranoia and fear surrounding things like communism and Nuclear weapons. There are also several Noirs which fall under the category of Documentary Noir – these true crime stories are often inspired by the heroic actions of Police and Government Agencies and include films such as T-Men and Call Northside 777.

Noir films weren’t all crime thrillers set in the big city either, there were also a small series of films which have become known as Western Noir. These films at first glance are your typical Western, but on closer inspection you can see that they have characters and plots which fit the established tropes found in traditional Noir films. These films have femme fatales, outright bad guys who revel in violence, and the good guys who are more gray than white. My favourites of these are Ramrod, featuring Veronica Lake giving one of her best performances; The Furies,which features Noir Queen Barbara Stanwyck in one of her most memorable roles; and Station West,starring Noir favourites Dick Powell and Jane Greer.

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Veronica Lake and Joel McCrea in Ramrod. Image source IMDb.

It was the French film critics who first came up with the name for these dark crime films that we now know as Film Noir. The word they chose was Noir(literally meaning black or dark.) The French themselves have also made many excellent Noir films – films such as Le Jour Se Leve and Rififi for example. These moody and atmospheric films are among the very best in the genre. My favourite French Noir is Le Jour Se Leve, featuring an unforgettable lead performance by the great Jean Gabin. The atmosphere, lighting and performances in this film are some of the best in the whole genre.

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Noir films are often very interesting visually. The black and white photography captures long dark shadows,and creates an atmosphere unlike anything else found in film, with the exception of the German expressionist films of the 1920’s. Darkness is everywhere in Noir films, it clings to all the characters like a suffocating fog. The photography and lighting are such important parts of these films, with so much of that Noir atmosphere and look down to the skill of the camera and lighting crews. An early Noir that makes great use of shadow and lighting is The Stranger On The Third Floor(1940). This film also has the added bonus of Peter Lorre lurking in the shadows. 

Another major and memorable part to a Noir film is the femme fatale. As a woman I love that these films offered such juicy roles for women to play. The Noir era was really the first time since the 1920’s and pre-code 1930’s that actresses had been offered such strong, complex and obvious bad girl roles. The femme fatales are overtly sexual, independent and sexually aggressive women. These gals know what they want and they go after it. Anyone today who says actresses didn’t start getting good roles until now, really need to go back and watch Noir, Pre-Code and Silent films to see that just isn’t the case at all. 

Noir women are not content to stay at home cooking in the kitchen and looking nice for their men. They do their own thing. Some use men and then toss them aside without a second thought. My favourites amongst these women are Kathie (Jane Greer)in Out Of The Past, Vera(Ann Savage) in Detour,Phyllis (Barbara Stanwyck)in Double Indemnity, Cora(Lana Turner) in The Postman Always Rings Twice and Elsa(Rita Hayworth) in The Lady From Shangahi, and Peggy Cummins as Laurie, truly one of the most sexual and strong Noir women, in Gun Crazy. 

                             A few femme fatales of Film Noir. Screenshots by me. 

 I think it must have been a lot of fun for the actresses to be able to play these women in this way. When you look at the roles of Noir actresses film credits, you’ll often find that their Noir characters are the most memorable and interesting roles of their careers.

Mention Stanwyck, Bacall, Jane Greer, Marie Windsor, Peggy Cummins or Lana Turner and what is the first film of theirs that usually gets mentioned? Nine times out of ten it is their Noir films such as Double IndemnityThe Big Sleep, Out Of The Past, The Narrow Margin, Gun Crazy and The Postman Always Rings Twice respectively. These strong female roles remain as memorable and impressive today as they were when these films were first released. 

As well as the bad girls, Noir also features many memorable good girls too. These are also strong and independent gals, who will happily get mixed up in danger and who prove to the cynical men in their lives that not all women are femme fatales. These gals don’t get their kicks in using and hurting men. My favourites of these characters are Kathleen (Lucille Ball)in Dark Corner(1946). Kathleen is the loyal secretary to Bradford Galt (Mark Stevens)a tough Private Investigator who is being set up. Kathleen happily puts herself at risk to help him uncover the bad guys, and proves herself to be a woman worthy of his heart.

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Jean Peters as Candy. Screenshot by me.

My other favourite is Candy (Jean Peters)in Pickup On South Street. Candy is a tough gal who puts up a I can take care of myself front, when in reality she can be easily hurt. Candy puts herself in great danger helping Skip (Richard Widmark)uncover a communist gang.

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Gloria Grahame as Debby. Image source IMDb.

I also love Debby Marsh(Gloria Grahame)in The Big Heat. Debby is the sweet and slightly naive girlfriend of Lee Marvin’s gangster. When he permanently scars her in a fit of rage, Debby hardens and turns to Glenn Ford’s Detective Bannion to help take her man down.

The men in Noir films (both good and bad)are usually cynical and world weary chaps. They are tough and comfortable with dishing out (and being around) violence. Some are bad guys with no redeeming features, while others have tough exteriors in order to survive this world, but underneath that toughness are actually total sweethearts. Sometimes a decent guy (like Walter Neff for example)gets caught up in a web weaved by a femme fatale, or an old pal who they should have steered well clear of,and becomes caught up in murder and crime and has no way out and will end up dead or in jail. 

A few of the Noir guys. Images on left screenshots by me. Right image from IMDb. 

Actors like Humphrey Bogart, Richard Widmark, Dick Powell and Robert Mitchum played some of the best remembered Noir male characters. These performances remain powerful when viewed today. My favourites from the Noir guys are Philip Marlowe (Dick Powell)in Murder, My Sweet; Raven(Alan Ladd) from This Gun For Hire; Bradford Galt (Mark Stevens)in The Dark Corner; Jim(Robert Ryan) in On Dangerous Ground; Mark McPherson(Dana Andrews) in Laura; Sam(Van Heflin) in The Strange Love Of Martha Ivers;Walter Brown (Charles McGraw) in The Narrow Margin ;Dave Bannion (Glenn Ford) in The Big Heat; Skip McCoy (Richard Widmark) in Pickup On South Street; Martin Rome(Richard Conte) in Cry Of The City; and Frank Chambers (John Garfield) in The Postman Always Rings Twice.

Despite being made in an era when films were heavily censored, Noir films contain images and dialogue that make me sit up and go “did I really just see or hear that?” These films are often very violent without graphically depicting violent acts, as most of what we see is implied, but the violence still packs a punch for the viewer. These films also contain dialogue or shared glances between characters that leave you in no doubt as to the meaning, be that implied meaning sexual or violent. These films were about as risque and daring as you could get in mainstream cinema at the time. The fact that they retain their shock value and impact is a credit to all involved in putting these films together. 

When you mention Noir, I will bet that most people automatically associate that word with American cinema, and while it’s true that the majority of Noir films are predominantly American, there are also many fantastic Noir films which were made outside of the USA as well. I’ve already mentioned that the French made many fantastic Noir flicks. Akira Kurosawa’s Japanese Noir Stray Dog (1949) is one of the best in the genre, while the first screen adaptation of The Postman Always Rings Twice was the brilliant Italian Noir Ossessione(1943).  

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John Mills and Eva Bergh in British Noir The Long Memory. Image source IMDb.

There are also many Noir treasures to be found in British cinema. Films including The Long Memory, They Made Me A Fugitive, The October Man, Night And The City, Odd Man Out, Cast A Dark Shadow and Brighton Rock. My favourite of these is The Long Memory, which sees John Mills playing against type as a tough, embittered man wrongly accused of murder. Some other good ones are Daybreak and It Always Rains On Sunday.

Noir slowly began to wind down towards the end of the 1950’s. But it enjoyed a revival in the 1980’s, with the release of the much more sexually explicit Noir film Body Heat. In this film, Kathleen Turner plays Mattie, the sultry femme fatale leading the lovestruck William Hurt into her trap. Sex is Mattie’s weapon and she is in complete control of her situation. I consider this to be the best Noir film made outside of the 1940’s and 1950’s. Kathleen is up there with Lana, Barbara, Jane and Rita for me. 

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Kathleen Turner was a Femme Fatale for the 1980’s in Body Heat. Image source IMDb.

In more recent years Noir films such as Basic Instinct, The Last Seduction, Femme Fatale, Sin City: A Dame To Kill For and LA Confidential have come along. It’s clear filmmakers and audiences still have a taste for Film Noir. Hopefully people who like these modern Noir flicks, characters, and the overall look of these films, will now go and check out Noir films from the 1940’s and 1950’s. It would be a real shame if they don’t, as they will be missing out on so many superb films and performances.

10 of my favourite Noir films are Murder, My Sweet (Dick Powell version),Cry Of The City, Double Indemnity, Pickup On South Street, Le Jour Se Leve, They Made Me A Fugitive, The Narrow Margin, The Big Heat, Kiss Me Deadly(the darkest and wildest Noir flick as far as I’m concerned) and The Long Memory.

My favourite decade for Noir? Without a doubt it has to be the 1940’s. When I hear the word Noir, I immediately think of black and white images, of smoke filled rooms where the light catches the shadows on the blinds, which in turn cast long dark shadows. This decade has so many films that I think are amongst the best of the genre. For me just the word Noir is enough to conjure up images of world weary detectives, cynical people trying to make it from one day to the next, and of women whose greatest weapon is themselves. The 1940’s Noir films capture all of this to a tee. 

My favourite Noir actor? It’s got to be Dick Powell. I think he suited these films perfectly. His appearance in these films also ensured he got a nice career change as he moved away from musicals and proved his dramatic acting ability. As much as I adore Bogie as Philip Marlowe, it is Dick Powell who I consider to be the best screen version of Raymond Chandler’s most famous private detective. Both the film Murder, My Sweet(1944) and Dick Powell’s performance in it are so underrated. I also love Robert Mitchum, Robert Ryan, Charles McGraw, Dana Andrews.

My favourite Noir actress?  Jean Peters, Marie Windsor and Barbara Stanwyck. They were perfect as tough and sultry dames. I also love Lana Turner,Jane Greer, Gene Tierney and Rita Hayworth.

Do you love Noir too? Please share your thoughts below. What are your favourite Noir films? Who are your favourite Noir characters?

Happy Noirvember! 🕵️‍♀️

The Noirathon Begins

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The time has come for all us guys and dames who love Film Noir to assemble here at Maddy’s Club. Over the next three days, a large number of Noir fans will share their reviews and articles on all things Film Noir. Keep checking back to this post over the next three days to read all the entries.  

Massive thanks to those of you who are taking part. I can’t wait to read all those entries. 

Day 3 Entries

Gabriela from Pale Writer returns with a second entry, this time discussing the pairing of Alan Ladd and Veronica Lake in Noir films.

Pure Entertainment Preservation Society discusses The Dark Mirror

Ruth from Silver Screenings discusses the villain in Kansas City Confidential. 

Movie Night’s Group Guide To Classic Films writes about The Blue Gardenia.

Movie Rob takes a look at The Woman In The Window.

Gabriela from Pale Writer brings Lizabeth Scott to the Noir party, with her article on Dead Reckoning.

Mike from Films On The Box shares his thoughts on Fear In The Night, a 1940’s Noir starring DeForest Kelley.

Erica from Poppity Talks Classic Film, discusses the Noir classic They live By Night.

Movie Rob talks about about Scene Of The Crime, a Noir starring Van Johnson.

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Day 2 Entries

Quiggy at the Midnite Drive-In tells us all about Abbot And Costello parodying Film Noir

The Lonely Critic brings some Japanese Noir to the party, as he discusses High And Low. 

Movie Rob discusses the Barbara Stanwyck classic Sorry, Wrong Number

Le from Critica Retro discusses Tension, a Noir from 1949. 

Clarissa from Stars And Letters shares letters from famous fans of The Killers.

Realweegiemidget joins us a second time to discuss John Wick: Chapter 3 .

John V’s Eclectic Avenue shares his thoughts on The Chase.

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Day 1 Entries

Carol from The Old Hollywood Garden discusses friendships in Film Noir.

Portraits From Jenni writes about one of the best Noir’s of the 1950’s, the gripping Pickup On South Street

Noirish discusses The True Story Of Lynn Stuart, a lesser known Noir film from 1958.

Paddy from Caftan Woman joins all the Noir fun, by sharing her thoughts on Thieves Highway. 

Andrew from The Stop Button shares his thoughts on In A Lonely Place, one of the most famous of all Noir films. 

Gill from Realweegiemidgetreviews brings Keanu Reeves to the Noir party. She discusses John Wick: Chapter 2, which is a modern Noir. 

Erin from Cinematic Scribblings invites us to take a trip to the British seaside, for her review of the brilliant British Noir Brighton Rock

Steve from Movie Movie Blog Blog II joins us to discuss Laura, truly one of the great classics of the genre. 

I write about Murder, My SweetCry Of The City and Dark Passage.

The Noirathon: Dark Passage(1947)

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Dark Passage is one of the most underrated and interesting of all of the 1940’s Noir films. Quite why this one isn’t discussed more often is beyond me. It’s a very different looking Noir film to most, and it is also one which provides us with a glimpse of a far more vulnerable and tender side to Noir tough guy/hero Humphrey Bogart.

The Humphrey Bogart we see in this film is far removed from the smooth and tough screen hero we’re used to seeing, that man who can get himself out of any scrape and not be phased by what happens to him. His character in this film however is a desperate, awkward and very frightened man, a man who has no control over his situation. It’s rare to see Bogie in such a role. Personally I would have liked to have seen him play more similar characters because this one shows what a great range he had as an actor.Dark Passage poster Bogie’s romantic and affectionate scenes with his co-star and wife Lauren Bacall, are amongst some of the most tender I’ve ever seen the couple perform on screen. Dark Passage would mark the third time that Bogie and Bacall had worked together in a film. Their final screen pairing would come the following year with Key Largo.

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Bogie and Bacall get intimate as Vince and Irene. Screenshot by me.

Director Delmar Daves shot a large amount of Dark Passage with a subjective camera technique. This technique shows the film unfold before us entirely from the point of view of Humphrey Bogart’s character. For most of the film we don’t see his characters face at all, but we do hear his voice. When we finally do see his face, it is his heavily bandaged face. The film is one hour and 41 minutes long, but it takes about an hour before Bogie’s face actually appears on screen. This visual style more than anything else about the film is what makes it such an unusual one.

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The bandaged Vince. Those eyes sure do look familiar. Screenshot by me.

The point of view photography was pretty risky when you think about it. Bogie was one of the biggest film stars on the planet at the time this film was made. Not showing his face for such a large part of the film was a gamble.  Bogie was the draw for a large amount of the audience and they could very easily have walked out of screenings thinking they weren’t going to get to see the man himself. 

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We see what Vince is looking at for much of the film. Screenshot by me.

Interestingly, Dark Passage is actually not alone in the Noir genre for its use of this camera technique.Actor Robert Montgomery had caused quite a stir when he had directed and starred in another Noir film, Lady In The Lake, which had been released earlier in 1947. That film had been shot almost entirely from the point of view of the character Philip Marlowe, who Montgomery played, and the film became quite the talking point because of the way it was shot.

Delmer Daves also shot much of his film on location in San Francisco and this, coupled with the point of view sequences, ensured that there was quite a realistic and different feel about this film. The film is based upon the 1946 novel of the same name written by David Goodis. Delmer Daves wrote the screenplay in addition to sitting in the directors chair.

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Irene appears to help Vince. Screenshot by me.

The film tells the story of Vincent Parry(Humphrey Bogart), a man who is imprisoned for the murder of his wife, a crime that he insists he didn’t commit. Vince escapes from prison and is pursued by the law. Vince is picked up by a guy who agrees to give him a lift.

A news report comes on the car radio describing this man’s passenger. Vince beats the driver up, drags him into some bushes by the roadside and takes his shoes. Suddenly another car pulls up, and out gets a young artist called Irene Jansen(Lauren Bacall). Vince doesn’t know her, but she seems to know him(this is all explained later in the film). She tells him to come with her and she will help him. Irene drives him to San Francisco.

                               The roadblock sequence. Screenshot by me. 

Vince and Irene encounter a roadblock on the Golden Gate Bridge, which leads to a very suspenseful sequence where Irene has to act casual to throw off the suspicions of the policeman who stops her car. Vince hides underneath a large covered pile of her art supplies and narrowly avoids being discovered. Once in the city, Vince gets help from a back-street doctor (Housley Stevenson)who performs plastic surgery on him to give him a new face. 

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Who’s in the mood for some plastic surgery? Screenshot by me.

The scene where Vince prepares for surgery is a standout, and it is made so by the dubious character of the doctor and his fabulous dialogue and laughter as he prepares his patient for surgery – “Ever seen a botched plastic job? If a man like me didn’t like a fella, he could surely fix him up for life. Make him look like a bulldog or a monkey!”. I doubt a man would want to get a shave off this dude, let alone willingly sit back and let him perform facial surgery on them. As the anaesthetic takes effect on Vince, he enters a bizarre nightmare, one where images and conversations he’s had get all mixed up as he goes under.  

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Part of the nightmare Vince has. Screenshot by me.

Vince emerges with a new face and recovers from the surgery at Irene’s apartment. She nurses him. Once recovered, Vince changes his name and sets about trying to investigate his wife’s murder. His investigation is difficult and dangerous.His only ally in all of this is Irene. The person who knows the truth about his innocence or guilt is Madge Rapf(a scene stealing Agnes Moorehead), the woman whose evidence in court was crucial in getting him put away.

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Agnes Moorehead as Madge. Screenshot by me.

Agnes delivers one of her best performances here. She’s a real nasty piece of work in this film. Madge is the sort of dame who sucks people in, charms them and then discards them like trash. She’s a whole lot of mean encased in one beautiful and glamorous exterior. I hope that Agnes had a lot of fun with this role because it sure looks like she relished playing the part. Such a shame that she didn’t get to play more bad girls in more Noir films. 

Bogie and Bacall are both absolutely terrific here. They convince as a couple thrown together in unusual circumstances who begin to fall in love.  Bogie does a good job of playing a more vulnerable and wounded character than he usually played. Much of his performance here comes via his voice and by the look in his eyes, it’s a more subtle performance than many of his others. He also makes us root for Vince and admire his determination to risk himself in order to find out the truth. Lauren delivers one of her best performances in my opinion. I love her as the determined, confident and fearless Irene. I also find her character so interesting because she is actually quite symbolic. 

                               Irene removes Vince’s bandages. Screenshot by me. 

Irene is the traditional white knight figure(a role usually played by men)to Bogie’s man in distress. She appears to him out of nowhere and saves him several times. She nurses him, supports him and stands by him. She is his guardian angel. She is his safe port in the hellish storm he finds himself caught up in. You could also say that Irene serves as a symbolic mother too, due to her being the one to bring the new Vince into the world so to speak. Vince doesn’t remove his bandages, it is Irene who does that, and in the process reveals his new self to him. Irene is also the one who chooses a new name(identity)for Vince, so if you look at it one way, it is she who brings this new man to life. Farewell, Vincent Parry. Hello to Alan. 

The entire supporting cast all deliver solid performances. The film is an interesting mystery and contains a lot of suspense and thrills. Some of the plot certainly does come across as being extremely far fetched, but somehow the film still manages to work despite that. It is a film that deserves to be much more widely discussed and appreciated today. I highly recommend this one to fellow Noir fans. 

Have you seen this? Leave your thoughts below. This is my final entry for my Noir Blogathon being held this weekend. 

The Noirathon: Cry Of The City(1948)

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Cry Of The City is a Film Noir which plays out like a 1940’s Greek tragedy. It is a poignant and powerful tale of injustice, love, the desire for a second chance and the inability to avoid the hand dealt to us by fate. This film not only makes us fully support and sympathise with the supposed villain of the piece, but it also gets us to sympathise with the detective who is tasked with pursuing him.

                            Candella and Martin have much in common. Screenshots by me. 

The hero and villain both developing a mutual respect or realising that they are both more alike than they’d care to admit, is undoubtedly one of the oldest of the storytelling tropes, and I think that this trope is put to very effective use indeed in Cry Of The City. This film takes that trope one step further than most, by revealing to us that the two main characters, Martin Rome and Lt. Vitorrio Candella, had both grown up in the same crime infested slum and were friends as children. Both men went down very different paths in life. They both see the other as the living embodiment of the type of person they could easily have become had things turned out differently for them. 

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In some ways I consider Cry Of The City to be quite similar to Michael Mann’s Heat(1995). Both films have the criminal and the cop beginning to respect, understand and even like each other the more they interact with one another. Both films also go far beneath the surface of their lead characters to show us the souls of both men, and in doing so both films allow us to see that their characters are more similar than they are dissimilar. 

Cry Of The City is directed by Robert Siodmak(The Spiral Staircase, The Killers). Siodmak was loaned out from Universal Studios in order to make this film for Twentieth Century Fox. The film is based upon the 1947 novel The Chair For Martin Rome by Henry Edward Helseth. Twentieth Century Fox purchased the rights to the novel not too long after it was published and they adapted it for the screen very quickly. The film was shot on location on the streets of New York. This one joins the ranks of those other Noir flicks whose location work lends an almost documentary look to the finished film.  

                          Martin doesn’t like what Niles has to say. Screenshots by me. 

Hardened criminal Martin Rome(Richard Conte), kills a police officer in a shootout and is himself injured and taken to hospital under guard. He is visited there by shady lawyer, Niles(Berry Kroeger),who tries to get Martin to confess to a robbery and murder which were actually committed by another client of his, a fellow criminal called Whitey Leggatt, and a female accomplice called Rose(a scene stealing Hope Emerson, playing a masseuse who you really wouldn’t want to get on the wrong side of).

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Martin sets out to put things right. Screenshot by me.

Martin quite rightly refuses to take the rap for something he didn’t do, but this then leads Niles to threaten Martin’s gentle and innocent fiance, Teena(Debra Paget, in her debut film role). Martin attacks him and is transferred to a prison hospital. 

The injured Martin breaks out of prison(a sequence which is one of my favourite in any Noir film)and goes on the run. Martin must now protect his girl, find out who really committed the murder and theft Niles has tried to pin on him, and also try and evade Lt. Candella(Victor Mature), the detective who is trying to capture him.  Martin has help in the form of his ex-girlfriend, Brenda(Shelley Winters) in tracking down the female accomplice in the murder and theft. While all of this is going on Martin is gradually succumbing more and more to his injury. 

“There won’t be any shooting in this house as long as Mama’s here!”

While the two main characters in the film are male, there are also many memorable female characters. The women of Cry Of The City not only represent the different types of women found in life, but they also serve to show us what women must contend with in the world of crime, death and darkness that is Film Noir.

Teena ,Brenda, Mama and Rose. Screenshots by me. 

Teena is naive to the dark realities of the life her beloved Martin is a part of. Teena doesn’t care what he has done, she only cares that they love each other and she believes they will get a happy ending. Brenda is a more worldly gal, one who is wise to the realities and goes along with it all. Brenda has a heart of gold and will do anything for anyone. Rose knows the realities of this world all too well. Rose is a strong woman who plays men at their own game and also rather interestingly lives a life of complete independence running her own massage business. Mama Rome represents the woman who is the heart of the home and has an inner strength which helps her survive the bad times in life. Mama is also someone who never stops loving their children, even if those children take a wrong step along the path of life. 

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Martin and his Mama. Screenshot by me.

The film also focuses very heavily on the importance of family and on the personal life of the criminal. When Rome is in the home of his elderly mother(Mimi Aguglia), he leaves his dodgy activities outside the door, and it is she, rather than him, who is the boss of that home. She is everything to him. She knows what he does and isn’t afraid to call him out on what he does.

In a very poignant scene she confesses that she should have put a stop to him getting into a bad life when he was younger, but he sent her money and she needed it and accepted it without asking questions. Their relationship is the heart of the film and their relationship is tinged with sadness. She also worries for his fiance because she knows that their relationship will most likely end in heartbreak(she ain’t wrong). 

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Richard Conte is at his best in this film. Screenshot by me.

Richard Conte delivers one of his best performances in this film. His performance as Martin Rome has become my favourite from his work. He is a regular face in Film Noir and remains best known to fans for his chilling and sadistic performance in The Big Combo.

This film offers him a very different type of role. Martin Rome is certainly a bad guy, but he isn’t sadistic, mean or unhinged. Martin wants to get married and escape his criminal life. He has done bad things in the past but he longs for a clean slate and a second chance. I love the nuance that Richard brings to this character. Richard is tough with a don’t mess with me attitude one moment, and then the next he is vulnerable and shows us the man beneath the protective macho mask.  He has you on his side completely and makes you long for a happy ending for him, all the while knowing full well that such endings are rare beasts indeed in Noir. 

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Victor Mature as Candella. Screenshot by me.

Victor Mature really surprised me the first time I saw this film. I have never really thought much of him as an actor(I mean no disrespect when I say that)but he blew me away in this. He steals every scene he is in and his performance is often quite subtle. Watch his eyes and body language in this because he conveys so much with both. He more than convinces as the tough and capable cop who will do what must be done.

In some ways Victor has the more interesting character of the two to portray because there is alot going on emotionally/psychologically with him. Candella doesn’t just see Martin as a criminal who he must bring to justice. Candella knows the childhood Martin endured and remembers what it was like, but Candella had the sense and strength to say no to crime and walk away, whereas Martin got sucked into that life. He sympathises with Martin in many ways, but he never pities him because at the end of the day he could have turned his back on that life and didn’t. Candella also loves and respects Mama Rome and has known her since he was a kid. He knows that whatever he does to Martin will hurt her and we know that he feels awful because of that fact. 

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Candella and Mama Rome. Screenshot by me.

Candella won’t give Martin a free ride because of their shared history, he will pursue him because he is on the side of the law. I also love how Candella realises he can’t save Martin, but he can try to save Martin’s kid brother Tony from following his brother into a life of crime.

This subplot is very moving and you are on Candella’s side in his endeavour, even though your heart goes out to Tony for his loyalty to his older brother who he idolises. This is a good example of the power of this film, it has you rooting for the heroes and the criminals, often at the same time. It is a film which packs quite an emotional wallop.

Hope Emerson steals all her scenes as the deadly Rose. She literally towers over other cast members due to her size and is a very imposing and dominating figure.

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Hope Emerson as Rose speaks with Martin. Screenshot by me.

The character of Rose is fascinating. Who can forget that moment when you see what she is capable of doing with her hands to defend herself? While Rose isn’t in that many scenes, she becomes possibly the most memorable character in the film. She is certainly one of the most unforgettable women in Film Noir in general. 

The supporting cast all deliver solid performances. Debra Paget’s performance in particular is very moving and exceptional for a screen debut. I can’t recommend this one highly enough to Noir fans. If you like a gritty, suspenseful, moving and bleak film, then this is certainly one for you. 

Have you seen this film? What do you think of it?

This is my second entry for my Noir blogathon being held at the end of this month. 

 

 

 

 

 

The Noirathon: Murder, My Sweet (1944)

Noir blogathon banner 1When I hear or read the words Film Noir, Murder, My Sweet is always the first film which springs into my mind. Every single part of this flick screams Film Noir. There’s the moody and foreboding atmosphere, the voiceover, the cunning femme fatale, stunning cinematography(by Harry J. Wild) and lighting, intriguing characters and twisty story, and all of that fabulous Noir dialogue – “The joint looked like trouble, but that didn’t bother me. Nothing bothered me, the two twenties felt nice and snug against my appendix.” “A black pool opened up at my feet. I dived in. It had no bottom.”

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Marlowe sees his latest client reflected in the window of his office. Screenshot by me.

For this Noir fan, Murder, My Sweet is the film which perfectly encapsulates what Film Noir is all about. Not only is it my favourite Noir film, but I consider it to be the ultimate Noir flick.

In this film we also get prime examples of the types of men and women who roam the dark alleys of Film Noir. There are the ruthless and the evil, the desperate and the damaged, the cynical and the hopeful, the victims and the victors. In the form of Dick Powell’s Philip Marlowe, the film also gives us one of the best depictions of the cynical and witty Noir veteran, someone who has seen and done it all and is no longer phased by the darker sides of humanity when they encounter them going through life.

Murder my sweet poster

Murder, My Sweet is directed by Edward Dmytryk and is based upon Raymond Chandler’s 1940 novel Farewell, My Lovely. This novel was the second book to feature the character of private detective Philip Marlowe. The first novel to feature Marlowe was The Big Sleep, but it was this second novel which would end up being the first to be adapted for the screen.

The rights to Chandler’s novel were bought by RKO Studios and it wouldn’t be long before the studio made a film adaptation of Chandler’s work. In 1942, the plot of Farewell, My Lovely formed the basis of the third film in the popular Falcon series, The Falcon Takes Over. While George Sander’s charming gentlemen sleuth, Gay Lawrence replaced Marlowe as the hero of that film, the rest of its story and characters are essentially the same as those found in Chandler’s novel. 

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Just a couple of years after making The Falcon Takes Over, RKO would go on to make this much more faithful screen adaptation of the story. The film title would be changed from Farewell, My Lovely, to Murder, My Sweet, in the hopes that audiences wouldn’t mistake it for one of the musicals leading man Dick Powell usually made. 

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Dick Powell changed his screen image when he played Marlowe. Screenshot by me.

For the role of the cynical and tough private detective Philip Marlowe, baby-faced screen crooner Dick Powell was cast. At this point in his career Dick Powell was best known as the screen partner of tap dancing sensation Ruby Keeler in a series of popular film musicals. 

Dick however was getting tired of his current career and was trying to get more meaty roles.He had desperately wanted to play the role of Walter Neff in 1944’s other Noir classic, Double IndemnityCharles Koerner, the head of RKO Studios, was the person ultimately responsible for Dick being able to go and create a new screen image for himself. Koerner made a screentest with Dick for the role of Marlowe and signed him for the role after seeing that test. 

Dick’s performance in Murder, My Sweet more than proved what a good dramatic actor he could be. He went on to appear in many more Noir and dramatic roles after this. His casting in this film was a big gamble, but he turned out to be well worth the risk and is considered by many fans(myself included) to be the best screen Marlowe. I can’t get enough of Dick Powell in this film and in his other serious roles.I also love his anthology TV series The Dick Powell Show and Four Star Playhouse too. 

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Philip Marlowe. Screenshot by me.

I love how Dick manages to capture and convey the perfect balance between Marlowe’s toughness and cynicism, his humour/laid back attitude and his almost childlike curiosity and delight at some of the things he does and encounters.

Over the years many actors have played Marlowe on the big and small screen. Raymond Chandler preferred Humphrey Bogart’s performance as Marlowe, but I think Dick Powell is the best actor to have ever taken on this role. As much as I like Bogie as Marlowe, I feel that Dick Powell understood the character a bit better and captured both sides of his personality. I consider Dick’s Marlowe to be the character from the books, while Bogie’s Marlowe never feels like the complete guy to me.

The film begins with a blindfolded Philip Marlowe(Dick Powell)being interrogated by the police. In flashback we learn about the events which led him to come to be in this room. Murder, My Sweet tells a story filled with a great many twists and turns. Marlowe is hired by a tall ex-con by the name of Moose Malloy(Mike Mazurki), to try and find his missing girlfriend, Velma Valento.

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Marlowe and Mrs. Grayle have an instant attraction. Screenshot by me.

When Marlowe and Malloy start looking for the missing dame it seems that nobody knows anything about her.

While working for Malloy, Marlowe is also hired by Lindsay Marriott to accompany him to a meeting to get back a stolen jade necklace.  Marlowe goes with him to the meet, only for Marlowe to be knocked unconscious and Marriott to be killed.

Marlowe soon discovers the jade belongs to Mrs. Helen Grayle, the knockout and much younger wife of old Judge Grayle. Marlowe is intrigued by Helen and there is an instant attraction between the two. Marlowe is also quite taken by Helen’s feisty and angry stepdaughter, Ann(Anne Shirley in her final film role)who absolutely hates Helen. Gradually Marlowe’s two cases converge and he realises that all is not as it may seem. 

The standout sequence in the film is Marlowe’s disturbing nightmare brought on by the drugs pumped into him by his captors. It’s a visually impressive, trippy and weird sequence. It captures the weirdness of nightmares and the horror of not being in control once drugs get hold of the poor sap whose system they’ve crept into. It’s an impressive and memorable sequence which must have blown audiences away back in 1944.

Dick Powell is superb as the much put upon Marlowe and delivers one of the best performances in the entire Noir genre. He makes us like him and root for him. He effortlessly delivers all of that hilarious and laid back dialogue. He also leaves us in no doubt that he can take care of himself and be tough. He is also someone who you can relax around and have a laugh with. Marlowe is an everyman. I also love that we see he doesn’t get much in return for risking his neck all the while. Marlowe lives in a small apartment and certainly doesn’t live the high life. 

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Marlowe begins to feel the effects of the drugs. Screenshot by me.

Marlowe is really put through the wringer in this film. What I dig most about Marlowe in this film is that he looks rough after his double dose of imprisonment and forced drug injections.This dude looks worn out, tired, ill and battered several times in this film, and that lends a great amount of realism to what we’re seeing. There’s no James Bond glamour or a quick dusting off and getting right back to it to be found here. Marlowe really suffers in this film. Dick more than convinces us of the pain and distress Marlowe is undergoing throughout this film. I also like that Marlowe doesn’t let his experiences change him into a hard and cold man. He may well be cynical and tough, but he always remains likeable and on the side of good in spite of what he himself has endured. 

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Claire Trevor. Screenshot by me.

Claire Trevor is excellent as the bad to the bone Mrs. Grayle. While she soon realises her charms don’t work on Marlowe, she never the less doesn’t stop trying to get him under her thumb. Claire leaves us in no doubt that her character is a strong and controlling woman who won’t rest until she has what she wants. 

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Anne Shirley. Screenshot by me.

Anne Shirley is fiery, gentle and innocent all at once as the heroine of the piece. Ann is a gentle girl driven to distraction by her poisonous stepmother but never loses her humanity or kindness. I think it’s a great shame Anne never made another film after this. 

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Mike Mazurki. Screenshot by me.

Mike Mazurki is tragic, funny and loveable all at once as the gentle giant, Moose Malloy. Moose is slow witted and ends up becoming the real victim of the film. Marlowe is his only genuine ally. 

  Esther Howard as Jessie. Screenshots by me. 

Esther Howard nearly steals the show with her appearance as the booze riddled Jessie Florian. Jessie’s dead husband owned the bar where Velma used to work and Marlowe thinks she may be able to help him. Esther delivers one of the best drunk impressions in all of cinema. She cuts a funny and tragic figure too. 

The rest of the cast are all solid and everyone, even those in small roles, get their chance to shine in this film. If I could only recommend one film to a Noir newbie to watch it would be this one. Murder, My Sweet is one of the best in the entire genre. It’s one I return to again and again and always enjoy.  Close the blinds, turn out the lights, pour a bourbon and settle down to watch this Noir classic. You won’t regret the time spent in the company of Mr. Philip Marlowe. 

What do you think of this film? Let me know in the comments below. 

This is my first entry for the Noir blogathon I’m hosting later this month.

2019 CMBA Spring Blogathon: Femme/Homme Fatales: Elsa Bannister From The Lady From Shanghai(1947)

CMBA Blogathon

The Classic Movie Blog Association is hosting this blogathon all about Femme and Homme Fatales in Film Noir. Be sure to visit the CMBA site to read all of the entries, I can’t wait to read them all myself. I’ve decided to write about Elsa Bannister from The Lady From Shanghai. There are spoilers ahead about what happens to this character.

I am such a big fan of Film Noir. I think I would even go so far as to call myself a Noir addict. Noir films are absolutely amazing!One of my favourite things about Noir films is the strong and memorable roles that these films offered to actresses during the classic film era. Many actresses did some of their best work in Noir films. 

Few characters are more memorable in Noir films than the Femme Fatales. Femme Fatales are very clever and strong women. They are also dangerous, dominating, intriguing, sexy, and most important of all, they are very alluring. Femme Fatales are women who draw men to them like flames draw moths.

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Rita Hayworth as Elsa Bannister. Is she a victim or a villainess? Screenshot by me.

One of my favourite Femme Fatales is Elsa Bannister(Rita Hayworth)in The Lady From Shanghai. Elsa is a very interesting Femme Fatale, because while she is certainly a ruthless and clever manipulator, she also ends up destroying herself and leading herself to her own fate.

One look at Elsa Bannister and you have no difficulty understanding why Michael(Orson Welles)falls under her spell. Elsa is a prime example of a woman who men should stay well away from. Elsa is one of the most unforgettable Femme Fatales in the history of Noir films. She has the ability to make herself seem vulnerable and unhappy one moment, and then she becomes a cold and calculating b***h the next moment. Elsa is a good actress and knows exactly how to get and keep her audiences (in this case Michael)attention. 

Rita Hayworth’s trademark thick red hair was cropped and dyed blonde for this role. This was done on the instruction of director Orson Welles(also Rita’s husband at the time of filming), this decision angered the Columbia studio head, Harry Cohen. In my view Mr. Cohen should have chilled out. Orson Welles was right to transform Rita for this role. Rita’s new look works wonders for the character.

                                     Rita’s new screen image. Screenshots by me. 

The effect of her new image makes Rita look like Deborah Kerr’s Karen in From Here To Eternity. Much as it did for Deborah Kerr in that film, Rita’s new screen image as Elsa makes her look sexier, harder and cooler than she had ever done before. Rita oozes sex and seduction whenever you see her on screen in this film. 

This role was quite a change for Rita. She usually played quite bubbly characters who were basically good girls.Even her iconic character in Gilda is really a good and decent woman. The role of Elsa enabled Rita to play a darker and crueller character than audiences were used to seeing her play. 

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Elsa and Michael. Screenshot by me.

When Michael first meets Elsa he can’t keep his distance from her. It really isn’t difficult to see why he is so drawn to her. He wants her, he thinks endlessly about her, and he is wrongly led to believe that she needs him and likes him.

Elsa (just like all Femme Fatales) is like one of those deadly sirens from the old Greek legends. She is an irresistible and alluring being who leads men to a most unpleasant doom indeed.   

Elsa Bannister may well be beautiful and desirable on the outside, but inside she is cold, selfish and heartless. We may at first feel some pity for her at having such an unhappy marriage, but we soon learn that Elsa doesn’t really deserve our sympathy at all. Elsa may well want to break free from her marriage prison, but setting up Michael and leading him on isn’t the way to break free to happiness.

Elsa is clever, but she is also a poor judge of character and is way too sure of herself. When she lures Michael into her web she is also inadvertently sealing her own fate. When he learns that she planned to set him up for murder, Michael is quickly done with her forever. Michael walks away from her after she is shot in the fun house finale. Michael will never be able to forget her though. He will also never lose his genuine feelings for her, but he is at least now free to live in the light and try and have some sort of a happy life.

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Elsa is every inch a Femme Fatale. Screenshot by me.

When Michael gets wise to Elsa, she learns(all too late)the cost of using people and treating them like dirt.

Elsa is still so sure till the last moment of her life that she is irresistible to Michael. She is still so sure that things will go her way. 

She soon realises that she isn’t as irresistible as she thinks. The irony is that Michael genuinely cared about her. Michael could have made her happy if she had gone away with him and not used him. Unfortunately the only person Elsa has ever loved is herself.  

Elsa Bannister dies alone, crying and screaming for help. While her fate may sound rather cold and cruel, her death is actually the fate that she deserved. As deserved as it is, it certainly can’t be denied that Elsa’s death is a lonely and harsh one. Her death sees her lying on the floor of the dark hall of mirrors, discarded like a piece of rubbish that has been dropped on the floor.

Elsa’s behaviour and fate stand as a warning to all the characters who we see throughout Film Noir. Getting too wrapped up in revenge, temptation, lust, murder, and hate can only end in unhappiness and death. You can only use and push people so far before they push back. You can only step so far into the darkness before you are consumed entirely by it. 

I find it very difficult to imagine any other actress in the role of Elsa Bannister. Rita inhabits and plays the role of Elsa Bannister to perfection. Rita’s performance is seductive and mesmerising. It’s one of Rita’s best performances in my opinion. With Rita playing Elsa, the character could also be viewed as showing us what could have happened to Rita’s other famous character in Gilda. Imagine what Gilda would have been like if she had lost her warmth and instead become soulless and cold? I think we have the answer to that in the form of Elsa Bannister. 

Elsa Bannister leaves a lasting impression on anyone who watches Lady From Shanghai. She has become one of the most iconic of the Noir Femme Fatales. What are your thoughts on Elsa?

Do you love Film Noir? If you do, I would love to invite you to join my Noirathon.

The Big Heat (1953)

What a film this is! A gripping story of violence, corruption, hate, revenge and a strong determination to fight back against evil. It also quite interestingly shows us that the line between people who are good and bad can sometimes get quite blurred.

Big Heat poster

The film is based upon the Saturday Evening Post Serial by William P. McGivern. I have never read this but would love to do so. If you have read it, I would love to get your take on the differences and similarities between the text and the film. The film is very violent and brutal. Some of the violence we actually see on screen, some is inferred, but all of it makes quite an impact on us. The film still shocks and grips when viewed today. The clothes and cars may have dated, but the story, shock of the violence, and the types of people seen in the film certainly haven’t changed all that much.

The film is directed by Fritz Lang. He made so many masterpieces throughout his career(especially his German Silent films), that I find it very hard to single out any one of his films as being better than others. The Big Heat is one of his that I would certainly single out though, and for me it is his best American film. Lang focuses on the darkness of humanity and really rubs our noses in that darkness and dirt. He also lets us see that there can sometimes be good, decency and courage found in the sewer of humanity. This is a film that is all about humanity and Lang focuses upon the characters and their actions and motivations, instead of making the film one that is all about visuals and action.

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Glenn Ford as Bannion. Image source IMDb. 

This is what I call an actors film. The entire cast all deliver superb performances, and for some I think it’s fair to say they deliver career best performances. Glenn Ford in particular is excellent as the good detective who ends up going around filled with barely concealed rage and hatred.

The vast majority of the films power comes via the interactions between characters and their reaction to the violence that occurs throughout the film. I also love how the film is split into little sections which almost come across as mini films in their own right. Apart from one scene, the film all takes place inside. The interior locations and the close way the camera is focused on the actors really gives the film a claustrophobic feel. The film has an almost documentary style about it.

I like that women play a major role in this film. The female characters we see are very strong women and once they get mixed up with Bannion’s investigation they suffer unspeakable cruelty. Much of the violence in this film seems to be directed towards women. Women are the main victims in this film, they either end up getting killed, physically scarred, emotionally damaged, or have their lives put at risk. Even Detective Bannion’s own daughter suffers too, as her childhood innocence gets shattered and lost due to what happens to her mum.

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Gloria Grahame as Debby. Image source IMDb. 

It is also the women in this film who either take most of the risks, or who get hurt the most. In the end it is also a woman who gets revenge on two of the main villains of the film. Bannion, who is supposed to be the hero, actually doesn’t get his hands dirty all that often, but through his investigation and persuasion others face danger or lose their lives by helping him get revenge. Debby comes across as being the real hero of the film. Bannion also does or say things that make him not unlike the people he is seeking revenge against. There’s that old saying which I think applies perfectly to him and his situation; violence begets violence. Revenge is just a never ending cycle of pain and violence.

The film begins with Bertha Duncan (Jeanette Nolan)hearing a gunshot. She comes downstairs and finds her husband (a police detective)dead in an apparent suicide. She reads a letter he has written, but we don’t see what is in it. Throughout all of this she never looks shocked or upset in any way, she looks cold and seems unbothered by the grim sight before her. She makes a call to dapper crime boss Lagana (Alexander Scourby)to inform him of the death, he seems to have mixed feelings to her news, and he says he will see her soon.

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Debby and Bannion team up to get justice. Image source IMDb. 

Detective Dave Bannion(Glenn Ford)is put on the case and at first seems convinced it is a simple suicide. His suspicions are aroused when he speaks to Lucy Chapman(Dorothy Green)a woman who was Duncan’s mistress and who claims there is no way he killed himself. Bannion sees there is more to this when Lucy is found brutally murdered shortly after telling him what she did. 

Across town, the thuggish Vince Stone (Lee Marvin)is one of Lagana’s men and he is put in charge of getting rid of Bannion. A car bomb meant to take out the curious detective accidentally kills Bannion’s wife Katie (Jocelyn Brando) instead. Bannion is driven crazy by his grief and is determined to get revenge and uncover the truth about the case. He also puts his young daughter into the protective custody of former army pals of his to keep her safe.

Vince Stone’s flirtatious, and fun loving girl, Debby(Gloria Grahame)is rebellious and she takes a liking to Bannion. This affection gets her a pot of boiling coffee in the face, scarring her for life. Debby teams up with Bannion in his quest to get the men who killed his wife. Debby gets to dish out some revenge along the way.

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A disfigured Debby and the vicious Vince. Image source IMDb. 

Glenn Ford is excellent as a decent, ordinary man plunged headfirst into violence, grief and pain. He is excellent at conveying little gestures or looks showing Bannion becoming enraged and no longer playing by the rules. His performance is all in the eyes, pay close attention to him in every scene. Glenn often looked quite baby faced in many roles, but here he looks more mature and proves what a good dramatic actor he could be.

Lee Marvin steals every scene he is in as the despicable heavy, who has no feelings for anyone, not even for a woman who is supposed to be his girlfriend. Marvin had such an expressive and fascinating face and here he says so much with that face. You sure wouldn’t want to mess with this guy!

Gloria Grahame (who to me has always been quite an underrated actress)is at her best as the fun loving, strong, and stubborn Debby. In the last part of the film Debby becomes the main focus of the film instead of Bannion. Gloria relishes these scenes where she shows us Debby overcoming her pain to become a strong woman determined to get some justice for herself and Bannion.

Jocelyn Brando (older sister of Marlon) is very good as Bannion’s loving wife. She gives him a normal, happy and stable existence away from the darkness of his job. Jocelyn and Glenn work well together making us feel this couples connection and devotion.

Jeannette Nolan steals every scene she is in as Bertha, the ice cold woman who thinks only of her self. Her character is one of the most interesting and controlling in the whole film. Jeannette was a superb actress, but I think this may be one of the best performances she ever gave.

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Bertha makes Bannion lose his temper. Image source IMDb. 

Alexander Scourby oozes evil as the big boss who thinks he is king of the city. He has people very afraid indeed, but of course he won’t dirty his own hands by killing or injuring, he hires heavies to do that for him. Lagana uses words and body language to scare and intimidate, he finds this doesn’t work on Bannion. Scourby is excellent and gives you a good sense of what his character is all about.

This film features many fine supporting performances from the following: Dan Seymour, Willis Bouchey, Edith Evanson and a young Carolyn Jones.

My favourite scenes are the following. Debby answering the phonecall from Lagana for Vince. Bannion and Katie sharing a steak, a drink and a cigarette. Debby going to Bannion after she has been injured. The carbomb sequence. The “sisters under the mink” sequence. Bannion speaking to the old woman through the fence. The finale in the penthouse. Bannion’s Lt speaking to him after Katie’s funeral.

This is a taut film which packs quite a bit into just 89 minutes. There is not one wasted second in this. There are also scenes where you don’t find yourselves wondering why two characters are suddenly together, as they will say a few words that explain all (we don’t need to see them come together to do what they are about to when we catch up to them).I also like how Bannion is showed to enjoy a very happy marriage and home life. Quite often in films like this the detectives are unmarried or are unhappily married. I like how this film takes a different approach. I also like how this happiness in his character allows Ford to turn in a very dark performance once the happiness is shattered. 

I also have to praise the photography by Charles Lang, he keeps the camera close to the actors at all times and makes us feel a part of the scenes. The film is interesting visually, without the look of the film being the sole focus of attention (like many of the visuals in Fritz Lang’s Silent films).

Any other fans of this film? Please leave your comments below.