Regular readers of this blog know that I LOVE Film Noir. I’ve decided it’s high time I held a blogathon celebrating all things Noir.
I invite you all to join me to walk through the dark alleys of Film Noir. For this blogathon you can write about any Noir film. You can write about your favourite characters and couples in Film Noir. You can write about the look and style of Noir films. You can write about the history of Film Noir and the impact these films had on cinema.
You can write more than one post for this if you wish to do so. I’m asking that there be No duplicate posts of films for this particular blogathon. There are so many Noir films out there that we shouldn’t need to all write about the same ones. That having been said though, if someone writes a full post about Double Indemnity, it is fine for someone else to write a bit about that film in a list/article which discusses various Noir films. It’s also fine to write about a remake of a Noir film of the same title.
The blogathon will be held from the 27th – 29th of July, 2019. Please try to have your posts ready on or before those dates. Take one of the banners from below to put on your sites to help advertise this event. Check below to see who is writing about what.
Have fun writing! Enjoy watching those Noir films!
The Participation List
Maddy Loves Her Classic Films: Cry Of The City, Dark Passage, Murder, My Sweet(1944)
Pale Writer: Dead Reckoning,Alan Ladd and Veronica Lake
Screen Dreams: Barbara Stanwyck’s Noir Films
Films On The Box: Fear In The Night
Down These Mean Streets: Strangers On A Train
Movie Movie Blog Blog II: Laura
Cinematic Scribblings: Brighton Rock(1948)
Caftan Woman: Thieves Highway
Poppity Talks Classic Film: They Live By Night
Realweegiemidgetreviews: Body Heat
Overture Books And Film: The Killing
Silver Screen Classics: The Asphalt Jungle
In The Good Old Days Of Classic Hollywood: Joan Bennett And Film Noir
The Stop Button: In A Lonely Place
Portraits By Jenni: Pickup On South Street
The Old Hollywood Garden: Friendships In Film Noir
Critica Retro: Tension
Silver Screenings: Kansas City Confidential
Pop Culture Reverie: Somewhere In The Night
The Midnite Drive -In: Noir Elements in Abbott And Costello
I really love Ridley Scott’s 1982 film Science Fiction Noir film Blade Runner. I watched the film again recently, and I found myself wondering what this film would have been like if it had been made as a Noir film in the 1940’s or 1950’s.
So I sat and had a long think about who to direct and who to cast in this classic Noir version of the film.
I would have had Fritz Lang and Edward Dmytryk co-direct this film. I thought of Fritz Lang because of his stellar work in creating a futuristic city and society in his film Metropolis. That expertise would have been much needed to create the futuristic looking city the film is set in.
Lang also directed one of the darkest and most brutal Noir films, The Big Heat, so I’m pretty sure that he would have had no trouble bringing a Sci-Fi Noir film to the screen.
I thought of Edward Dmytryk because he directed the best Noir film (in my opinion)Murder My Sweet(1944); this is a film which oozes Noir from every single frame. He would have done wonders with the characters, the lighting, and with the overall look and mood of the film I think.
I thought of Charles McGraw for the role of Detective Rick Deckard.
I think that Charles could give Deckard the tough quality he needs as a replicant hunter(known as Blade Runners). I also think that he could show the softer side of the man when necessary in certain scenes.
I thought of Gene Tierney for the role of Rachel, a woman who may or may not be a replicant. Gene always did a good job of playing haughty, reserved women with a hint of mystery about them.
I also think that she could easily capture the unreadable and troubled aspects of the character, while also being able to make her vulnerable and innocent during certain scenes.
I thought of Robert Ryan for the role of Roy Batty, the intelligent and violent leader of the escaped replicants.
I think that he could easily convey the intensity, the strength and the rage of Roy, yet also perfectly capture his emotional struggle and also convey his gentle and tender side too.
I thought of Clifton Webb for the role of Dr. Tyrell, the intellectual and scientific genius who created the replicants.
Clifton always convinced as intelligent characters who were self assured, dignified, smug and confident. I think he would be perfect in this role.
I thought of Gloria Grahame for the role of Pris, who is one of the escaped replicants. I think Gloria would be a good choice because she always had a mix of childlike innocence about her and conveyed intelligence and sultriness at the same time.
Pris is a character who looks innocent, is curious, is childlike at times, and is also a very smart and manipulative woman. I think Gloria would have been awesome in this role.
I thought of Marie Windsor for the role of Zhora, another of the escaped replicants who won’t give up without a fight. Marie always had a toughness about her that I think would make her perfect for this role.
I also think that Marie would have been great in the club scenes. I think she would have been terrific in the scene in the dressing room where Zhora shows no inhibitions around Deckard.
I thought of Edward G. Robinson for the role of J.F Sebastian, the genetic designer who works alongside Dr. Tyrell. Sebastian is kind to Roy and Pris and he takes them to see Tyrell.
I thought of Eddie G because he had a knack for playing kind and well meaning characters who get themselves in a situation that they can’t easily get back out of. I think he would been able to convey the intelligence of his character, also his good nature, and also his fear of Roy.
Would you have watched this film? What do you think of the cast I selected? I’d love to know who you would cast as directors or actors in this. Who would you cast if it had been made outside of America?
Are there any other films which you can imagine as a classic era film? Start a post and share it with us.
The Narrow Margin is a film that I never get tired of watching. It’s a very brisk film and it is one which manages to pack quite a punch in just 71 minutes. This is a film in which no scene or dialogue exchange feels like a waste of time. I also consider this film to be a prime example of how a low budget B movie can sometimes stand head and shoulders above any A film.
The Narrow Margin was an RKO studios film and it was directed by Richard Fleischer.
The film was shot in just twelve days. The screenplay for the film was written by Earl Felton and it was Oscar nominated.
The film has no music (other than Mrs.Neall’s beloved records), instead the sound effects of the train wheels and ambient noise are all that we hear as the film goes on. I think those natural sounds add a great amount of realism to the film and I like that the scenes are undisturbed by intrusive or over dramatic music.
This filmhas more twists and turns than a roller-coaster, and it also features some of the greatest lines ever uttered in Film Noir history. The following are just a few of my favourite lines of dialogue from the film.
Brown: ” She’s a sixty-cent special.Cheap, flashy, and strictly poison under the gravy.”
Brown: “Take it all, I can’t eat it!” Mrs. Neall: “That’s because you’ve been packin’ away steaks behind my back.”
Mrs. Neall: “Some protection they send me. An old man who walks right into it, and a weeper”.
Brown: “You make me sick to my stomach.” Mrs. Neall: “Well use your own sink!, and let me know when the target practice starts!”
Brown: “My partners dead, and it’s my fault. He’s dead and you’re alive. Some exchange.”
Mrs. Neall: “Not till I tell you something, you cheap badge-pusher! When we started on this safari, you made it clear I was just a job, and no joy in it, remember?”
Besides the fabulous dialogue, it is the complex and very fascinating characters who make this film what it is. Charles McGraw’s character is one of the hardest, toughest and cynical men that you’ll find in any film, let alone in any Noir film.
Marie Windsor steals every scene she is in as the tough-talking, strong willed dame who sprays quips and insults around as though they were bullets coming out of a gun.
Police Detectives Walter Brown (Charles McGraw)and Gus Forbes(Don Beddoe)are assigned to protect Mrs.Neall(Marie Windsor)and escort her to court. Neall is a mobsters wife who has agreed to testify against her man in court. People associated with her husband are trying to kill her before she can talk to the law.
Brown is tough, cynical and he hates the fact that he and his partner are risking their lives for a no good gal like Mrs. Neall. Even though she is testifying, he doesn’t think she’s a good person at heart at all. As they escort her to the train they’ve booked tickets on, Forbes is gunned down by a hitman sent to take out Mrs. Neall.
Brown manages to get Mrs.Neall on the train and locks her in the empty compartment. A number of hired heavies board the train too, and there are now very few places on the train for Brown and Mrs. Neall to hide. Can Brown protect her or not? Brown also has to deal with the distraction of the lovely Mrs. Sinclair (Jacqueline White)who is travelling on the train with her young son. Brown and Mrs. Sinclair strike up a genuine bond and he becomes very fond of her.
This is a very tense film and the train setting gives it an extra level of suspense as there are very few places that Brown and Mrs. Neall can hide once they’re on board that train and it is hurtling down the tracks. The antagonistic relationship between Mrs.Neall and Brown is also very interesting to watch, the pair loath one another, have wild sexual tension going on, and their verbal sparring is a Noir lovers treat to listen to.
There is a big twist in this film concerning a main character (which I’m not going to reveal because it’s best to go into this film not knowing who it is, this in order to retain the surprise and impact when the reveal does arrive) and when it is revealed, I think that it makes you see this person in a very different light than you did much earlier in the film. When this twist is revealed we also realise that there are two different Police operations being run, and each one is as important and dangerous as the other.
If there is a downside to this film I would say that it lies with the way the sacrifice and murder of this character later on in the film is only referred to once afterwards. When you realise the risk this person was taking and how brave they were, I think that it’s a shame that more time isn’t devoted to acknowledging that sacrifice.That issue aside though this is one of the best Noir films and it is filled with superb performances and many memorable moments.
McGraw gives one of his best performances as the tough as nails Detective who hates his current assignment, but despite his personal feelings he will work hard to protect Mrs.Neall no matter what. He may be mean, he may be rude and rough at times, but there is no doubt that he is a good guy underneath all that, and he is certainly someone you would want on your side in a fight.
It’s a real shame that Marie Windsor appeared in so few Noir films because she is perfectly at home in the dark and seedy world of Noir. Marie comes across as being strong, sexy, and she is a real natural with that snappy dialogue.
Paul Maxey also turns in a very memorable performance as an overweight train passenger who keeps getting in the way of Brown.
My favourite scenes are the following. Brown fighting in the train compartment. Brown and Forbes meeting Mrs. Neall for the first time. Brown and Forbes discussing what Mrs. Neall is going to be like. Mrs. Neall and Brown arguing after he brings her a sandwich. The reveal/twist murder scene.
“I am big. It’s the pictures that got small!” These words are spoken by Norma Desmond, a former American screen queen who longs to be back in the Silent film era. Norma thinks longingly back to a time when actors used their faces and emotions to convey the plot. She also longs to be back in the era when dialogue and effects were not needed or relied upon on in films.
Sunset Blvd is one of my favourite classic era films. It was one of the first classics that I ever saw and it really did make quite an impression on me.
I love Sunset Blvd’s blend of drama and Noir. I love the stunning photography by John F. Seitz. I love the performances and the sad and tragic tale that the film depicts.
This film also opened my eyes to the darker side of the film industry, especially how the people working in this industry can be used and then discarded.
This is also the film that made me aware of Silent films. I was in my mid teens when I first saw this film. Before I watched this film, I didn’t even know that there had once been Silent films. I’m well aware that may sound pretty dumb to some reading this, but before this film, I had had no reason to ever imagine that there had even been a time when films were Silent.
I also love this film because it brought to my attention people like Cecil B. De Mille, Gloria Swanson, Billy Wilder and Buster Keaton. This film encouraged me to give Silent films a go, and I am forever thankful that I did, because I now love them to pieces. 🙂
Superbly directed by Billy Wilder, Sunset Blvd is a warts and all portrait of Hollywood. Wilder wrote the screenplay, along with Charles Brackett(who was the regular collaborator on so many of Wilder’s films), and D.M Marshman Jr. Billy Wilder’s depiction of the darker side to the glamourous perceived image of the American film industry, wasn’t very well received by Hollywood upon its release. I guess some people didn’t like, or simply flat out refused to acknowledge and accept the truth that Billy Wilder so boldly served up to them with this film.
Wilder’s film showed the Hollywood community the unpleasant truth about itself. The film shows us the sad truth that once great stars get tossed aside like rubbish, that people think only of themselves at the expense of others, and that people use others in order to further their careers and get to the top. The film also reminds us that fame and stardom rarely lasts all that long (no matter how much you believe otherwise when you are enjoying it). Wilder’s film is difficult to watch at times because it is so sad and dark. His film is spot on though and that is what makes it so worth watching. The film deals with ruined lives, damaged people and also looks at mental illness.
Gloria Swanson steals the show as the damaged and deranged Norma. She cannot accept that her fame has gone, that she is all but forgotten about, and that everything she once held so dear has now vanished. Swanson was one of the biggest and most talented stars of the Silent era, she also had one of the most expressive faces and she uses that face to its full effect in this film.
The irony of her playing this role can not have been lost on Gloria because she had once been one of the biggest stars in American Silent films. Unlike Norma though, Gloria Swanson (thankfully)was able to work in films and on Television throughout the sound era.Gloria was also able to very successfully bring a blend of Silent and sound era acting techniques to her performance in this film. Gloria is phenomenal in this role and I consider it to be the best performance she ever gave. Her performance is all in the eyes. Watch those eyes of hers, because they really do speak volumes when you look at them.
William Holden is both likeable and not so likeable, as the down on his luck scriptwriter, Joe Gillis. Joe is a man who seizes on an opportunity with Norma and uses her to ensure he gets some money. Joe starts out eager, outgoing, and also with some degree of control over his own life. As the film goes on, William shows us Joe is becoming desperate, on edge and depressed.
Joe becomes a man with no control and no power. He is being used by Norma to bring her soul back to life (watch how she brightens up once he comes into her life)and even if he is unhappy he now can’t be allowed to leave this woman. We sympathise with him for much of the film, but my sympathies start to wane when he uses Norma and can’t see how he much he is hurting her.
It should also be noted that as much as we may pity Norma, we should never forget that she is using Joe just as much as he is using her. Norma uses his script expertise to her own advantage, and she uses her position of power over Joe (as his employer) to call the shots and keep him near her. She sees him as as opportunity to get back into the film industry, and she also sees him as a source of emotional (and it is strongly hinted)physical pleasure for her. In this film everyone is using someone else for something.
The film begins with a dead man floating in a swimming pool. The Police are gathered round the body trying to figure out what has happened.
This opening shot is one of the most impressive and memorable in film history. We see the body floating on the surface of the pool, then we cut to a shot seemingly from under the water looking up at it from underneath.
The dead man is Joe Gillis, and the film that we are about to watch will show us how he came to meet his watery death. Originally the film was to have opened in a morgue, with Gillis’s dead soul talking to the other dead people in the morgue, and explaining to them how he met his fate. This opening was scrapped in favour of the opening we see in the film.
Joe Gillis(William Holden) is a film scriptwriter who needs some money fast. By accident he meets former silent film star, Norma Desmond(Gloria Swanson). She has written the screenplay of a version of Salome, she wishes it to be directed by Cecil B. DeMille and to be her glorious return to the screen. Joe gets himself hired (to get some money)to work on her script for her. He works on it at Norma’s home(a fading luxury mansion, that I see as representing the luxury and excess of the 1920’s film star lifestyle.)
As he spends more time with Norma, Joe soon realises that she is falling in love with him and also that she is completely detached from reality.
Things get complicated when Joe falls in love with Betty(Nancy Olsen), who is an outgoing young studio writer. Betty offers Joe an escape from the possessive nature of Norma.
Betty offers Joe love, fun, friendship, and above all some happiness. Joe’s desperation for a career opportunity and for money, means that he leaves Betty and returns to the wealth, glamour and supposed opportunity that Norma can offer him.
Joe becomes Norma’s kept man. In many ways he becomes no different than the beloved monkey she once had as a pet. Norma dotes on Joe, splashes out money on him, and he can’t stand it.
As he spends more time with Norma, Joe soon realises that she is falling in love with him and that she is also completely detached from reality. Things get complicated when Joe falls in love with Betty(Nancy Olsen), a young and outgoing studio writer. Betty offers Joe an escape from the possessive nature of Norma. Betty offers Joe love, fun, friendship, and above all some happiness.
Joe’s desperation for a career opportunity and for money, means that he leaves Betty and returns to the wealth, glamour and supposed opportunity that Norma can offer him.
Norma becomes suspicious of Joe and Betty, and her anger and distress begins to steadily build up within her and will lead to one of the most tragic and unforgettable finales in film history.
The scenes between Norma and Joe play out like some sort of horror film. Norma appears almost vampire like in certain scenes, and many of her hand gestures appear claw like and grotesque.
Norma sucks Joe in with promises of fame and fortune, he gets caught up in her delusions, and he can’t escape her, no matter how much he might try to do so.Norma is also something of a grotesque character in as much as she is getting old, but she won’t accept it, and she still dresses and makes herself up to be young. Norma and her home(and it could also be said her acting style)are starting to fade away and crumble into non existence and irrelevance.
Joe’s relationship with Norma becomes all consuming and changes who he is as a person. He becomes bound to Norma and cannot escape her, he may try to do so, but when he does he cannot find any peace or happiness because her shadow looms large over any joy he may find.
I like how the film also shows us the two different acting styles of the silent era and the sound era. Holden and Swanson both deliver equally excellent performances showing us these opposite acting styles and techniques. Swanson and Holden get strong support from film director Eric Von Stroheim, who appears as Norma’s loyal butler Max.
Von Stroheim was one of the greatest Silent era directors and he famously made a film called Greed, which originally ran for nine or ten hours! His directorial career ended soon after he directed Gloria Swanson in Queen Kelly. That film is the film that Norma watches on her private cinema screen with Joe at her side.
Max was once married to Norma and he now works for her and cares for her. He fakes thousands of fan letters which he delivers to Norma, so that she actually feels like she is still remembered and valued by fans.
I think Max is a very interesting character because he still loves Norma very much, and he will do anything to keep himself near her.
Max doesn’t care about his low status, nor does he care that Norma views him as a servant only. He is happy to just be in her presence on a daily basis, even if she has no feelings for him anymore.
Max’s reasons for being in Norma’s life are certainly selfish ones, but I don’t think that he would ever knowingly hurt or betray Norma. He is really the only one in her life who knows full well her former high status in life, and he shares her view that she deserves to be back in the spotlight again.
Von Stroheim is excellent as a proud man brought low. I think that Von Stroheim also cannot have missed the irony of his casting. He was once a man of power and influence and here he is now playing a former director, turned servant/carer working for one of his former stars.
Nancy Olsen is terrific as keen, pure, passionate and gentle Betty. She offers Joe an escape from Norma. Nancy’s character is a lifeline for Joe, and she lets us see that Betty is falling for Joe and that they would be good together. She isn’t on screen all that much, but when she is she sure makes a strong impression. Betty is an interesting character because she is seemingly the only truly decent character in the film.
Silent era legends H.B Warner, Buster Keaton and Anna Q. Nilsson all have terrific cameos in the film playing “the Waxworks”. This group are some of Norma’s Silent era colleagues who drop in to see her. The irony of their appearance in this film cannot have been lost on any of these three actors.
I also like how real people and films are mentioned and shown throughout this film. Greta Garbo is mentioned by Norma as being a current actress (Garbo had been retired for about a decade by this time, so this shows how out of touch Norma is with current events)who had the same face and acting style of the Silent era.
Interestingly Greta Garbo was one of the few Silent stars who successfully made the transition to the sound era, and she also retained the same level of fame from the Silent era to the sound era. Director Cecil B. DeMille (who appears as himself) is another Silent era individual who successfully transitioned and retained his fame and influence.
The scene between Norma and Cecil B. DeMille (appearing as himself) is one that I’m not ashamed to admit always makes me tear up a bit.
Norma is warmly welcomed back by former colleagues, crew, and the studio staff. She sees that there are some who still hold her in affection and high regard.
This scene is also important because De Mille could easily have ignored Norma, or sent his assistants to deal with her when she comes to the studios, but instead he greets her with tenderness and affection. He respects Norma and he treats her as she deserves to be treated.
De Mille also utters a line of dialogue here that I think is quite interesting. When asked by an assistant if it was true that Norma was difficult to work with, he replies “only towards the end. A dozen press agents working overtime can do terrible things to the human spirit”.
To me those words from De Mille indicate that something in Norma’s life had been seized on by the press and that stories were being run. Press intrusion is another dark aspect of Hollywood(both then and now), with careers and reputations being ruined and lost due to scandals, and mere rumours and accusations being splashed over front pages and being believed as fact. Maybe this intrusion is what began Norma’s descent into madness?
Thanks to this film, we hopefully now have an understanding of how brutal Hollywood can be to its own, and how awful it must be when a big star falls from their pedestal and becomes yesterday’s news.
The final shot is one that stays in the mind long after the film has finished. In this scene the now truly deranged Norma gets the fame and attention she has been so long starved of. The trouble is it is the wrong kind of attention. We know that she now only has an institution to look forward to (unless Max can pull some strings and keep her at home being looked after there)and that she will certainly never be able to act again.
Norma finally gets that close-up she’s been dreaming of. Screenshot by me.
For one brief moment though, Norma shines again, and the cameras roll to capture her emotions and her every move. Her name will never be forgotten once this story makes the headlines. Is that a blessing or a curse though?
Norma will certainly get her fame back when this story breaks, but her illness and despair will be milked to sell papers, and she will most likely be ridiculed too.A sad end, and one that really makes you think about just what you are witnessing.In the end this is a film all about victims, and about how they are used and how they suffer.
The film could almost be viewed as a warning about getting into the film industry. If you do get in you may well get fame and fortune, but at what cost will these be achieved? Can you stand what happens once your star starts to fade? I think this is one of Wilder’s best films. Sunset Blvd is certainly the best film about Hollywood that I’ve ever seen.
My favourite scenes are the following. Norma’s charades performance for Joe. The New Year’s Eve party with Joe and Norma being the only guests. Joe discovering what Norma has done to herself in her despair. The “I’m ready for my close up” scene. Joe at the crowded party in the apartment. Joe and Norma’s first meeting. Norma returning to the film studios and being warmly welcomed and getting to sit on the set of De Mille’s latest film.
I came across this Noir gem purely by chance a few days ago. I had never heard of this one before, but I really loved the sound of the story, so I made the decision to check it out. I am so happy that I watched this.
Woman On The Run is quite a unique Noir film. Originally titled Man On The Run, the title was changed to what it is now, and the focus was taken off of the pursued man on the run, and shifted instead onto his wife. I think this change really helps the film. Such stories would usually focus on the man who has gone into hiding, by shifting the focus away from him, the film becomes an out of the ordinary depiction of this type of story.
The film is also notable for having a female lead. It was pretty rare for a woman to have the main lead role in a Noir film; women certainly got big and interesting roles in these films, but the main character generally tended to be male.
Ann Sheridan also co-produced the film. Her character is one tough and independent gal. I wish she had been given more roles like this in her career.
Sadly this film isn’t one that is all that well known today, and there were quite a few years where it wasn’t known about at all. It is also a film that we recently came very close to losing forever. In 2008 a fire burned down part of the Universal Studios lot, in the process there were also a lot of films destroyed that were stored in the film vault there. The print of Woman On The Run was among the films lost in this blaze.
The interesting story of how a copy of the film came to be found and restored is included in a booklet with the Blu-ray release of the film. It is an amazing story, and I for one am very grateful that this film was able to be restored. The film is shot out on location in San Francisco. The locations used are less well known areas of the city instead of instantly recognisable landmarks.
I really like the marriage depicted in this film. What we see here is a marriage that is far from ideal, and it is also far from what marriage was expected to be during the 1940’s. I also dig how Ann’s character doesn’t cook for her husband. When asked what the couple do for food, she coolly replies “we eat out.” This gal is not content to sit at home cooking a three course meal for her man. Good on her is what I say. The two married characters have also fallen out of love, they tolerate one another, but they have no interest or desire for each other any more. The only thing keeping them together is their shared love for their pet dog, and the fact that their shared life is fairly comfortable and tolerable.
The film tells the story of Frank Johnson (Ross Elliott). He is out at night walking his dog. While doing so, he witnesses a gangland execution. The killer spots him, shoots at him, and then drives off. Frank is unharmed and calls the Police. The cops ask him if he can identity the killer, he says that he can. The cops immediately want him in protective custody, but he doesn’t like the sound of that, so he makes off into the night to take a chance looking after his own back.
Inspector Ferris (Robert Keith) persuades Frank’s wife, Eleanor (Ann Sheridan)to help them look for him. She is wary of leading them to him in case the gang should get to him if the Police get him to testify at the trial.
Teaming up with the charming and determined reporter Danny Legget(Dennis O’Keefe), Eleanor sets out to look for her husband.
Legget will keep his silence as to Frank’s location in exchange for an exclusive interview with the couple. There are a couple surprising twists late in the story, which lead to a thrilling and suspenseful finale at an amusement park.
This is a very good film and it is one in which the characters and actors are the real stars.There is some very funny dialogue throughout the film. The wisecracks being thrown back and forth between O’Keefe and Ann Sheridan are class.
I also love the dialogue and scenes between Robert Keith and Ann. I love how Eleanor and the Inspector rub each other up the wrong way, but they both come to develop a mutual respect for one another and even start to like each other.
Ann Sheridan is very good as the tough woman who discovers herself falling back in love with a man she thought she was over. Dennis O’Keefe is a highlight in the film, I think this is one of the best performances he ever gave.
I really like how Dennis conveys Danny’s growing feelings for Eleanor to us. Robert Keith (father of Brian Keith)steals all the scenes he is in, I love his character and the way he delivers his lines.
The film clocks in at 1 hour and 18 minutes, but boy does it manage to pack a lot in during such a short space of time. This one reminds me a bit of The Narrow Margin, with both films being compact Noir films that pack quite a punch, have gripping plots, and some cracking dialogue.
My favourite scenes are the following. The skylight sequence between Danny and Eleanor. The finale in the amusement park. Ferris speaking to Eleanor for the first time and looking around her apartment. Danny and Eleanor escaping a Police officer tailing them.
This film also contains a very funny exchange between a drunk woman and Eleanor. It’s one that is funnier when you see it, rather than when you read the dialogue.
Woman:”Say, why don’t you wear a hat?”
Eleanor: “I look funny in hats”
Woman: “You’re not wrong!” Haha. 🙂
Cracking little flick that deserves to be much better known. Do you love Film Noir? Then this is a film for you.
Rachel, over at Hamlette’s Soliloquy is hosting this blogathon all about the actor Alan Ladd. Be sure to visit her site to read all the entries. I can’t wait to read them all myself. I’m writing about Alan’s performance in the Noir film This Gun For Hire.
In 1942, Alan Ladd was cast in the lead role in a little Noir film which would catapult him to film stardom. For several years before this role came along Alan had been working very hard trying to get his big screen break.
Since the early 1930’s Alan Ladd had been seen on screen in bit parts, including in a small role as a reporter in Citizen Kane. Try as he might though, he just wasn’t getting cast in any major film roles and it seemed like he was going nowhere mighty fast. Alan’s luck was about to change though, when he was offered the role of the contract killer Raven, in Frank Tuttle’s 1942 Noir film, This Gun For Hire.
Who knows what Ladd thought of his role as Raven, or indeed if he had any expectations at all as to audience reactions to his performance. Whatever he may have thought, he was in for a very pleasant surprise indeed. This film made him into a star.
Following his performance in this film Alan Ladd would go on to become one of the most beloved stars of the 40’s and 50’s. His career peaked with the 1953 Western film Shane. Alan sadly died in 1964 , aged just fifty years old. A sad loss indeed for the film industry.
This Gun For Hire is a very good film indeed, but I think it is Ladd who makes this film remain so memorable today. He is downright scary as the ice cold killer calmly killing to order. He steals every scene he is in with just a look. He really doesn’t need much dialogue in this one, his face tells us all we will ever need to know about this guy and what his motives are.
The famous sequence with Raven getting mean with the woman who hurt the cat. Screenshots by me.
Right from the films opening scene Ladd has our attention with every little move he makes, and with every look which crosses his face. He gives us a very clear impression of Raven. We see that he is kind and tender towards his cat, and that he shows absolutely nothing but contempt and hatred towards the cleaning woman who hurts his cat. Raven gets rough with the cleaning woman and makes her leave his room.
As the film goes on we see that Raven isn’t a people person, and he has no qualms whatsoever about killing other people to order. He will use his own judgement though at times and if something doesn’t seem right to him he will go against orders. He is also a very good judge of character too.
This film also saw the first pairing of one of cinemas greatest screen couples. Who are they? Alan Ladd and Veronica Lake of course. This couple worked together in four Noir films.
As far as I’m concerned this first film is one of their very best pairings. They are magical together and have real chemistry. Ladd’s baby faced, tough guy, and Lake’s cool, sensual blonde sure do make for a very memorable screen pairing.
The growing relationship between their characters is a major part of why I love this film so much. They slowly grow to trust and like each other, and Raven opens up to tell her about his past, which then explains so much to us about how he came to be the man he is.
The interactions between their characters is the heart and soul of the film. Ladd and Lake (and their characters) are the reason (in my opinion)why this film stands up so well when viewed today. The film has a really cracking story, but it is the strong performances which linger most in your mind after viewing this one.
Raven (Alan Ladd)is a gun for hire, he is not a people person and much prefers the company of animals. Raven is hired by the peppermint chewing Willard Gates (Laird Cregar) to kill a blackmailer who has stolen a chemical formula from the Nitro Chemical company where Gates works. Raven (in a pretty brutal sequence for the era) kills the blackmailer and his girlfriend, and then leaves with the recovered formula.
Gates betrays Raven by paying him off with some marked money. Gates then reports Raven to the Police. Raven doesn’t trust Gates and he buys something from a shop to test if the money is being watched for. He sees that it is marked, and so Raven then goes after Gates for revenge.
Gates also works as a nightclub manager and hires the talented singer/magic act entertainer Ellen Graham (Veronica Lake) to work for him. What Gates doesn’t know is that she is the girlfriend of Detective Michael Crane (Robert Preston)who is on Raven’s tale. Ellen is also asked to spy on Gates by a Senator, who is himself being blackmailed by Gates.
It soon transpires that Nitro Chemicals, Gates, and his colleagues are under suspicion of being traitors to their country. Ellen risks her life to get dirt on Gates, and is soon also thrown together with Raven. The two get closer and closer to danger and to the truth.
My favourite scenes are the following. Ellen’s magic trick act for Gates(featuring a catchy song and some clever camera trickery and editing.) Raven evading the Police at his hotel. Raven telling Ellen about his childhood. Raven and Ellen meeting on the train. Gates discovering Raven is on the same train as him and getting very worried indeed.
This is a solid Noir/thriller about a brave gal, and about a morally dubious man, who in the end does show some redemptive qualities. Ladd steals every scene he is in here. It’s really not hard to see why this performance turned him into a star. This is one of my favourite films of his, and I think it would be a very good place to start to introduce someone to his film work.
Here are my five favourite Alan Ladd performances.
1- This Gun For Hire
2 – The Blue Dahlia
4- Hell Below Zero
5 -The Proud Rebel
What are your thoughts on this film? Any other fans? What do you think of Alan’s performance as Raven? Please leave your comments below.
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 such a favourite? I love these films because they reflect the truth of humanity. 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.
Following 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 violent. These films dished out a slice of real life for many viewers, and they 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 and very nasty pieces of work, the women were independent, strong and even manipulative; even the heroes themselves were not clear cut good guys. The public lapped these films up and they continued being made throughout the 1940’s and 50’s.
It was the French film critics who first came up with a name for these films. The word they chose was Noir(meaning black or dark.) This word was their way to best describe these films being made in the States. The French themselves though had also made many excellent Noir films; films such as LeJour 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.
I also really like Noir films because they are often very interesting visually. The black and white photography captures long shadows and creates an atmosphere unlike anything seen before or since (with the exception of German expressionist films of the 20’s.) Darkness is all around in these films, clinging to all the characters like a suffocating fog. The photography and lighting are such important parts of these films, so much of that Noir atmosphere and look is down to the skill of the camera and lighting crews.
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 30’s, that actresses had been offered such strong, and obvious bad girl roles. The femme fatales are overtly sexual, devious, independent and sexually aggressive women. These gals know what they want and they go after it.
Ava Gardner, Ann Savage and Barbara Stanwyk as three memorable Femme Fatales. Screenshots by me.
These women are not content to stay at home cooking in the kitchen and looking nice for their men. They 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 in Detour and Phyllis (Barbara Stanwyck)in Double Indemnity.
I think it must have 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 career. Mention Stanwyck, Bacall, 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 Indemnity, The Big Sleep, 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 upon release.
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.
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.
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, but who underneath are total sweethearts. Sometimes a decent guy (like Walter Neff for example)gets caught up in a web weaved by a femme fatale, and becomes caught up in murder and crime and soon finds they have no way out and will end up dead or in jail.
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 Farewell My Lovely, Bradford Galt (Mark Stevens)in The Dark Corner, 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 and Frank Chambers (John Garfield) in The Postman Always Rings Twice.
Despite being made in the era of the censor, these films contain images and dialogue that make me sit up and go “did I really just see or hear that?” These films are very violent without being overly so, most of what we see is implied but it still packs a punch for the viewer. The films also contain dialogue or shared glances between characters that leave you in no doubt as to meaning, be that implied meaning sexual or violent.
When you mention Noir, I will bet that most people automatically associate that word with American cinema. Noir films were predominantly American, but there were many fantastic Noir films made outside of the USA though.
I’ve already mentioned that the French made many fantastic Noir flicks. There are also many Noir treasures to be found in British cinema. Films like: The Long Memory, Pool Of London, Hell Is A City, The October Man, Odd Man Out, It Always Rains On Sunday 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 who is out for revenge. I also love Pool Of London, Pink String and Ceiling Wax, It Always Rains On Sunday, and Hell Is A City.
Noir slowly began to wind down towards the end of the 1950’s. It enjoyed a revival in the 80’s though, with the release of the much more sexually explicit Body Heat. In this film, Kathleen Turner is Mattie, the sultry femme fatale leading 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 40’s and 50’s.
Since then films such as Basic Instinct, Femme Fatale and LA Confidential have gained Film Noir new generations of fans. Hopefully people who liked these flicks, characters, and the look of the films, will go and check out Noir titles from the 40’s and 50’s. If they don’t, then I say that they are missing out on so many superb films and performances.
10 Noir films that I love are: Murder, My Sweet (Dick Powell version),Double Indemnity, Pickup On South Street, Le Jour Se Leve, The Dark Corner, The Big Heat, The Narrow Margin, Detour, Kiss Me Deadly 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, smoke filled rooms, the light catching the shadows on the blinds, which in turn cast long dark shadows. This decade has so many films that I think are the best of the genre. For me just the word Noir, conjures 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.
My favourite Noir actor? Dick Powell, he suited these films perfectly. His appearance in these films gave him a nice career change proving he was a gifted dramatic actor.
My favourite Noir actress? A tie between Jean Peters and Barbara Stanwyck. They were both perfect as tough and sultry dames.
Do you love Noir too? Please share your thoughts below. What are your favourite Noir films? Who are your favourite Noir characters?
If you thought that Akira Kurosawa’s films were all historical epics, featuring swordfights and Samurai warriors, then you really need to think again. Kurosawa also made several dramas and thrillers set in the present day of his time(40’s and 50’s Japan.) Two of my favourites amongst these particular set of films, are Ikiru and The Quiet Duel.
Stray Dog is another great favourite of mine. It is a type of film that I dearly wish Kurosawa had made more of.
I really do love Akira Kurosawa’s Samurai films, but I find that his lesser known drama films have become even more special to me than the samurai films. It is to these more intimate drama films that I keep returning again and again.
The film is set in Japan and takes place during a rather oppressive heatwave. This Noir Thriller features Kurosawa’s regular lead actor Toshiro Mifune. Mifune delivers one of the best performances of his career in this film.
Mifune is excellent as the sweat soaked, keen, rookie detective Murakami. When his police gun is stolen from him he doesn’t stop trying to track it down. As time goes on, Murakami finds that his gun has moved on from the pickpocket who snatched it and into the criminal underworld.
Murakami becomes guilt ridden when the gun becomes linked to crimes. It is at this point that he has to ask for help in his search for the gun(and in a way his own redemption). Murakami is helped by veteran detective Sato(Takashi Shimura at his best here, perfectly conveying wisdom and world weariness).
This is such a good film. It is exciting, moving and very thrilling too. There is some striking photography by Asaichi Nakai, and some strong performances from pretty much everyone in the cast. Even people who feature for a small amount of screen time make a real impression. The film is shot on location, and that really adds a great deal of authenticity to the story we are watching. The film also shows us the good and bad sides of life in that country. The film also shows us a side of Japanese life which we don’t see too often on screen, that of nightclubs and dancehalls.
The film rarely lets up on its edge the seat thrills, but there are some quieter moments to be found too. A scene that always stays with me after viewing, shows the grief stricken husband of a woman killed by Murakami’s stolen gun sobbing in his wife’s garden; we see (as does Murakami)the terrible impact such a crime has on the victims loved ones.
Interestingly Sato seems quite distant in that scene, which to me shows that he has seen so many similar things in his career. Due to his experience at dealing with such crimes he has in a way become used to and hardened against such things.
Sato tries to teach Murakami that he can’t get personally involved in every case, if he did the emotions would break him apart; but the older detective also knows he can’t teach that, it is something that has to be learnt by bitter experience. Sato and Murakami’s odd couple relationship also predates the buddy cop plots which are so common in films and series today.
The finale in the field is tense and deeply moving, as we find ourselves feeling some pity for someone who we should actually hate. If the film tells us anything, it is that crime is a destroyer and waster all round, there are only losers in such a life. The lives of both the victims and perpetrators of crime are ruined and forever altered by criminal activity of one sort or another.
Strangely enough Kurosawa himself never actually regarded this film very highly for some reason. I’d love to know why that was, as this really is one of his very best films.
A great one to watch over the weekend. If you’re not really into Japanese cinema this would serve as a great introduction I think, give it a go and share your thoughts.
If, like me, you are already a fan of this flick then please share your thoughts.