by ·Comments Off on Mildred Pierce (1945, Michael Curtiz)

In a noir mood, and this made up for The Big Knife being mid. Monte dies in the opening shot, Mildred runs, considers jumping off a bridge, settles for trying (unsuccessfully) to pin the crime on slimeball Wally.

Rewind to MP’s home life with hubbie Burt, young tomboy kid and older pretentious Veda. Burt has a very bad day, getting fired by partner Wally and thrown out of the house for cheating. Burt will agree to a divorce the day of MP’s big restaurant opening, after she buys property from the charismatic Monte, who then flits around with the extremely spoiled and shitty Veda (her younger sister having coughed once in an early scene, then died suddenly of pneumonia). Turns out MP married Monte for business reasons, caught Veda smooching on him, then V killed her own stepdad-boyfriend and mom was trying to cover-up for her criminal daughter.

Parrots keep popping up in scene backgrounds, and you know I love that. Crawford won the oscar, her business manager Ida and daughter Veda split the vote for best supporting, and The Lost Weekend won writing and picture. Veda is Ann Blyth of Brute Force, Bert is squaresville Bruce Bennett (olympic athlete-turned-Tarzan actor), Monte starred in Bunuel’s The Young One and Renoir’s The Southerner, and Wally would have his moment in the mid-50s with Red Garters & A Star is Born & Dangerous When Wet.

The nominees:

by ·Comments Off on The Big Knife (1955, Robert Aldrich)

Dour noirish plotty Hollywood blackmail thing, mostly valuable for getting to watch Ida Lupino’s eyes for half the movie. She’s the estranged wife of Jack Palance, back at their fancy house to try convincing him to reclaim his art and not sign a lucrative long-term contract with a crap producer. Various friends and gangsters and agents get themselves involved, but Palance signs to make the bad guys go away, then goes upstairs and kills himself. Just six months after Kiss Me Deadly, with fancier lighting – not the kind of drama I go for, but very nicely shot and acted.

Rod “Run of the Arrow” Steiger as the producer, getting overexcited:

Singin’ in the Rain lipsyncer Lina Lamont knows everyone’s secrets:

Shelley Winters (shortnin’ bread in The Visitor) knows too much:

Welles fave Everett Sloane as the agent, with a naked Palance:

by ·Comments Off on The Big Combo (1955, Joseph H. Lewis)

Handsome noir about a clunky police investigation. If you can watch it like a film critic, for pure light and sound, it’s a keeper. If you care about writing and plot, it’s iffy.

Donlevy in conference with the thugs:

Villain Richard Conte looked familiar (I guess from The Blue Gardenia or Thieves’ Highway), lead cop Cornel Wilde not so much (of Shockproof). Jean Wallace was best known as Wilde’s wife. The villain’s wife-in-hiding is Helen Walker of Nightmare Alley. The villain’s pathetic hanger-on was Brian Donlevy, who is both Quatermass and McGinty, and thugs Lee Van Cleef and Earl Holliman were both later in Gunfight at the O.K. Corral. The Swedish antiquer played a general in Merrill’s Marauders, and Bettini is Ted de Corsia, who must’ve had a noirish face, appearing in The Killing, Lady From Shanghai, and Naked City.

Cornel pays a visit to Bettini:

Conte shows Jean Wallace his closet:

by ·Comments Off on High Sierra (1941, Raoul Walsh)

Bogart plays a jewel thief with a heart of gold? Bronze, maybe. It was when he said they might as well shoot the dog that I knew he’d die at the end. The girl whose surgery he buys doesn’t love him. His client dies, the ex-cop working with them turns. Ida barely in the movie. Babe and Red are Bogie’s younger conspirators, Mendoza the inside man, all chumps. Real prolonged ending, the hopeless escape into the mountains followed by helpless Ida. Writing and actors all great, except for doctor Henry Hull (of The Return of Frank James and Werewolf of London).

David Ehrlich: “mostly astonished by the speed with which Raoul Walsh gets things going… hurry up and wait, with some of the quickest fades in film history, a breakneck pace to let Earle self-destruct in slow-motion.” Dave Kehr says Raoul is the least intellectual of the Ford-Hawksians and makes a good case for watching more Walsh films immediately.

Top-billed Ida… Bogart wasn’t yet a star:

Dog as bad luck charm:

Two Youths Helpless:

by ·Comments Off on Laura (1944, Otto Preminger)

Laura is Ghost and Mrs. Muir star Gene Tierney, and she is dead. Detective Dana Andrews (moving up from playing the mob guy in Ball of Fire) is the detective, inviting Laura’s friend Clifton Webb to join the investigation since he’s a writer who loves murder cases. Prickly gossip columnists make good movie characters. Our chief suspect is Laura’s fiancee Vincent Price, but Dana keeps up the heat (incl. some weird tactics: one time he gets everyone over to drink cheap whisky then dismisses them a minute later). Laura turns out to be alive, a friend of hers having been shotgunned in the face and presumed to be her, and at her still-alive party, jealous Webb is outed as the killer.

“Dames are always pulling a switch on you.” I like Andrews – he has an interesting face, but he underplays hard in this. He’s better than Dorothy Adams as Housekeeper Bessie, who must’ve improved by the time she appeared in The Killing, since I don’t remember anyone derailing that movie like this. It’s one of those perfect-looking 40’s films – besides all the great closeups and composed shots there’s such smooth camera movement.

by ·Comments Off on In a Lonely Place (1950, Nicholas Ray)

Bogart is given the porn-star name Dix Steele, a washed-up Hollywood screenwriter who happens to be the last guy to see murdered coat-check girl Martha Stewart (not the rich felon, the actress from Daisy Kenyon) – other than the murderer, of course, which the cops suspect Dix of being, since he gets so fired up about the details of the case.

Dix’s alibi is neighbor Gloria Grahame (The Big Heat). She’s hiding out from her violent ex, and as the pressure mounts, with the murder suspicion and Dix’s new screenplay and his general manic-depression, ex-soldier Dix begins to act paranoid and violent as well. He turns on Gloria at the end, and she leaves him for good. Between this and Bigger Than Life, Ray seems very good at portraying men with manias.

Art and Gloria:

Bogie’s old war buddy Brub (Frank Lovejoy, useless cop in House of Wax) is police, walks the line between friendship and suspicion (as does Gloria). He works for Captain Carl Reid (of the same year’s Fuller Brush Girl – a profession mentioned by Grahame in this movie), who has it in for Dix until the dead girl’s mustachey boyfriend confesses to the crime. Art Smith (of Ride The Pink Horse from the same novelist) is Dix’s agent, at least until he casually fires Dix for slapping him. And speaking of the source novel, it’s fun that this film, reportedly a very loose adaptation of the book, is about a screenwriter writing a very loose adaptation of a book. Also good: the coat-check girl in this black and white movie telling Dix “I do hope it’s gonna be in technicolor.”

Brub and his wife Jeff, re-enacting the murder:

The earliest Ray picture I’ve seen, unless you count my notes saying I watched They Live By Night a couple decades ago on TCM, which I do not recall. Good, dark movie, but most importantly it seems to be the inspiration for lyrics from the Versus song “Morning Glory.”

by ·Comments Off on Gilda (1946, Charles Vidor)

“I would destroy myself to take you down with me”

Glenn Ford (this is the anonymous-looking 1940’s Glenn Ford, not the superior 1950’s version from the Fritz Lang movies) is a grifter turned semi-respectable once hired by illegal casino owner George Macready (Paths of Glory, The Big Clock) with the unlikely character name of Ballin Mundson. Buncha noir-lite character development and plot setup ensues, while I’m on seat’s edge waiting for someone – anyone – to ask Gilda if she’s decent, then finally it happens and the movie comes to life.

So I guess Glenn and Gilda dated for years before it all fell apart, and now Glenn’s hiding out in Buenos Aires and his boss goes on vacation and comes back married to Gilda. Because of this movie’s noir reputation I assumed there’d be some femme fatale reveal in which she’s plotting a convoluted revenge scenario, but nope, just a massive movie coincidence – not to say the movie isn’t still convoluted. Glenn and George take turns toying with Gilda and she marries Glenn after George fakes his own death via plane crash. George briefly returns, only to be dispatched by bathroom attendant “Uncle Pio” (actor Steven Geray was Hungarian but hey, any foreigner will do), and we get an anti-Casablanca ending as Glenn belatedly decides he still likes Gilda.

Gilda serenades Uncle Pio:

All this plot is diverting, but Rita Hayworth’s beauty and attitude are the main attraction. I wonder if Gilda’s the only 1940’s female character to marry two men, cheat on both of them repeatedly, and still get a happy ending. Her hit song from the movie “Put the Blame on Mame” (which was pried into the tagline for this movie, confusing those of us who’d never heard the song and thought it a stupid catchphrase) is about a hot-kissin’ hard-dancin’ woman, and Dave Kehr notes it “has been known to provoke impure thoughts”. Maybe Rita even charmed the censors… or maybe they demanded different kinds of changes. Buenos Aires is crowded with corrupt officials, murderous businessmen and sinister Germans – I can’t tell if the fact that nazis and their collaborators hid out in Argentina after WWII was well-known when this film was written. Of course nazis are never mentioned, and in typical Hollywood style, Mundson controls a “tungsten cartel” instead of anything unsavory.

Played the first Cannes Film Festival alongside Brief Encounter, Rome Open City, Notorious, The Lost Weekend and Cocteau’s Beauty and the Beast. I mainly knew this film as the inspiration for Laura Harring’s character’s name in Mulholland Dr and the excerpt in Shawshank Redemption. Vidor had recently made the not-as-good Rita movie Cover Girl. Shot by Rudoplh Maté (The Passion of Joan of Arc, Foreign Correspondent), one of his last before retiring.

Devil is a Woman masked carnival:

S. O’Malley:

Gilda is a pawn between two men who seem more interested in each other than her … There’s Ballin’s phallic cane/sword named his “little friend”; at one point, Ballin says, “Wait for me here, Johnny. I’ll need both my little friends tonight” … The ending, with Johnny and Gilda exiting together, is a holdover from the days of the cathartic “The End” of musicals, but it leaves an uneasy impression, similar to the final scene in Notorious. In neither ending does it feel like “love has triumphed.” It’s more like a criminal getaway.

by ·Comments Off on Le Doulos (1962, Jean-Pierre Melville)

I actually kept up with all the plot confusion, so better write this down while I still remember it. Thief Maurice (Serge Reggiani, would-be star of Clouzot’s Inferno) kills and robs his fence/friend Gilbert (Rene Lefevre, Monsieur Lange in The Crime of Monsieur Lange), goes home to girlfriend Therese, hangs out with friends Silien and Jean, then gets caught robbing a house the next night, kills a cop who knew Silien and Gilbert, and gets arrested for both killings, neither of which can be proven.

From another POV (with a few holes), as soon as Maurice leaves Therese’s house robbery, buddy Silien (Jean-Paul Belmondo, one of three Melville movies he did between Breathless and Pierrot Le Fou) runs in, ties up Therese (smacking her around first) and asks her where the robbery is taking place. Cops cars arrive just as Maurice’s partner has started drilling the safe – the partner and the cop are killed, and Maurice faints with a bullet wound, picked up by persons unknown in a car. Belmondo visits the police station, a known informer, and offers to call around the bars looking for Maurice – they catch him in one, and he’s arrested. Meanwhile, Therese turns up dead in her car at the bottom of a ravine. Looks like Belmondo has locked up Maurice for offing his cop friend, and killed his girlfriend too. On top of that, Belmondo finds the buried jewels, cash and gun from the Gilbert killing (Maurice had left Therese a map, in case anything happened to him). In jail, Maurice (who’s as much the star of the movie as the over-the-title-credited Belmondo) hires a dude to kill Belmondo once they get out.

But Belmondo turns out to be a true friend who’s extremely good at covering for Maurice’s crimes. Belmondo killed the girl for ratting, saved Maurice at the scene of the heist, met up with his own ex-girl (Fabienne Dali of Kill Baby, Kill) and used the jewels to frame Michel Piccoli for the murder(s). So all is well… or it would be, but Maurice remembers that he’s got a hit man after his friend, so he races to Belmondo’s house and everybody gets killed.

So much twisty plot going on, I barely noticed anything else. Seemed like one of Melville’s more busy, exciting films.

by ·Comments Off on Bound (1996, Wachowskis)

A fully excellent “neo-noir” with Panic Room levels of tension, slick and confident, and such a perfect cast. I only know the lead actors from one decade-old movie and physical characteristic each: Gina Gershon (Demonlover/big lips), Jennifer Tilly (Bride of Chucky/high voice), Joe Pantoliano (Memento/also high voice) but it seems they deserve more. And considering what great performances the Wachowskis got out of them, it’s surprising that their follow-up films were mainly known for great visuals and cardboard acting. I guess they are genre chameleons – a noir needs complex humans and sci-fi/comic films need flat Phantom Menace acting to not distract from the computer graphics.

Gangster moll Jenny Tilly falls for handyman lesbian-next-door ex-con Gina G. and they plot to steal two million from Jen’s man Joe. But will they pull it off, and will Jenny really stick with Gina and vice versa, when betrayal would be so easy? Yes, a happy ending. Every male character in the entire movie gets killed, and the two actually end up together. Some noir.

Among the dead: Richard Sarafian (director of Vanishing Point) as the big boss, Chris “Law & Order” Meloni as his trigger-happy son and John P. Ryan (its father in It’s Alive) as the secondary mob guy who comes looking for the others. Couldn’t find any good articles on the movie, only ones that are interested in how gay the movie is (answer: not gay enough for the people writing the articles).