Category Archives: Film Noir

Film Noir Friday: The Man Who Cheated Himself

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Fim Noir Friday: The Man Who Cheated Himself

Drawn into the Noir World by the Classics, there soon comes the need to find something not generally known to the casual fan. There’s the search for every movie that called itself Film Noir, many disappointments. Movies might follow the formula but they fail to deliver.

Set in San Francisco, The Man Who Cheated Himself, with the Hitchcockian title, suggests something sophisticated. This film was well received at the time and generally well thought of in Noir circles. It isn’t bad; it isn’t a real disappointment. After an oddly unbalanced beginning, it makes its way to the ending that had to be.

For you credit watchers, the Special Effects are done by Rex Wimpy.

It opens on masculine hands, Howard Frazer (Harlan Wade), opening a package that contains a revolver. He hides it in a closet containing mink coats and then burns the box and wrapping in the fireplace. He then rigs the balcony door so it won’t lock. His wife arrives, Lois Frazer (Jane Wyatt), and wants to know why he is there. She has the money and she is starting the divorce next week. As he leaves he goads her about her new boyfriend. After he is gone she finds the receipt for the revolver.
This damsel in distress is now hysterical. She calls her new lover, Lt. Ed Cullen (Lee J. Cobb), a homicide detective. When the phone is answered by his brother, Andy Cullen (John Dall), she hangs up. His brother Ed tells him that the Chief had agreed to make Andy his brother’s partner in the Homicide Department. Then Andy tells Ed that some woman called him; Ed knows who it had to be.
It’s made plain that Ed is a womanizer. His brother Andy, an ‘Aw Shucks’ kind of guy tries to tell him about the wonder of a mature relationship. Driving out of the station, Ed runs into his brother’s fiancé Janet (Lisa Howard), tries to convert him to their view of happiness.

After his call to Lois, Ed drives to the big house. It’s dark; Lois lets him in. Overdressed and hysterical, Lois tells him that she found the gun and that she was sure that Howard had seen the letter to her lawyer about a new Will. Certain that he loves her money more than her, she believes that Howard wants to kill her. He has told her that he is flying to Seattle. He sneaks in the balcony door while Lois pulls the gun out of the desk. Quickly, she sees him and shoots him dead, firing three shots; Ed grabs her arm, the third shot is fired into the room.

Lois seems to want to tell the truth about what happened but Ed tells her that the truth can get her 20 years. Ed calls the airport looking for Howard and is told that he is there somewhere but he refuses the suggestion to page him. Ed decides to make it look that Howard was robbed and killed at the airport. After they load the body into Ed’s car, he tells Lois to locate the third bullet.

As Ed is dumping the body, a middle-aged couple, Ernest and Muriel Quimby (Charles Arnt and Marjorie Bennett), pull up to ask for directions. He disguised his identity as best as he can and drives away. He is almost caught but the couple says the car was a green coupe, Ed is driving blue coupe. He drives onto the Golden State Bridge and throws the gun into the Bay.

With Ed out of touch, Andy is called in to start the investigation. The Medical Examiner, Doc Munson (William Gould), puts the death at 2-4 hours earlier. Blood stains suggest the body may have been moved. Andy questions the Quimby’s: They fix the time at 10:00 PM. Ed arrives during the questioning. Ernest Quimby is sure that the driver was alone. Medium height.

Howard Frazer parked his car at 7:00 PM. What was he doing for three hours? Meeting a dame? Looked a robbery. The man who took Ed’s call was brought in. Could he recognize the voice?

The brothers went to the Frazer home to break the news to the wife. Lois had already decided to pose in her sitting room. Ed volunteered to break the news; it was after 1:00 AM. Butler announces Ed’s arrival; Andy decides that he has to learn how to make these calls and joins him. During the questioning, Ed and Lois notice the third bullet lodged into a book. They hurry Andy out of the room. Andy notices that the balcony door has been tampered with.

Not yet married, Andy lives with his brother. He asks Ed troubling questions: What did he do for those three hours? Was he the body moved? How am I doing? “All right, kid.”

At the crime lab, they find that the murder weapon was a ’38 caliber short barrel revolver; it didn’t make it into the Bay. Ed sends Andy to the pawn shops to find out if the gun has been pawned. The gun is traced to a low-level criminal, Nito Capa (Alan Wells) who has used the gun to rob Martin Liquors, where the owner was killed.

Ed tries to pin the Frazer murder on Cape but Andy keeps catching his brother in a series of lies. He finds out that Quimby is color blind; the green coupe was blue. Andy wants to give Ed a chance to do the honorable thing and waits for his brother at his apartment. Ed knocks his brother out and ties him up. Janet calls Ed’s apartment; Andy manages to roll off the couch and kick against the wall. With the town bottled up, Andy has an idea where Ed might have gone.

Ed took Lois to Fort Point; an abandoned complex under the Golden State Bridge. It’s a forbidding place of echoing footsteps. Andy eventually calls in help and they arrest Ed and Lois. The next time Ed and Lois meet is the Courthouse where Ed overhears Lois flirting with her defense lawyer; this is the place where he realizes what he means to her; this is her descent for the damsel in distress to the femme fatale. He seems to accept it as what he deserved.

Jane Wyatt plays her role well but I would like to know what was going on at the beginning of the picture. How did her husband’s awkward and foolish murder plan turn into his own murder? Did she somehow set him up? But they didn’t seem very happy. Why didn’t Ed Cullen play this out as an act of self-defense? And what was his crime? Why did he decide on such a convoluted solution?

A very good movie but I can’t decide exactly who is guilty of what.

Film Noir Friday: Phantom Lady

 

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Ella Raines

 

PHANTOM LADY (1944)

This 1944 film with a weak title that accurately suggests the plot is based on a novel written by Cornell Woolrich published under one of his pseudonyms, William Irish. Not especially known today, Woolrich is still admired in circles that appreciate Noir novels- and in the 1940’s, he was one of the best. For those who want realistic characters and a well-defined plot, this is a film you may enjoy picking apart. For those who can settle back, buy-in, and enjoy the ride, this is a well spent hour and 27 minutes.
The movie begins in a bar. Scott Henderson (Alan Curtis), obviously agitated, comes in, sits down and orders a double scotch with a water chaser from the bartender (Andrew Tombes). The only other person in the bar, a woman in an odd hat (Fay Helm) sits down beside him. She offers her two tickets to a show. She refuses, she has no one to go with. He asks her to go with him. She agrees as long as there are no names, they are just companions for the night.

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They take a taxi to the club where they exchange only small talk; the hot New York weather is mentioned. At the club Cliff (Elisha Cook, Jr), the drummer notices her; she’s not interested. The Latin singer Estela (Aurora) notices the hat. Scott whispers to his companion, “She could murder you.” After the show, Scott returns his companion to Anselmo’s and tries one more time to get her name.
Scott returns home. When he turns on the light and calls out, “Marcella, I want to talk to you.” There are three men there; police detectives. They allow Scott to go into the bedroom where he sees his dead wife. Inspector Burgess (Thomas Gomez) comes across as sympathetic but they try to pressure Scott into a confession. (The other detectives: Regis Toomey and Joseph Crehan.) All we see of Marcella is a full-length portrait. They have been married five years; the last time he saw her was 7:00; he had asked her for a divorce but she wasn’t going to give him one. She had been murdered around 8:00; strangled with one of Scott’s neck ties. He offers the woman he had been with as his alibi; he has to admit that he doesn’t know her name.
The next morning they take Scott to Anselmo’s. They get the bartender up. He recognizes Scott and the “Gloomy Gus” he had served the night before but he doesn’t remember any woman. Then they take him to the garage and question the taxi driver. He also remembers Scott but is certain there was no woman. At the theater, they question Estela; no hat like mine.

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The trial is handled quickly and cleverly. Scott’s secretary Carol (Ella Raines), who he calls Kansas, is there and obviously distraught. In a Voice Over the District Attorney (Milburn Stone) mostly ridicules nameless woman alibi. He’s convicted.
Shortly after the verdict, Carol meets an exhausted Scott. He doesn’t want to appeal; he’s surrendered. He has lost faith in his own memory. Carol is convinced that he couldn’t kill anyone.
Carol goes to the bar and spends the next three days staring at the bartender. Finally, after closing, she follows the bartender to the train station. While they are alone on the platform, he comes up behind her, thinking about pushing her on to the tracks but another passenger arrives. Eventually, they end up in his neighborhood and begin to argue. Several men attempt to intervene. In the scuffle that ensues, someone in the crowd pushes the bartender into traffic.
Carol returns to her apartment and finds Burgess waiting for her. He knows about her following the bartender and he believes that Scott is innocent because a guilty man would have come up with a better story. They go to the theater where a provocatively dressed Carol gets Cliff the drummer’s attention while he’s on stage. He takes her to an after-hours jazz club that is a little too wild for her. Cliff sits in for a song and drums maniacally.
Cliff’s place turns out to be a dump; he says he spends his dough on other things. Eventually, he admits to getting $500 for saying he didn’t see “some dame.” Carol wants to know who gave him the money. He says it was some man. Carol’s purse spills. (The purse has a J on it; she claims to be Jeanie.) Cliff finds a police document that describes him. Carol runs out and calls Burgess from a Deli across the street.
While she waits, Cliff has a visitor (Franchot Tone), who we will later find out is Scott’s friend Marlow. Marlow gives a weird speech about hands, how they can be used for either good or evil. He pulls off his scarf and wraps the ends around his hands.
Carol again meets with Scott at the prison. There are 18 days left before his execution. This is the time and place where he suggests she call him Scott. He senses that she is in love and he wants to be happy for her. She tells him that she is in love with her boss; he didn’t know she had another job. As she is leaving, Scott’s friend Marlow arrives; he had been away in South America and didn’t know what had been happening.
At Marlow’s office, Carol tells him that there is only the singer, Estela Monteiro, left. And she’s leaving town, tonight is the last show. With Burgess they attend the wrap party, Carol wants to get the name of the milliner. After the party, Carol makes her way to Estela’s dressing room but everything is gone. Marlow followed her in; he turns the lights on at the dressing table. Burgess comes in and Carol leaves. There follows a conversation about murders. Burgess calls them paranoiacs. Marlow becomes defensive, tries to massage away his headache before he collapses. When he gets him up, Burgess tells Marlow to see a doctor about his dizzy spells.
Though she didn’t catch Estela at her apartment, Carol sees hat boxes from Kettisha being carried away. At Kettisha’s shop, Carol, with Marlow, sees a sketch of Estela’s hat. At first, the hat maker denies making a copy of the hat but when a man’s life is in the balance… She admits taking $50 for making a copy for a regular customer, Miss Ann Terry.
After getting the name and address, Marlow drives them to a large house in the country. Dr. Chase (Virginia Brissac) tells them that Miss Terry was removed herself from society after her fiancé died. The Doctor agrees to take Carol, alone, to see Ann. “Don’t let her get too excited.”
The doctor took Carol in; Ann is slow to respond to their presence. Finally, she agrees to talk to Carol alone. “I’ve been sick,” she admitted. This is my grandmother’s house; I’ll never marry. She doesn’t want to talk to anyone. Carol left but returned a few minutes later to find Ann looking at the hat. Carol asks if she can borrow it. Earlier, realizing that Carol was in love, Ann said, “You want to wear it for him.”
Marlow drives Carol home; so relieved, she rests her head on his shoulder. Marlow’s head is aching, he twitches. At the first store they see, Carol wants to stop and call Burgess. Marlow says that he will do that. He claims that Burgess will meet them at his apartment.
At Marlow’s apartment, Carol is happy and chatty. Silly hat- She wants to hear the real murderer sentenced as Scott was sentenced. She notices Marlow’s headaches, gets him to lay down on the couch and put a wet rag over his head. While he’s laid out, she finds the bag, Jeanie’s bag in Carol, as Jeanie, bedroom along with the police report.
Then there’s a rush of events: Marlow lying on the couch- the phone rings- Marlow lies there lifelessly. He asks her to come to him; she does. He turns off the lights; “Hurts my eyes.” People have lived here for thousands of years and they want to give…. I don’t know.
For Marlow, this is a desperate time. He wants to kill Carol. He wraps the ends of his tie around his hands. As he approaches her, Marlow makes it clear that he thinks his life is more important than anyone else’s life. But as he approaches her, Burgess breaks through the door. He has used the experiential, but everyone is impressed.

 

Film Noir Friday: Quicksand

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Film Noir Friday

QUICKSAND (1950)

Mickey Rooney and Film Noir would seem to be another one of his bad marriages, and if it did happen it would be a Hollywood gimmick. It happened several times. After World War II, Rooney was looking to restart his career and present himself as some other than an aging child star. Film Noir might be Rooney’s proper vehicle. In anti-hero style, he made a fortune then, through multiple divorces, drinking, gambling and carousing with women he wasn’t married to, he lost a fortune. So, how did it go?

The credits are classic Noir; loud moody music, a night setting with waves crashing on the beach. Then comes the first scene and we wonder what’s going on. At Gus’ Place, a neighborhood diner, Dan Brady (Mickey Rooney) a mechanic, is having lunch with his friends, co-worker Chuck (Wally Cassell) and charter boat worker Buzz (Jimmie Dodd). They are talking about girls. Talking about girls with Chuck and Buzz. (Yikes.)

After four years in the navy, Dan doesn’t want an anchor, a respectable girl, he wants excitement. In walks a blonde with an I’m-not-in-your-league attitude. Vera (Jeanne Cagney) is the new cashier. She resists Dan’s charm until he invites her out to the Music Box to see Red Nichols and His Five Pennies (a real group).

Dan and Chuck return to work and Dan realizes that he’s broke. He calls Buzz to ask for the $20 he loaned him. (Multiply all dollars amounts by 10; $20 is about half a week’s wages.) Buzz can’t pay him until the next day. Unable to get any money, Dan puts his first foot into the quicksand. With an audit of his register two days off, Dan decides to take the money and replace it the next day.

Dressed and ready for a night out, Dan, in his jalopy, pulls up just as Vera is leaving work and with sexually charged banter, the Noir kicks in. Vera wants to go shopping. He drives her to shop window to see the $2000 mink coat she wants. Dan must be thinking, Screwy dame. The Music Box is closed on Mondays. Vera takes him to an arcade where she used to work.

There is obviously unpleasant history between the arcade owner Nick (Peter Lorre) and Vera. Nick catches her and Dan making out in the photo booth and runs them off. During a walk on the beach, Vera tells Dan that at sixteen she ran away from West Virginia. It seems that she might be a sympathetic character.

The next day, back at work, Dan finds that the bookkeeper has shown up two days early. Desperate, he runs down the street looking for a way to get money. At Jay Jewelry Store he buys a $100 watch for a dollar down and $10 a month. He immediately hocks it for $30 then manages to slip the $20 into the money bag satisfy the bookkeeper. Almost immediately a cop (John Gallaudet) shows up and, knowing what Dan did, explains that selling property with a lien holder is fraud. He gives Dan until noon tomorrow to pay of the watch.

Dan tries to hock his car to Jack For Your Old Hack but he isn’t offered enough so he does the logical thing and goes to a bar. Next to him, and very drunk, is a man called Shorty (Sidney Marion) who runs a bingo parlor and is carrying a lot of money. Dan follows the man into the parking lot, covers his face with a white handkerchief and robs him. Seen by a witness, he jumps a fence, removes the money and throws the wallet and the handkerchief in the garbage.

Hurrying out of the alley, he runs into Helen and her friend Millie (Patsy O’Connor). The girls separate so Helen can be with Dan. After buying Helen an ice cream, he runs off on her to join Vera.

In the Arcade, Dan finds Nick struggling with Vera, wanting the $50 he says she owes him. She claims it was a gift. Dan doesn’t want her owing him anything so he throws a fifty dollar bill at Nick. Dan takes Vera to the Music Bar, he claims to have won it playing craps. It’s common knowledge in the neighborhood that Shorty carries fifties and she has heard about the robbery. (Nick has also connected Dan to the robbery.)

The next day Dan pays off the watch. Nick found Dan’s mask and uses it for blackmail. He wants a new car from the garage where Dan works. Once again desperate, he leaves the bathroom window open, breaks in that night and gets the car to Nick.

When he goes to work the next morning the garage owner, Markey (Art Smith), tells Dan that he knows he stole the car and he wants it back tomorrow or $3000 for a car that lists at $1950. Dan finds Vera at Gus’ Place, where she still works, and asks her to go to Texas with him. As he drives her home he tells her everything. She knows where they can get that kind of money; rob Nick. He keeps enough to cash paychecks.

While Vera waits by the car, she sends Dan in to get the money. Dan is not a practiced burglar. He makes enough noise to alert the night watchman. Dan gets shot at but makes an escape. Back at Vera’s room they count out $3610. The Landlady (Minerva Urecal) catches them together and runs Dan off.

The next day Dan makes arrangements to meet that night with Mackey in his office. When Dan is finally able find Vera, he meet her in her room. She is wearing the mink coat. She tells him that she bought it with her share of the money. Dan’s life is slipping from his control. Vera tells him to take what’s left and offer it to Mackey; she got a $2000 mink coat for $1800.

Dan takes what money is left and tells Mackey to take it or leave it. Mackey takes it then picks up the phone to call the police while holding a gun on Dan. Dan jumps across the desk and, in the fight, strangles Mackey.

Outside Vera’s, he runs into Chuck and Helen arm in arm. Chuck tells him that he quit Mackey because he accused him of stealing the car and he either wanted the car back or $3000.

In Vera’s room, Dan tells her what has happened and again she refuses to go to Texas. He sees her for what she is; selfish and corrupt. As he leaves, the cops are coming up the stairs; Dan runs the other way. While he is hiding on the ledge with Mackey’s gun, the police serve a search warrant on Vera. She assumes they’re looking for Dan. She rambles on about dead body; she doesn’t notice they’re looking through drawers. Thinking that Dan may be hiding in the closet, they find the mink coat. Vera tells them that she bought it with her own money and shows them the receipt. Nick figured she was involved in the robbery and the police work out that the $1800 was her half of the money.

Dan makes his way to his car where Helen is waiting. She too had figured out that he had robbed Shorty. He tries to get her to leave but she refuses. They are making plans to go to Mexico when the car breaks down. At a stoplight they jump in the back of a man’s car and Dan tells him to drive. The man turns out to be Harvey (Taylor Holmes), a sympathetic lawyer. Dan confesses to try and save Helen. Harvey raises the possibility that Mackey might not be dead.

Dan’s next plan is to catch Buzz’s boat at the Santa Monica Pier and get to Mexico by sea. Helen wants to go with him but he assures her that he will send for her after he’s established himself there. He leaves Helen with Harvey, who promises to wait a while before calling the police.

The police are at the boat questioning Buzz. Harvey and Helen turn on the radio. After a scare, hearing that all exits from the city are blocked, they here that they’re looking for a cop killer. The next report announces that Mackey survived and named Dan as his assailant.

Missing the boat, the police on the Pier come on Dan. After a frantic chase, where Dan drops his gun, Dan is shot in the shoulder. Harvey’s car to take Dan to the hospital. Once they catch Dan up on the events, Harvey figures that he’ll get from one to ten years, but as a first time offender, it will probably be closer to a year. Helen promises to wait. A year or two in prison is presented as a Hollywood happy ending.

Lacking in intensity and claustrophobic atmosphere, this movie is not a classic but watching it is not a waste of time. It does need to be pointed out that a body count of zero is nearly unheard of in the Land of Noir.

Film Noir Friday: Ascenseur pour l’échafaud

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Film Noir Friday, written by William Peace

Ascenseur pour l’echafaud (1958)- a French Film Noir directed by Louis Malle. In the US: Elevator to the Gallows- Frantic; in the UK Lift to the Scaffold. It stars Jeanne Moreau and Maurice Ronet.

In older movies it is often difficult to understand the context. To many of us, this isn’t the Jeanne Moreau we dream of; here she is the suburban type wife of a wealthy man and she is made up to fit the part. By this time she had been in 20 movies but she had not yet appeared in Jules et Jim.

Some movies of this era appeal only to cinephiles; this isn’t one of those. Most of the decisions made by the creative team behind the camera are exactly right. The pacing, the lighting, the editing fit the material. That said, the use of Ms Moreau: this is not the woman most men would want to surrender themselves to, but you could see her wanting to have an exciting lover and wanting to have her older husband’s wealth. But there she was, in the café, wondering what was happening, wondering if her lover, her husband’s friend, had went through with their plan. And you could see her hoping that he hadn’t; that her husband was still alive; that they could go away and live their lives- without money.

I won’t spend a lot of time discussing Jeanne Moreau, but this is not who she was to a lot of us who became aware of her when we were all so young.

This film is often discussed in the terms of the score by Miles Davis. This was an intensely creative time for him but his music does not overpower the movie, though some consider the movie groundbreaking for that reason only.

Florence Carala (Jeanne Moreau) and Julien Tavernier (Maurice Ronet) have decided that they have to murder Simon Carala (Jean Wall). Simon is a wealthy man and Julien’s boss. Julien uses his skills as an ex-Foreign Legion officer, a veteran of the Indochina and Algerian wars. Working late, Julien uses a rope to get into Carala’s office and arranges his murder to look like a suicide.

As Julien gets into his sporty convertible he sees the rope hanging from the building. He leaves the engine running and he hurries into the building and into the elevator. Going up in the elevator, the caretaker turns off the power and he is trapped between floors for the weekend.

Julien’s car is then stolen by a young couple; Louis, a small time crook, and flower shop assistant Veronique.

Waiting for Julien in a café, Florence sees the car past by; seeing only Veronique. To her, it appears that Julien has run off with a younger woman. Completely unnerved, Florence spends the night asking about Julien in the bars where he is known.

In Julien’s car, Louis puts on his gloves and begins to assume his identity; checking into a hotel as Mr. and Mrs. Julien Tavernier. At the hotel they meet a German couple on holiday; Horst and Frieda Bencker. Frieda uses Julien’s camera to take pictures of the party.

That night, Louis decides he is going to steal The Bencker’s Mercedes-Benz 300 SL gullwing. Horst catches them and when Louis sees Horst’s cigar tube, he assumes it is a gun, he kills the couple with Julien’s handgun. Louis and Veronique return to her apartment in Paris. Veronique convinces her boyfriend to join her in a suicide pact; which fails.

The dead bodies of the Bencker’s are discovered. With the evidence of Julien’s car, handgun and raincoat, he is the prime suspect; his picture in the morning newspapers.
Julien had spent the night in the elevator, calming trying to get himself out. When the power came on in the morning, he had managed to get himself out. Florence had spent the night trying to find him; even to the point where she had wandered into her husband’s friends and gotten herself arrested as a prostitute.

Then comes the point where Florence wants to find Veronique and clear Julien of the Bencker murders. After finding them woozy, Florence accuses them of killing the Benckers and calls the police. Believing that there is no evidence to connect them with the crime, Louis (the police detective) has the photographs developed and Florence and Julien are arrested.

The question is: Why didn’t Florence and Julien say that Simon didn’t kill himself because of the relationship between is best friend and wife? And why did Florence and Julien give themselves up so easily? The answer may be that it is easier to kill someone than to live with having killed someone. Maybe, after all the lies, Florence and Julien just wanted it to be over with.

Film Noir Friday: The Third Man

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Joseph Cotton with Wiener Riesenrad behind him

 
Directed by Carol Reed from a screenplay by Graham Greene, The Third Man is a British Film Noir often considered one of the best films from Britain. Starring Joseph Cotton, Alida Valli and Orson Welles, The Third Man is celebrated for its acting, score and cinematography.

American Holly Martin is given in a job in Vienna by his friend Harry Lime. When arrives he is told that Lime is dead. Believing the death to be suspicious, Martin begins to investigate.

One of the top films that I love to recommend to people, The Third Man is a stunning look at post World War II Vienna through shadows and distorted angles as a man investigates the death of his friend. Played by real life friends with multiple collaborations under their belts, Joseph Cotton as Martin and Orson Welles as Harry Lime add a little something extra to the characters.

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Orson Welles as Harry Lime

The Third Man is a great use of a variety of film techniques and looks like the perfect mesh between British and American Cinema during the time of the film’s release. The use of Vienna’s landmarks, American lighting techniques, and Dutch “Deutsch” angles, a German filming technique used to portray psychological unease, The Third Man mixes various genres and styles to create a film that makes you feel out of place.

With one of the greatest scenes and film speeches of all time, one you have to hear for yourself, this 1949 Film Noir is a must see. If you are an aspiring director or a successful one, this is a film you should study. Also an important film for Cinematographer’s to view, The Third Man’s use of angles and lighting portray the unease of being in a foreign country while dealing with strange circumstances.

The Third Man is available to watch on Netflix. Perfect for Friday night viewing, turn off the lights, make some popcorn and grab a beverage of your choice. It’s time to investigate the death of Harry Lime.

Film Noir Friday: Laura

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Laura

Detective Mark McPherson investigates the apparent murder of advertising executive Laura Hunt. Told in flashback by Newspaper columnist Waldo Lydecker, Laura follows the detective as he falls in love with her through diaries and a portrait that hangs on her wall.
Gene Tierney stars as Laura, the titular character whose image floats through the film as if she were a mythical creature. Dana Andrews stars opposite her as the detective, Clifton Webb is Waldo Lydecker, Vincent Price is Shelby Carpenter, a role that would surprise today’s audiences, and Dorothy Adams is Bessie Clary.
Laura was adapted to screen from the 1943 novel of the same name by Vera Caspary. Directed and Produced by Otto Preminger, Laura is a classic Film Noir making lists of the top Noir’s for years.
While today’s audience may not find themselves as satisfied with the reveal, Laura still stands the test of time. A successful and talented woman is at the helm. Put on a pedestal by all the men, today’s feminist audience may see these male characters in a less than romantic light.
Film Noir has allowed women to take on roles usually reserved for men. After the Hayes Code was instated women typically portrayed the love interest, the wife, or the daughter. Occasionally they got to play roles far more interesting than that and Laura was a role worth having. Gene Tierney is perfect, as it is believable that any man could fall for her on her portrait alone. She has an essence that pours off the screen; her image excites us as she glides through the memories and imaginations of the other characters. While this role puts Tierney in a place of objectification she is also a strong and smart woman who fights against the ideas that men have of her.

 

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Gene Tierney and Vincent Price

Laura could have been created for the young starlet who by this time was best known for her film Heaven Can Wait alongside Don Ameche. While other good roles came before Laura better ones came after. Tierney would go on to star in Leave Her to Heaven alongside Cornel Wilde, Jeanne Crain and once again, Vincent Price. Vincent Price would appear in a few more roles outside of the genre he is most associated with but would eventually find his home in horror.

 

 

 

Film Noir Friday: Shadow of a Doubt

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Joseph Cotten and Teresa Wright

To some Film Noir is a genre not unlike Westerns and Gangster movies. They all seem to fit into a certain mold. Unlike the two genres mentioned, Film Noir is a little different. It doesn’t fit into a well defined mold. Yes, the majority of Film Noir’s have a detective. Sometimes that detective is the star and sometimes he is after the main male and female characters. Sometimes he is also the bad guy. While Film Noir has a specific set of rules those rules are meant to be broken and it has a style of film making that goes beyond the restraints of a genre.

Film Noir, meaning Black Film in French, is a very American style of film making that many directors of the forties into the fifties have tried. Some live in the genre while some have tried and moved into a different style. Hitchcock tried the genre more than once but Shadow of a Doubt was easily his most successful foray.

Starring Joseph Cotten as Uncle Charlie and Terese Wright as his niece Charlie, Shadow of a Doubt is Hitchcock’s favorite of all the films he made. It is also my own personal favorite Hitchcock film. Uncle Charlie is a black widower who murdered several older women. Adored by his namesake niece and his older sister, Uncle Charlie comes to his family’s home in Northern California after the cops begin to hone in on him.

Joseph Cotton’s performance as Uncle Charlie is among one of my favorite performances of all time. One reason being the incredible dinner scene. Without giving to much away, young Charlie is beginning to have her doubts about her beloved Uncle after she meets one of the detectives on his trail. Uncle Charlie is beginning to lose his grip as he lets his family get a little too close to the personality behind the facade.

Note: Hume Cronyn’s film debut playing older than his years. Joseph Cotton delivers a performance unlike any performance he gave before. Most well known as the good guy to Orson Welles less likable characters, Cotton went against type in the gamble of his career.