Strange how a title can prove misleading, isn’t it? Then again, it’s not always just the title. Take Born to Be Bad (1950) – directed by Nicholas Ray, photographed by Nicholas Musuraca, starring Robert Ryan and appearing in a few noir lists. When you bear all that in mind it’s not unreasonable, I think, to expect to see a good solid noir picture, maybe even a neglected gem. However, appearances are all too often deceptive and that’s certainly the case with this one. I’ll grant that the plot follows a noirish theme and strays towards that elusive dark style at times, but it never quite gets there and remains rooted firmly in melodramatic territory – and soapy melodramatics at that.
The story concerns Christabel (Joan Fontaine) and her determined climb to the top of the social ladder. We first see her after her arrival at the apartment of Donna (Joan Leslie), one of her wealthy uncle’s employees, who’s about to throw a party. Christabel is to attend business school with a view to later working in the uncle’s publishing firm. The first impression we get is of a shy, socially naive woman who’s slightly overwhelmed by the sophisticated and opulent world she’s suddenly arrived in. This feeling is further heightened when she encounters the cocksure and worldly Nick Bradley (Robert Ryan), an author who’s recently returned from China. This initial meeting sets the tone for the subsequent relationship between those two characters; Bradley all wisecracks and confidence and Christabel holding him off, but not too far off. The apparent innocence of Christabel is nothing but a sham to facilitate her own scheming though. From the moment she comes across her new flatmate’s wealthy and patrician fiance Curtis Carey (Zachary Scott) she gradually reveals her true nature (to the audience at least) as she sets her sights on displacing Donna and ensuring her own comfortable future. There are no surprises in the way the plot develops and it’s this predictability that weakens the movie most. While the story has an inherently noir theme it can’t escape being a study of social manners and hypocrisy, and all the cliches that involves. It’s also not helped by the light tone that seems to pervade it, with the jokey, mocking ending doing nothing to dispel that.
Nicholas Ray’s directing career was highly unpredictable and could veer wildly from the brilliant to the mediocre. It’s hard to believe that this sudsy concoction came from the same man who produced dark masterpieces like In a Lonely Place and On Dangerous Ground. Of course, Howard Hughes’ notorious tampering may have had something to do with the flat and apathetic feel that Ray’s work here inspires. When the plot is a humdrum affair then you look to the visuals to add some life but neither Ray nor Musuraca manage to create anything especially memorable and I caught myself checking out the counter a couple of times while watching, never a good sign. The casting is generally good, although I have to admit I’ve never been a particular fan of Ms Fontaine’s work outside of Rebecca and Suspicion, her two collaborations with Hitchcock. I wouldn’t say I dislike her performances as such, but I’d rarely seek out a film due to her presence – that innocent vulnerability she projected could be used to good effect but it’s also a characteristic that tends to be restrictive. In Born to Be Bad the kind of duality the role calls for isn’t altogether successful as Fontaine’s “bad girl” moments are never entirely convincing. Joan Leslie, on the other hand, is much better as the spurned Donna. She brings a far more believable quality to her playing, and her growing suspicion of Christabel’s motives progresses naturally. Robert Ryan and Zachary Scott were both handed fairly typical parts for them, and they do all that’s asked satisfactorily. Ryan has that familiar swagger that suggests something hidden deeper inside, but his character doesn’t get the chance to develop much and kind of tails off as the picture goes on. Scott got the better written role and thus his Curtis Carey comes across as more rounded, although Ryan delivers the best of some fairly ripe dialogue.
The French DVD from Montparnasse is quite typical of their RKO titles, a little soft and thick in places but generally clean and I wasn’t aware of any damage to the print. As with all their releases the subs aren’t forced on the English track and extras are non-existent, apart from the usual introduction. I can’t say I got much pleasure from this movie; there are some nice performances but that’s about it as far as I’m concerned. Maybe I went in expecting something different – correction, I did go in expecting something different – and the film I got fell short. If you’re after an undiscovered noir then this isn’t the place to look, but if you want some social melodrama with a touch of darkness it may just fit the bill.