It isn’t the money, it never is. It’s people, the things they want…and the thing’s they’ll do to get it.
While the consensus is that film noir, weakened and wounded by a shifting media and social landscape, shuffled off into the shadows at the tail end of the 1950s, it occasionally lurched back out of the alley and onto the slick, neon-lit main streets. Wherever tough luck and the fickleness of fate hang out the dark cinema is never far off, and sightings were reported at various times throughout the 60s. The Money Trap (1965) is one of those later versions of the classic form and, to my mind, quite an effective one too.
It starts, as it ends, with the aftermath of a killing. The camera is high, observing with cool detachment, the familiar urban setting of streetlights reflecting off wet asphalt. A squad car pulls up to the curb and two detectives alight, crossing swiftly to the ramshackle tenement where the night’s latest offering awaits. Joe Baron (Glenn Ford) and Pete Delanos (Ricardo Montalban) are confronted with the dead body of a young Latino woman, lynched in a bordello by her enraged husband. Although this turns out to be no more than an incidental plot strand, it serves to introduce the seedy and morally skewed world – an “honor killing” such as this is spoken of as being at least partially understandable – where we’ll be spending the next hour and a half. We then move on to see how Baron is living an extremely luxurious existence, far beyond that which a cop’s salary could be expected to pay for. And of course it’s no such a surprise when we learn how the finances are actually down to a rich young wife, Lisa (Elke Sommer), but that supply of cash may not be unlimited. So the need for money is our hook, the line is provided by the main investigation – a burglar shot under slightly dubious circumstances by a well-off doctor (Joseph Cotten) – while the sinker will come in the form of a mini-heist that’s doomed from inception. As it all unfolds Baron, who has been treading a variety of fine lines, runs across Rosalie (Rita Hayworth), an old flame and a reminder of simpler times, and something begins to worry his conscience.
The film has two big themes at work on two levels. In a narrower and more personal sense, there is a yearning for some kind of return to innocence, a desire on Baron’s part to regain some of the purity and promise he once possessed. This plays out in the way he’s drawn repeatedly to seek out Rosalie, yet she’s been bruised and broken by the years and we (and I think the same is true of Baron too) know that he’s really just chasing rainbows on that score. The wider picture is all about front and facade, the flash appearances that ensure nothing is quite as it seems and thus nothing can be depended on. Everybody in the movie is carrying secrets and consequently tell lies to conceal them – policemen are corrupt, wives are potentially faithless, friends may be enemies in waiting and the more respectable the surface, the rottener the core. There are angles everywhere and none of them clean. Should we read something into the fact the one man who speaks of integrity and honesty is a police captain (an uncredited Ted de Corsia) who is only seen in the morgue?
Burt Kennedy’s great strength was as a writer, especially in those films where he worked with Randolph Scott and Budd Boetticher – even if he had never done anything else outside of those films his cinematic legacy would have been considerable. Nevertheless, Kennedy also worked as a director, albeit with less satisfying results. In that capacity his work tended to be what we might term entertaining without being all that distinguished. A lot of his films have a certain flatness to the visuals, something of the made-for-TV look, although this doesn’t apply to all of them. The Money Trap does suffer from this a little but cameraman Paul Vogel had a sound enough pedigree in classic era noir (High Wall, Dial 1119, Black Hand, A Lady Without Passport, Lady in the Lake etc.) to ensure the right kind of mood was struck when required. Still, I feel there’s some indecisiveness in the overall style of the movie, it’s not a fatal flaw or anything but it is noticeable.
Glenn Ford and Rita Hayworth made five films together, with Gilda probably being the most famous of those. Naturally, both stars had aged in the two decades which had passed but Ford was in better shape, his features reflecting a man with a bit of living behind him and about the appropriate level of weariness for a man who sees the less savory side of life on a daily basis. Hayworth was playing a woman worn down by years of bad luck and booze, and she looked like she knew the feeling only too well. I understand she had something of a drink problem in reality and there’s a degree of authenticity in her performance.
Joseph Cotten could move easily between heroic and villainous parts; he always had a bit of stiffness about him, a distance or remoteness, which lent itself well to darker or more ambiguous roles as the years went by. As such, he was a fine fit for the doctor with connections and he looked like he was enjoying himself as his character slowly reveals himself. Ricardo Montalban had appeared in a couple of quality films noir before this – Border Incident and Mystery Street – and he brought abundant experience to the table as Ford’s partner on the lookout for any get-rich-quick opportunities. And rounding out the principal cast is Elke Sommer, always easy on the eye and playing a role that has a touch more depth than initially looks like being the case. In fact, it’s Sommer who makes a major contribution to the resolution, which at least hints at something more positive than the build-up might suggest.
The Money Trap is available as a Warner Archive MOD disc, and there are also copies on sale in other territories. The image is generally quite pleasing, black and white CinemaScope usually is and particularly when the print used has no glaring faults. Anyway, I found this an enjoyable piece of post-noir cinema, well acted and, for the most part, nicely shot.