Many of the movies that wind up being featured on this site are borderline or peripheral affairs in terms of genre, drifting in and out of that shadowy, hard to define area, which is almost, but not quite, film noir. André de Toth’s Slattery’s Hurricane (1949) is a case in point, mixing in crime, melodrama and adventure in a tale of trust and betrayal that unfolds largely in flashback. In a sense though, this is a movie which more or less defies genre and classification, but perhaps that is no bad thing as it allows viewers to approach it from multiple angles.
After some newsreel footage and a brief opening narration on the subject of hurricanes and their devastating power, the movie proper begins with pilot Will Slattery (Richard Widmark) arriving at an aircraft hangar lashed by torrential rain and high winds. It’s Miami and a beast of a hurricane is bearing down on the coast as he first grapples with and then lays out cold one of his employer’s servants. Slattery is a man every bit as driven as the raging elements around him yet his path will take him not away from danger but straight into its heart, right into the eye of the storm. As he takes the plane up and charts a course that will lead him to whatever place fate has reserved for him the flashback begins. It leads us back to a point before Slattery had fully committed his life to a downward spiral. There’s a roguishness to him, a hint of the irresponsible and the reckless, but even if he’s not as attentive to the needs of his girlfriend Dolores (Veronica Lake) as he ought to be, it doesn’t feel like a major flaw. That’s before Aggie (Linda Darnell) appears on the scene though. While she may be his old flame, she is also the new wife of his friend Lt. Hobson (John Russell). If Hobson is initially unaware of any previous connection between these two and equally blind to the heat the pair are generating every time they come near, the same cannot be said for Dolores. She smells a rat right from the get go and Slattery duly lives down to expectations. As he sets about seducing his friend’s new bride, Dolores is showing signs of fragility. Everything comes to a head when a quick spot of island hopping sees Slattery’s employer succumb to a heart condition, leaving the flyer in possession of the stash of narcotics he had been carrying. With the dead man’s partner threatening him, Dolores suffering a breakdown, Hobson finally cottoning on to what’s been happening behind his back, and a major tropical storm about to tear across Florida, Slattery could be said to be facing a crisis. When it suddenly dawns on a man that all he is and all that he has done has shattered not only his own existence but that of those closest to him, it is perhaps understandable that he might seek out some form of redemption. And so we circle back to the starting point, where a desperate individual buffeted and torn by poor choices and his own weakness has opted to flee the emotional maelstrom he has fallen into and instead tackle the wrath of nature head on.
Director André de Toth has Slattery confined within the perspex and metal of the aircraft’s cockpit for the bulk of the running time, and just as he is bound on all sides by the dimensions of his plane, so is the plane itself held in the fickle and destructive grasp of the great storm. In a sense, everything and everybody in this pared down universe is at the mercy of somebody and something else. Slattery’s hurricane is both a test for the man and a kind of isolation chamber allowing and forcing him to confront himself and his past actions and by so doing try to regain some modicum of self respect.
De Toth had a knack for using weather conditions as a reflection of the emotional states of his characters and the stories built around them. Day of the Outlaw is as chilling and sparse as its frozen setting, and even the ultimately disappointing Dark Waters uses its steamy Louisiana plantation as an effective representation of its overheated and oppressive tale. Essentially trapping his lead in the cockpit of his plane for the duration and only allowing the illusion of escape via the flashbacks takes it a step further. It is here, deep within the roaring darkness which Slattery’s world has become, that he sees himself and his life with the greatest clarity. Those flashbacks to the sun drenched days by the ocean reveal the deceptions and ploys played out in the full light of day. It is in this surface brightness that the dishonesty is presented with the most audacity: Slattery’s careless flirtations with Aggie in front of everyone, the relaxed opulence of the wealthy “candy manufacturer” hiding his drugs operation in plain sight, and of course the medal ceremony where Slattery, in dazzling whites, receives the honor his subsequent actions have now tarnished and Dolores’ ultimate collapse is triggered. Conversely, the enclosing and enveloping darkness and shadows serve to squeeze the less palatable truths out into the open.
Slattery’s Hurricane appears to have been a film that drew a fair bit of attention from Joseph Breen and the Hays Code. Obviously, the entire adultery/cheating thread had to be dealt with obliquely, but filmmakers were well versed in how to get the essentials of such affairs across subtly by the late 1940s. In short, the viewer is always fully aware of what is going on between the characters even when it’s not spelt out explicitly. More guile had to be used, however, in relation to the breakdown undergone by Dolores. Not only is the character in the employ of a couple of drug traffickers, but it turns out she is an addict herself. This kind of development was well beyond the pale though and thus there’s a deliberate woolliness about the nature of her problem and admission to a psychiatric clinic. Nevertheless, the filmmakers did show a degree of inventiveness in slipping in a close up of her doctor’s notes which make it clear that she has a drug problem. What’s more, my impression is that the affluent dope smugglers masquerading as candy merchants are a gay couple, but that too somehow got past Breen’s enforcers.
Slattery’s Hurricane came along just two years after Richard Widmark’s stunning debut in Kiss of Death and I still find it extraordinary just how assured he was even in the very early stages of his career. It was a good role for him at this point, exploiting the shady persona which had been so successful for him but emphasizing the ambiguous rather than the villainous aspects. The film, from a Herman Wouk story, was originally shot and screened with a much more downbeat ending but was then altered before its general release. It would be fair to say that the changes watered down the noir credentials considerably, but I don’t think this damages the film too much. The whole thing is at heart Slattery’s journey to redemption and, regardless of which way it ends, that goal is attained. The finished film allows for the character’s salvation in addition to his redemption, both of which are earned. If one bears in mind that Veronica Lake was playing an addict, then her drabness and shakiness make some sense. Even so, there is no getting away from the fact that she looked spent or that her film career was nearing its end. She was not yet 27 years old and was struggling with her own substance abuse issues. Linda Darnell had the bigger part and got more screen time. While she is good enough with what she is given, it’s not a terribly taxing role and there is a passivity to it that leaves it not all that interesting. John Russell does not get that much to do either, although he is afforded the opportunity to rough up Widmark some for his betrayal. Gary Merrill is in there too, but mostly spends his time smoking and sweating in the control tower.
Slattery’s Hurricane is a 20th Century Fox production and was released in the US as part of the studio’s MOD line. That may be out of print now but there have been versions available in both Italy and Spain, possibly ports of the US disc. The movie could use a clean up and a sharper transfer, but it’s not a high profile title so that is probably unlikely to happen. It really is Widmark’s show all the way although there’s a lot to enjoy in de Toth’s direction too. All told, this is a well made nearly noir that I recommend checking out.
Riding the High Country 
Another one to add to the list, thanks Colin. I think I only have a handful of De Toth’s films to hand and this sounds really worth looking for even in less than pristine condition 🙂
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De Toth made some routine yet enjoyable movies as well as some very interesting works. I’d place this one among the latter, though some may say the ending is weak. All I can say is that I am fine with that aspect; tales of redemption are always welcome, especially when it is won or earned as opposed to just offered up.
The DVD is OK and quite watchable but there’s no question that it could look better. I think that may be as good as we ever get though and I can live with that. The images I included ought to give a reasonable indication of how it looks.
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A little research revealed that Lake was indeed married to DeToth during the filming of this picture. She starred in the very entertaining Sullivan’s Travels with Joel McRea. He declined to do another film, saying, “Life’s too short for two pictures with Veronica Lake” but he later did..
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Paul, De Toth was indeed still married to Veronica Lake at this stage but they would divorce a couple of years later. I get the impression he was doing what he could to keep her career afloat at this point, but it was a losing battle really.
Lake also made Ramrod with De Toth and McCrea a few years earlier and it’s a very good movie.
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De Toth made some routine yet enjoyable movies as well as some very interesting works.
Of his later work Gold for the Caesars is a surprisingly good peplum, more serious in tone and with a bit more psychological depth than most movies in that genre.
Of his earlier work I really like Pitfall. It’s like a noirish nightmare played out in broad daylight and bright sunshine. With some nice paranoia and doom.
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I’ve never seen the former, and the genre itself is one I’ve seen little of. I frequently tell myself I should make an effort to see some more examples but something always seems to come up and my good intentions get elbowed out of the way.
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Peplums are quite varied. Some are dark and serious, some are silly and goofy. They’re almost all fun. A great place to start is Mario Bava’s Hercules in the Haunted World. If the story doesn’t grab you you can just gaze in wonder at Bava’s mastery of colour.
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Thanks, I’ll make a note of that. I haven’t watched any Bava for a long time now.
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I’ve been getting back into Bava in a big way recently. I still think Lisa and the Devil is his masterpiece. With Danger: Diabolik being the most fun (and the only wholly successful comic-book movie ever made).
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I’ve seen only a smattering of Bava’s films, and nothing beyond the mid-60s.
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My records tell me I have seen “SLATTERY’S HURRICANE” but it must have been quite some years ago. Indeed over the years I’ve seen pretty well all of Richard Widmark’s films of this period and I have several in my film collection but sadly not this film which is a pity because your review paints a very interesting picture, Colin.
Andre de Toth would be a selling point for me definitely.
The film is available to buy (probably the Fox collection) but at steep prices.
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Yes, there are European copies available though. I’d imagine they will be clones of the out of print US disc.
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I’m very tempted by this one but yeah, the prices for the DVD are a bit excessive. For me the Spanish version would be just as expensive due to the shipping.
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There is an Italian release too, but perhaps that is not any better for you.
It is a shame certain Fox titles seemed to sneak out onto the market and then practically disappear, not to mention some such as Preminger’s The 13th Letter, which never got an official release anywhere.
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Ordering discs from overseas is problematic these days in Australia, due to some horrible government policies. Sometimes you can do it and sometimes you can’t. There are only some overseas online outlets from which you can buy.
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I understand. That is an especially frustrating situation.
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Colin
Saw this some years ago on one of the movie channels here. I must have missed something at the start because it made less sense as it went on. Or I could have had a few too many vodkas. Thanks for the heads up here on the title. I can now give it another go and see how it comes out this time. Widmark was something to behold early in his film career. He had the bad guy, low life and all round dirtball parts down to a fine art..
Gord
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Yeah, check it out again when you can, Gord. I can’t see anything all that confusing in the plot myself but missing some of the beginning might leave it harder to follow – I’m not sure.
Widmark was probably in danger of being typecast in the early days as he’d made such a splash in in his debut. I think the kind of role he got in this movie helped to prevent that though. He was extraordinarily versatile and was adept at adding shade and nuance to his characters and something we should all be grateful for is the fact that his depth and talent was picked up on before he got trapped playing parts that would only allow one side of the man to shine.
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Colin
A few years back I went through several years of being “overserved”, mainly by my own self! LOL. There is a whole selection of films and tv shows I do not recall most of. I am thinking this film was during that time. Thank goodness I keep that drinking down to my birthday and a handful of days a year.
Besides another look at Miss Lake is always soft on the eyes.
Gordon
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Fair enough. Mind you, there are some movies, both full blown film noir and those with noir themes, that have plots which can tax the mind regardless of circumstances, to the extent that it sometimes requires a minimum of two viewings to get the most out of them. Once to try to keep the plot in focus and straight in the mind, and another to better appreciate the visuals, performances etc.
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Well said Colin. Slattery’s Hurricane is certainly one of these kind of films. Lose focus, get distracted or step away can have a negative impact on a viewers appreciation.
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It’s something which has come up before and I know I’ve chewed it over with others in the past. I don’t know why exactly, but it does appear that many of these noirs and noir-shaded thrillers and melodramas have a density and layering to their plots that demands a lot of focus from the viewer.
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And up for the weekend is…
HIGHWAY 301 – 1951 Steve Cochran, Virginia Grey, Robert Webber, Richard Egan
OPEN RANGE 2003 – K Costner, R,Duvall
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I wonder what you make or will make of Highway 301? A number of commenters here have praised it in the past but I didn’t really get on with it when I watched it.
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Hi, Gord – I am a huge fan of OPEN RANGE and have watched it many times, as I’m sure you have too. It has so many outstanding set pieces: the epic shoot out, the confrontation in the cafe, Duvall driving the horses back to camp, the flooding of the town …
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I’ll let you know how it hits me.
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As a lover of the ‘classic’, or traditional, western I really like “OPEN RANGE” and will be interested to hear your opinion, Gord.
I believe both Duvall and Costner are fans of the genre and it shows. The film is for fans of the traditional western and follows that furrow rather than the ‘Spaghetti’ route.
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I’m with you there, Jerry. I liked this one a lot and keep meaning to revisit it.
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Boys
This is about the 5th time I have seen OPEN RANGE. I caught the locally made duster for the first time in the cinema when released. A true top flight western in my humble opinion.
Gord
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