House of Strangers

Back in 2015 I looked at Broken Lance, a superior western and a remake of an earlier movie. I remarked at the time that I preferred the later version of the story and that’s still the case. Nevertheless, House of Strangers (1949), the original adaptation of Jerome Weidman’s novel, is an excellent piece of work when viewed in its own right. All versions and adaptations of stories bring something different to the table: the sensibilities of the filmmakers involved, themes added or removed, highlighted or suppressed. Where Broken Lance broadened and extended the scope of the material, House of Strangers retains a tighter focus overall.

A crowded sidewalk, bustling and bursting with life, and amid it all the eye is drawn to one solitary figure making his way through the vibrant mass, a detached and determined figure. He pauses before the imposing facade of a bank, the guard inside eyeing him fishily through the polished plate glass. This is Max Monetti (Richard Conte), once a sharp and arrogant lawyer but now just another ex-con. Actually, he’s a bit more than that; the bank was once the domain of his late father Gino Monetti (Edward G Robinson) before it was taken over by three of his sons, and before Max spent seven years as a guest of the state for jury tampering. Some of the brashness is still there though, and it’s enough to worry his siblings. It’s here that the lengthy flashback which occupies most the running time kicks in, showing how a family turned upon itself and slowly disintegrated, how rivalry and dissatisfaction became the seeds of hatred, how an old woman’s heart was broken and how a once grand home was transformed into a mausoleum to pernicious pride.

As in the image above, the past is forever peering over the shoulders of the characters. And it’s not just the malign spirit of Gino Monetti haunting his sons and poisoning their hearts, for even the old man in life was haunted by the specter of penury and subservience. The whole movie concerns itself with characters racing to keep a step ahead of their past, be it the stifling “old world” traditions that Gino professes to be desperate to throw off while apparently reveling in their trappings or another generation’s desire to be free of the too firm hold of an overcritical patriarch. Underpinning all of this is the concept of revenge or retribution, and the corrosive effect it has for all who drink from that particular cup.

I opened by speaking of a narrower focus, and I feel House of Strangers actively seeks to present a sense of restrictiveness. Instead of showing family as a symbol of fertility, it offers up a view of a stagnant and suffocating household, and I think it’s no coincidence that much of the action is rooted in the Monetti house and the old bank. Both structures have an old-fashioned ambience, a workplace where the sons are kept firmly in place – literally caged in the case of the elder brother Joe (Luther Adler) – and with limited options, and a home that is almost overpowering in the sheer weight and oppressiveness of its decor. The contrast with the light, spacious and airy apartment of Irene Bennett (Susan Hayward), the one person in the movie with an outward-looking perspective, and the one who represents the chance for a clean break with the past and new start on the west coast, is marked and unmistakable.

Susan Hayward’s presence adds much to this movie. Her drive, allure, and most of all her infectious self-confidence represent the best hope of salvation for Richard Conte’s Max. The frank and witty dialogue those two trade is a highlight, giving an edge to their passion and, in Conte’s case, allowing his character to become much more rounded. Joseph L Mankiewicz, who apparently had an uncredited hand in the writing alongside Philip Yordan, was noted for the use of sophisticated dialogue and it’s a real boon in this picture. The visuals and themes are well handled and well realized, but the smartness of the script gives everything extra vigor.

Richard Conte could always be relied on when you needed someone tough and streetwise, and he starts out incredibly sure of himself, unpleasantly so in fact. It’s largely through his interaction with Hayward though that he unbends gradually, looking out instead of in, realizing what to embrace and what to reject. Edward G Robinson plays a man it’s hard to like – even in his more expansive and beneficent moods there’s a shade of self-importance about him. As the story progresses, this latter quality develops, eventually running to bitterness and, ultimately, spite and vindictiveness. With a trio such as Robinson, Hayward and Conte headlining, there’s not a lot of space left for others to make their mark. That said, Luther Adler is subtly impressive, enduring the pettiness and humiliations as he broods and nurtures a deep resentment. In support Paul Valentine and Efrem Zimbalist Jr are the other two browbeaten offspring, while the imposing Hope Emerson seems an unlikely mother to the diminutive Debra Paget.

House of Strangers was released on DVD years ago as part of the Fox Film Noir line and the image is pleasing if not perfect, with a few trailers and a commentary track by Foster Hirsch as supplements. All told, this is the kind of highly polished picture one would expect from 20th Century Fox and Joseph L Mankiewicz. The shift to a western setting allowed Broken Lance to successfully explore other ideas and make it a more satisfying experience. However, I like to examine every movie on its own merits and I feel House of Strangers deserves to be praised for what it is rather than disparaged for what it isn’t.

Scene of the Crime

It’s arguable that, at its peak, RKO was the studio that appeared most comfortable producing films noir. If, on the other hand, you were to ask which of the majors was the one whose aesthetic felt least suited to that characteristically bleak style of moviemaking, the chances are MGM would come out on top. Everything changes though, and by the tail  end of the 1940s MGM was moving towards a different style, and as Dore Schary the former head of production at the aforementioned RKO took up the reins he brought a flavor of his previous home with him. Scene of the Crime (1949) is an entertaining piece of work from this transitional period for the studio, a superficially soft-boiled noir that boasts some surprising toughness just below the surface.

The 1950s would see film noir focus on organized crime with increasing regularity but nothing happens with a flash and puff of smoke. It was a gradual process and the drift away from the compromised individual as protagonist to wider society and its institutions wasn’t so much dramatic as stealthy. An urban street at night (or a backlot representation of one anyway) is a typical noir motif, as is the crash of gunfire, the lurch and fall of a fatally wounded body, the words of a gunman rapped out as abruptly and tersely as the bark of his revolver, and the snarling motor of the getaway car. And all that’s left is the torn remains of a man clinging to the sidewalk. The man in question was a cop, a detective in the wrong place at the wrong time, but with an unexplained and bulky roll of bills in his pocket. Questions naturally arise, not only with respect the identity of the killer but the source of the cash too. The answers to those questions will be ferreted out by Mike Conovan (Van Johnson), a somewhat stereotypical detective with a somewhat unusual  private life; he’s married to a glamorous ex-model (Arlene Dahl) and gets to hobnob with the smart set when he’s not combing the gutter for suspects. He’s one of those cops who’s wedded to the job as much as he is to his wife and she’s not that happy about the whole deal. So there’s this background tension simmering away, the domestic pressures adding a layer of conflict, but it’s a tension of the MacGuffin variety, of much more concern to the characters than it is to the viewer. Still, there is tension to engage us, the painstaking progress of the investigation, the careful fitting together of the disparate pieces as a picture slowly forms before our eyes, one that’s neatly embroidered by the presence of a quirky snitch (Norman Lloyd) and a seductive stripper (Gloria De Haven).

Earlier this year, I wrote about another Roy Rowland directed film noir Rogue Cop (which ended up being not only the most commented piece of the year but of all time on this site) and noted how the visuals had grown brighter and starker than had been the case earlier in the classic cycle. There’s a touch of that in Scene of the Crime but Rowland and cinematographer Paul Vogel still mix in the more traditional look from time to time, a stakeout with a flickering neon sign outside the window springs to mind, and then there’s that toughness I alluded to at the beginning. While the ultimate fate of Norman Lloyd’s memorable stool pigeon isn’t shown explicitly, it is described and it is grim. There’s a hard edged fist fight with one of the prime suspects, the climactic shoot out that ends up brutally and painfully, and of course there’s also a delightfully sour and cynical double cross which adds some spice to one of the more significant plot strands.I don’t know how much of this is derived from the original source material but I do know that screenwriter Charles Schnee was no slouch and was responsible for turning out some extraordinarily good scripts (They Live by Night, The Furies, Born to Be Bad, Westward the Women, The Bad and the Beautiful, Two Weeks in Another Town) in his relatively short life. In the final analysis though, there will be those who will say Scene of the Crime is essentially film noir lite, pointing to the lack of grit in the lead’s home life and the upbeat ending. I’ll not dispute any of that, but I will say that none of it troubles me much as I’m not especially keen on any extra helping of nihilism at the end of this particular year.

I don’t suppose Van Johnson would be anyone’s first pick for a noir lead, but he was nothing if not versatile and I have to say I’ve always found him very watchable in a range of movies from Brigadoon through to The Caine Mutiny. Given the nature of his role in Scene of the Crime, he’s actually a pretty good piece of casting. He’s very comfortable in the society scenes and equally convincing doing his dogged detective routine or slugging it out with hoodlums. I reckon Arlene Dahl got a bit of raw deal with this one though. Her part is barely developed and she’s not given much opportunity to do anything other than look glamorous or vexed, or both. I was watching her in No Questions Asked the other week and I feel she had something more to get her teeth into in that one. In a year that has seen us lose some big names from the golden age of cinema it’s kind of comforting to watch Ms Dahl share screen time with Norman Lloyd and think they’re both still around at 95 and 106 respectively. There’s very good support from an enigmatic Gloria De Haven, as well as solid and dependable work from John McIntire, Leon Ames, Anthony Caruso and Jerome Cowan among others.

Scene of the Crime can be found as part of the Warner Archive and looks quite good. The movie may not have the diamond heart of the more revered films noir but it is an engaging little picture that won’t disappoint either. Check it out if you can.

This will be the last post of  2020 for me, an odd year for sure. It’s been undeniably tragic for some, challenging for all, and yet it should be remembered that adversity ultimately breeds strength and positivity. From a purely selfish perspective, I have to say that one of the bright spots has come from seeing the site grow in popularity as never before. None of that would be possible without the marvelous contributions of all the knowledgeable and enthusiastic visitors it has been my pleasure to play host to. So let me say thank you to all of you, and may you all enjoy a happy, healthy and fulfilling New Year in 2021.

Rogues’ Regiment

With a variety of matters vying for my time and attention these days, I’m grateful to have this opportunity to put up a piece on another of those relative rarities that Gordon Gates thrives on. So, read on…

Rogues’ Regiment (1948) is one of a number of post WW2 noir dealing with escaped Nazi war criminals. Notorious, Cornered and The Stranger would be several of the more well known.
In this one, Dick Powell is an army intelligence agent on his way to French Indo-China. He is on the trail of a high-ranking SS officer who had escaped the roundup at the end of the war. The trail leads Powell to the French Foreign Legion camp in Saigon. (The French used large numbers of ex-German soldiers in their war with the Viet-Cong).
Powell’s main problem is that there are no known photos of the man he wants. He joins the Legion himself in order to try and identify the swine. Said swine, Stephen McNally, is very careful about his identity and bumps off everyone he thinks is a danger.
Helping Powell out on his case is French Secret Service agent, Marta Toren. Toren poses as a singer in a cabaret frequented by off duty Legion members of the German type. Of course Powell and Toren are soon drawn to each other.
Also in the mix here is Vincent Price as an antique dealer who supplements his income with a little gun running for the Viet-Cong. Philip Ahn and Richard Loo play Viet Cong types who are buying said weaponry from Mister Price.
McNally, who picked Saigon and the Legion thinking it would be the least likely spot to be recognized, finds the opposite true. One of his ex-staff officers, Henry Rowland from Dachau concentration camp happens to be in the same unit. While out on patrol the men become involved in a fire-fight with the Viet-Cong and McNally applies a few rounds to the man’s back. Problem solved.
Not quite it seems. Old Vincent has tumbled to McNally’s identity and figures a bit of blackmail is in order. He knows McNally has a large cache of jewels and gold taken from his camp victims. Price wants most of it. McNally agrees as long as Price can supply him with a passport and some American dollars so he can leave the country.
Both of course plan to double cross the other when the deal is completed. Powell and Toren who have been one step behind finally clue in and quickly pick up their pursuit. The meeting between  Price and McNally needless to say has turned ever so bloody. Who wins?
The director here is Robert Florey. His work included Meet Boston Blackie, Dangerously They Live, The Beast With Five Fingers, Danger Signal, The Crooked Way, and the very under-rated The Face Behind the Mask. He was also the helmsman on hundreds of television episodes.
Screenplay was by one time Oscar nominee, Robert Buckner. He did the story or screenplays for Deported, A Prize of Gold, Yankee Doodle Dandy, Santa Fe Trail, Virginia City, Dodge City and Love Me Tender.
Powell and Toren are okay with their roles, But it is McNally here as the Nazi louse, and Price as the blackmailing snake in the grass who steal the show.
Toren, who died at age 31, managed to work the film noir  Deported, Mystery Submarine, Spy Hunt, Illegal Entry, One Way Street, Paris Assignment and Sirocco into her 4 year Hollywood career. The d of p was Maury Gertsman whose noir included Blonde Alibi, Inside Job, Singapore, One Way Street, The Glass Web and Johnny Stool Pigeon.
Well worth a watch if you can find it. Needless to say it is another UNIVERSAL-INTERNATIONAL Release.
Gordon Gates

Ruby Gentry

Incompatibility, or the absence of harmony, is what Ruby Gentry (1952) is all about. It’s a tale of love and ambition, and the friction generated by attempting to marry those two emotional opponents. Underpinning all that is the downbeat assertion that it is futile for one to try to escape the bonds of the past, that the future has already been mapped by circumstance or one’s  forebears, or perhaps some unseen guiding hand. This fatalistic view, one approaching the idea of predestination, tilts the movie in the direction of film noir; I think it is deserving of the noir label although I do acknowledge that there are those who will claim it is debatable whether it really belongs in that nebulous category.

Dr Saul Manfred (Barney Phillips) is the man from whose  point of view the story is seen. He’s our narrator, a kind of everyman guide taking us through the varied and tangled relationships at the heart of the affair rather than one of those pompously stentorian “voices of authority” that sometimes lecture the audience at the beginning of a film noir. His is a much more thoughtful and sensitive description of events and people, a reflection of the character himself and also of the personal stake he had in its development, at least at the start. He tells of Ruby (Jennifer Jones), and it’s one of those classic parables detailing the rise and fall not only of the title  character but of all those who were part of her life, and indeed one might even say of the rise and fall of the stuffy and socially suffocating community they all inhabit. Ruby is introduced as a swampland tomboy, an impoverished temptress in tight sweaters and torn jeans, as skillful with a rifle as she is careless with the hearts she captures. Simultaneously skittish and coquettish, she has spent time fostered in the well-to-do household of local big shot Jim Gentry (Karl Malden) and it’s whispered among the more mean-spirited in town that she has acquired ideas above her station. This is clear from her romance with Boake Tackman (Charlton Heston), a returning jock from a patrician background and a head full of big plans. The rigid social order is disapproving and Tackman hasn’t the moral courage to rise above this, so Ruby is drawn back into the world of the recently widowed Jim Gentry. Thus a complex web of ambition and desire is spun around a set of people who all think they know what they want but have no clear idea of how to get it, or to hold onto what they do manage to grab.

King Vidor’s  direction (working from a script by Silvia Richards) is beautifully controlled, pacy and rarely extravagant yet lush in its depiction of the steamy swamp where the climactic scene is played out and also in the richly detailed interiors, especially the house occupied by Ruby and her family. He uses space well to convey mood, the joyous and liberating race along the beach and through the surf in Tackman’s car perfectly captures the early exuberance of Ruby and her love, and then the cramped room which she shares with Jim and the doctor for the failed party after her marriage encapsulates the narrow and restrictive world she finds herself in. In the creation and presentation of these varied moods Russell Harlan’s cinematography is all one could ask for and no less than one would expect from such an artist in the manipulation of light. Ultimately, the movie works as a condemnation of unfettered ambition, where each of the main characters systematically destroys everything they care for in the pursuit of the unattainable. It is this, alongside the sour judgemental snobbery of a blinkered society, which stymies the only pure feelings on show – love is either thwarted or left unfulfilled and atrophied.

Jennifer Jones as the title character does succeed in drawing in the viewer, her allure is clear from her first appearance and the reunion with Heston on the porch in the dark and by torchlight gives a foretaste of the tumultuous nature of their relationship. Her efforts to fuse her love and her hunger to climb the social ladder is apparent from early on and the slow realization that she can only achieve the latter at the expense of the former is painful to see but convincingly portrayed by Jones. In the final analysis, hers is not an attractive character, the vindictiveness (though understandable) adds coldness and her attempts time and again to net Heston detract from her somewhat.

That latter aspect is amplified when it comes to the marriage to Malden’s besotted millionaire. His motives are the most straightforward and honest of the lead trio and he consequently earns a good deal of sympathy. There is a terrifically affecting moment when he catches his wife out in a foolish betrayal and you can see not only his world crumbling before his eyes but his assessment of himself as a man undergoing a reevaluation as he gazes in frank despondence into the mirror behind the bar of the country club. Heston simply oozes machismo, that powerful screen presence clear from even this relatively early stage in his career. For all the swaggering bravado though his Boake Tackman is a moral coward, a “back-door man” hiding behind his family’s position and reputation. Also deserving of mention is some fine work from Tom Tully, Barney Phillips and, in a disturbingly fanatical turn as the scripture-quoting brother, James Anderson.

Ruby Gentry has had a Blu-ray release in the US from Kino and there are a range of DVDs out there as well. I still have my old UK disc put out by Fremantle many years ago and it presents the movie most satisfactorily, although there are no supplements whatsoever offered. The movie has a strong emotional hook and Vidor’s assured direction, as well as Harlan’s cinematography and Heinz Roemheld’s score, combines effectively with some excellent performances. This may not be a picture you come away from with a particularly positive glow but it does have some depth and the final image, and message, may not be quite as downbeat as it first appears.

Plunder Road

“Remember what Johnny Dillinger said about guys like you and him. Said you were rushin’ toward death. Yes, just rushin’ toward death.” – High Sierra (1941)

The above quote seems as good a summation as any of the thinking behind Plunder Road (1957), a late entry in the classic film noir cycle and a lean, streamlined one at that. Any fan of pared down, low budget filmmaking ought to find much to appreciate here in the simplicity of the narrative and the clean, uncluttered technique. The movie provides an object lesson in how to be economical without becoming cheap and how to take a sparse, minimalist approach to storytelling without sacrificing the engagement and involvement of the viewer.

If you’ll excuse the pun, this is a driving movie in every way. It opens in that breathless style that leaves one in no doubt regarding its urgency. The credits are punched up on screen as the white lines of an anonymous highway hurtle by below. The filmmakers are clearly in a hurry to get to the point, and as the camera moves into the interior of the vehicles it’s abundantly clear that the characters presented to us are just as conscious of the need for haste. There are five men in two trucks and they are racing through the rain and the darkness, racing to catch a train. Eddie (Gene Raymond) is the brains of the outfit, the mastermind behind a plan to lift millions in bullion from a late night train. They’re running late and he’s worried, though the guys in the back of the truck, a hooligan (Wayne Morris) and a explosives man (Elisha Cook Jr), are probably even more tense, sitting either side of a precarious looking contraption supporting a vial of nitroglycerine or some other highly volatile substance. Despite the inclement weather and the rush, the heist is a success, and then a new race is on. Perhaps it’s actually two races, that of the gang to make good their escape with the loot and that of the largely faceless authorities to lay them by the heels before they have the chance of slipping out of the country.

Director Hubert Cornfield has an extremely brief list of credits to his name but Plunder Road is the only one of his movies I’ve seen so far. As such, I’m not in a position to comment on whether or not it’s representative of his work. What I can say, however, is that this is one stylish dynamo of a picture. That  pacy beginning segues into a heist sequence that is fabulously smooth in its execution and  memorable in its visuals; the rain, the masks and the clockwork precision of it all shot in a spare yet evocative manner by Ernest Haller. From this point on the tension never lets up, the gang now attempting to put into practice the crucial getaway their laconic leader has mapped out. Any connoisseur of the heist movie will know that a big part of their success derives from observing how even the most tightly woven and seemingly foolproof of schemes can slowly unravel, with the pressure generally coming from within rather than without. Plunder Road follows such a formula, but avoids descending into cliché as it does so. This is partly due to the “shape” of the narrative moving in what might appear to be a reversal of the usual noir route; it goes from darkness, confusion and turbulence towards the light, the ending deceptively bright and sunny, everyday and bland. Bleak and bland. That’s part of it, the other part is the characterization.

What we get in Plunder Road are thumbnails, brief sketches that highlight a few prominent or significant features. A more lavish budget might have led to flashbacks, a wider cast and maybe parallel storylines to add apparent depth, but I doubt the end result would be any more effective. Narrative padding tends to be irritating, inflating the running time unnecessarily and damaging the rhythm. Here we learn only the essentials about the characters and this is typically communicated via snatches of throwaway conversation. The point here is that this minimalist writing style works, and it works by telling us enough about the characters to catch a glimpse of who they are,  and who they were, almost without us being aware of it. And it’s just enough to humanize them, to make the viewer interested in them, to care.

Gene Raymond had top billing as the planner, and what is learned about him? Surprisingly little beyond the fact he’s supposed to be a first timer, a man without a criminal past and therefore an object of curiosity. All that’s really revealed is his skill in logistics and, crucially, his relationship with Jeanne Cooper. Those two people are essentially defined inside the movie by this relationship, both of them acting as they do as a result of their devotion to the other. Steven Ritch wrote the movie and also played the part of the expert driver, a twitchy, hot-tempered type who blew a promising career and is now desperate for a big score. Stafford Repp was a few years off becoming Chief O’Hara in Batman but makes an impression as the dead-eyed but careless gum chewer who proves to be the first weak link in the chain. Elisha Cook Jr displays, perhaps unsurprisingly, more pathos than anyone else. His widower who hopes to secure a privileged, comfortable future for his son and himself in Rio is the very epitome of naivety. Finally, there is Wayne Morris as a former stuntman; tough and detached, here’s a man who depends on his muscles more than his brain. The pivotal scene at the gas station, where he first elicits sympathy from the viewer through his casual chat with the elderly attendant before flipping the whole thing in the blink of an eye after he makes the  kind of error that cannot be ignored, shows him at his best. That scene, on a number of levels, is the most tragic and affecting in the entire movie.

Plunder Road was released on both Blu-ray and DVD in the US some years ago by Olive Films. The black and white Scope image looks excellent and there are no noticeable flaws. This is a fine movie which benefits from tight scripting and sharp cinematography and direction. The precision of the heist is classic thriller material and  having each character’s downfall stem from their own unique traits  is pure film noir – the notion that everyone is in effect his own nemesis is a dark thought indeed. This is a movie which retains freshness even after multiple viewings and is therefore an easy recommendation, something especially true for those who have yet to see it.

Damn Citizen

Today we have a genuine rarity (at least it fits my definition of the term) placed under the spotlight in another guest post courtesy of regular visitor Gordon Gates.

This is another of those unseen Universal International productions that really needs a general release. Damn Citizen (1958) is a by the numbers documentary style noir about police corruption. The story is based on real events and people. It stars Keith Andes as Col Francis Grevemberg. Grevemberg, an ex-army officer, is offered the command of the Louisiana State Police. Louisiana was at the time considered to be the most corrupt State in the Union.

Everyone seems in on the scam with officers looking the other way for their cut of the action. Every time Andes raids a gambling club or bordello, they find the place has been warned. So Andes decides to fire most of the force and start from scratch.

 He starts a rigorous screening and training course hoping to weed out the crooks. When this fails, Andes decides to play the mob’s game and sends officer Jeffery Stone undercover. Stone pretends to be a crooked cop and gets himself thrown off the force. Some of the other fired cops have been working as gunmen etc. for the gambling mob and Stone is quickly offered a job.
***SPOILER ALERT – HIGHLIGHT THE  FOLLOWING***

 Andes right hand man, Gene Evans, has also been working behind the scenes selling info to the crooks for the then hefty sum of $1,000 a week. Edward Platt plays the head of the mob. He offers Andes a bribe which is turned down. He then tries a bit of blackmail by having a woman peel off her duds in front of Andes while a cameraman snaps away.No dice, Andes steps up the pressure and Platt responds in kind. Someone pays a visit to Andes’ home and deposits the decapitated body of the family dog in his children’s bed. Then undercover cop Stone is murdered and his body left in Andes’ car. Now Evans steps forward and tells Andes about all the info he has collected by pretending to be an informant for the mob. 

Andes then forces an old friend, Lynn Bari, who is a member of the mob, to turn State’s evidence. Doors are soon kicked in and guns produced and used.

Platt and his boys are hauled off for a long holiday at the State’s expense.

*******************************END OF SPOILERS**********************

A real stand up policer with good work from the cast and crew. There is a small morals lecture at the start, but then the film goes right to speed and never lets up. Besides Andes, Bari, Evans and Platt, the cast includes Maggie Hayes, Ann Robinson and Clegg Hoyt.

It is always nice to see Gene Evans in anything. He has the gruff cop, military type or western black hat down to a fine art. Fixed Bayonets!Armored Car RobberyThe Steel Helmet, Wyoming Mail, The Long Wait, The Bravados, Park Row and Hell and High Water are just a few of his films.
Same thing with Lynn Bari. The slinky looker was called the “Woo Woo Girl” and was a popular pin-up girl during WW2. Pretty well only worked in B films but was a
pretty good actress.
The jazzy musical score is supplied by Henry Mancini of Peter Gunn and The Pink Panther fame.

The story is written by Stirling Silliphant whose work includes Nightfall, The Line-Up, and the series M-Squad, Naked City, Route 66 and Alfred Hitchcock Presents.

The d of p was Ellis W Carter who worked on The Human Jungle and the George Blair directed, Lonely Heart Bandits. ( A plug for Lonely Heart Bandits which is one of my fav low rent noir) Carter also lensed one of the better 50’s Sci-Fi classics, The Incredible Shrinking Man.

Director was low budget and television veteran Robert Gordon.

Availability is currently problematic and even an online viewing seems out of the question. There is however a trailer which gives a flavor of the movie.

EDIT: This link may bring up the movie itself – https://ok.ru/video/1223899810389

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Gordon Gates

Sleep, My Love

There are a couple of options open should you come across anyone who tries to sell you the idea that the impact movies have on culture is negligible. You could think to yourself that this person is mistaken or misguided, and leave it at that. Alternatively, you can attempt to set them straight. Now language and culture are inseparable, their relationship being essentially symbiotic. So, when the movies give us words that become part of everyday language, that ought to bolster the idea of cinema’s cultural significance. Every classic movie fan, and film noir aficionados in particular, will be aware of Gaslight. The story, derived originally from a play, was filmed twice  and the concept underpinning it has become a staple of countless psychological thrillers. In a broader cultural sense, the term gaslighting has entered the language and refers to manipulating others to the point where they start to question to their own judgement, perception and ultimately their sanity. All of which brings me to Sleep, My Love (1948), an undeniably stylish entry in this sub-genre.

Alison Courtland (Claudette Colbert) is a wealthy woman from an elegant, patrician background. She’s not the type of person one would normally think of as likely to awaken in the dead of night aboard a train speeding towards an unknown destination. Nevertheless, that’s the first view we get of her, panicked, frantic and screaming blue murder in confusion. Her husband (Don Ameche), concerned to find her missing and nursing an apparent gunshot wound to his arm, has called in the police. It seems that this isn’t the first time the lady in question has disappeared but no harm has been done and she’s soon on a flight back home to New York. On the way she makes the acquaintance of another well-to-do type, Bruce Elcott (Robert Cummings) who is just home from China. I don’t believe I’m revealing too much here if I get right to the point and say that Alison is being maneuvered into an increasingly vulnerable position by her smooth but calculating husband. This becomes clear quite early on, and I feel  it constitutes maybe the biggest weakness of the picture. To my mind, the writing gives away too much too soon. It’s not merely a question of the viewer being deprived of surprises, but rather the fact that this “lay it all before you” approach robs the movie of much of its suspense and accompanying tension. While these are not the only elements in movies of this type, they are important and effectively negating them at an early stage means that viewers are left with little more than a sense of curiosity over how the hero will eventually triumph.

That’s not to say there is no tension or suspense in the movie; individual sequences such as the drug-induced suicide attempt are very well executed. This is where the skill of the director comes into play. Douglas Sirk, along with cinematographer Joseph Valentine, draws full value from the interior of the Courtland home, the staircase featuring prominently. As seen above, it’s essentially pinning Claudette Colbert in place with the shadows cast by the balustrade creating bars to imprison her in her own home, the weight of her own noble heritage bearing down on her and precluding, as though it were an affront to good taste, any consideration that her husband might be plotting against her. This noir imagery is sprinkled throughout the movie, Venetian blinds often replacing the vertical lines with horizontal ones but the impression of individuals trapped by circumstance remains.

The visuals, as one might expect, are among the greatest strengths of the picture. Sirk’s films are always good to look at, and of course mise en scene  is a term often used whenever his name comes up; he goes in for a lot of sharply tilted angles here, from those vulnerable shots from below to the more remote ones gazing down with a cynical detachment. These altered perspectives are very much to the fore in the studio of Vernay (George Coulouris). Overlooking the sidewalk and street,  here the crooked photographer makes his plans for his partnership with Courtland and his model Daphne (Hazel Brooks) perches higher still on her pedestal and mulls an entirely different partnership. This is all nicely set up to highlight her disdainful superiority, and she quite literally spends the whole movie looking down on everyone.

Claudette Colbert got top billing and she was still a major star at the time. It’s her show really, and she is fine as the increasingly rattled woman who can’t seem to convince anyone she’s not hallucinating. There’s a little sequence around the halfway point where she attends a wedding of a Chinese couple in the company of Cummings and she comes across well here – unaffected and openly appreciative of the opportunity to mingle among a different crowd to her usual acquaintances. It’s beautifully played as she rambles on about how different we all are and her simple take on what makes some people happy and others unhappy, a common feature of Sirk’s films. She gets across the sweetness of her character naturally and even her slight tipsiness by the end of the evening is quite credible – I’ve lost count of the number of actors who overcook it when asked to portray drunkenness on screen.

Robert Cummings is an actor who divides opinion and I’ve heard more than a few people say they find him a poor lead in general. However, I’ve never had any issues with him – I liked him in his movies for Hitchcock (Saboteur & Dial M for Murder) and I think Anthony Mann coaxed a solid performance from him in The Black Book. Frankly, I think his charm is a neat contrast to the polished insincerity and moral weakness of Ameche. Hazel Brooks is a striking presence – physically stunning, sexy and insolent, she is visibly contemptuous or everybody and everything around her. Yet her performance has an odd feel to it, her delivery of her lines sounding stiff and forced to me. Coulouris is an engaging villain, a strange combination of suave and clumsy, menacing and simultaneously the butt of Brooks’ barbs. In minor roles Keye Luke is entertaining as Cummings’ pal and Raymond Burr is welcome but underused as a skeptical detective.

Olive Films in the US released a very attractive edition of Sleep, My Love some years ago on both Blu-ray and DVD. The movie looks clean and sharp and Sirk’s visual style is highlighted most effectively. The script, on the other hand, is just OK. The gaslighting theme will be a familiar one to many viewers and I would have preferred it if a little more ambiguity had been injected, or at least a little more information had been held back, in order to build some added suspense. As it stands,  the audience is forever a step or two ahead of the characters, which I’m not convinced is the best approach to take. On the whole, however, I have a positive feeling about the movie. It’s not perhaps full-on Sirk but there is  plenty of greed and thwarted desire, with characters living out lives that barely hint at the reality simmering below the surface. This alongside the visuals and a handful of attractive performances are enough to overcome other deficiencies in the script for this viewer.

Deported

Time for another guest post, once again courtesy of Gordon Gates. It’s a classic era film noir, so it slots right into his comfort zone. Seeing as it’s a Universal-International property, albeit yet another of the elusive ones, it probably belongs in the comfort zone of a few regular visitors here too.

There are many directors who are held in high esteem by fans of film noir, and of cinema in general. These include: Billy Wilder, Fritz Lang, Phil Karlson, John Huston, Jules Dassin, Jacques Tourneur, Anthony Mann and of course, Robert Siodmak. Siodmak hit the ground running in 1944 with a string of nine successful films noir starting with Phantom Lady. This was followed by Christmas Holiday, The Suspect, The Strange Affair of Uncle Harry, The Spiral Staircase, The Killers, The Dark Mirror, Cry of the City, Criss Cross and The File on Thelma Jordan. The 11th noir wasn’t so successful, this was 1950’s Deported, shot on location in Italy.

A ship docks in Naples and starts off-loading cargo and one man, Victor Mario Sparducci. Sparducci is played by Jeff Chandler, who is a mobster going by the name, Vic Smith. Chandler has just finished a 5 year prison bit for a $100,000 robbery. The cash was never recovered by the Police. Chandler, after he finished his term, was escorted to the docks and deported back to the old country. This is before he can grab the $100,000.

Chandler is barely off the docks in Naples when he runs into the pretty, Marina Berti. Berti invites Chandler to her rooms for a drink and a cuddle, which our man Jeff is all too happy to accept. This of course does not go as Chandler had expected. Waiting for him at Berti’s place is fellow mobster, Richard Rober. Rober has followed Chandler from the States. He is not amused that he never got his cut of the $100,000 holdup the two had arranged.

Some less than friendly words and fists are exchanged over the financial situation, with Rober being laid out. Chandler informs Rober that he intends to keep the whole take. “I did five years for that money, so as far as I’m concerned, it is mine.” Chandler then tells Rober to stay away, or he will kill him.

 

Chandler then heads for the small village his family had left when he was a child. He hides out with his uncle, Silvio Mincioti, while he plans a way to get his cash over to him from the States. Chandler soon hooks up with the village’s black market boss, Carlo Rizzo. He figures he will need Rizzo’s help once he comes up with a plan to retrieve his cash.

While all this is going on, Chandler finds time to romance local beauty, Marta Toren. Toren is a wealthy widow who spends her time doing charity work for the local poor. Toren soon falls for the rather rough around the edges Chandler.

This all happens in the first 20 minutes. The film then loses steam and becomes a travelogue for the next 30 plus minutes. This seemed to be a regular problem with American films being made overseas at the time. There really is no on screen sparks between Chandler and Toren. Their scenes together are more or less dead time. The film however, does catch fire again in the last 10 minutes.

Chandler has found the perfect way to get his cash from the States. He cables the person in the States holding his money, to buy 100 grand worth of food and medical supplies. These he has shipped to Italy to be given to the village. The trick here is that Chandler intends to hi-jack the items, then, sell them on the black market for 5 times the cost.

The viewer of course know there is going to be a falling out with Chandler and the black market types. There is also the added complication that Rober is back in play. The mandatory guns are produced and some well done violence ensues.

Also in the film is Claude Dauphin and if you look close and you will spot bit players Tito Vuolo and Vito Scotti.
The director of photography is Oscar winner, William H. Daniels. His noir work includes, Brute Force, Lured, The Naked City, Illegal Entry, Abandoned, Winchester ’73, Woman in Hiding and Forbidden. He also did the last reviewed film here by Colin, Foxfire.
The screenplay was by one time Oscar nominated Robert Buckner. Buckner also produced the film.
Considering all the talent involved is this film, it does not hit the mark. There are parts here that are quite well handled, but the quick start and the finish are not quite enough to save the film from at best, just being average. It suffers from a tad too much dead time. For a Siodmak film, I found it rather disappointing.
(INFO) All three of the leads died before their time with Toren going at 31, Rober at 42 and Chandler at 43.
The only means of viewing the movie at the moment appears to be online – https://ok.ru/video/772666952344
Gordon Gates

Rogue Cop

Patterns, connections, trends and interdependence. These are things which draw my attention in general, and in cinema in particular. I’d like to think that visitors to this site have noticed this from time to time, and I’d be even more pleased if I’d managed to pique the interest of some by following up on certain threads that suggest themselves to me. Redemption is the one theme that I guess stands out from the crowd of other ideas, and it’s certainly the driving force behind Rogue Cop (1954), which I want to focus on today. I’d also like to touch on what I feel is a defining feature running thorough 1950s cinema as a whole and maybe then cast an eye over the shape and texture of noir at that time. So yes, it ought to be clear enough that I’m setting myself  a nice uncomplicated and unambitious task with this one…

Rogue Cop opens in an understated and matter-of-fact manner, with the credits running over a series of background images of cops going about their daily business in the city, making and taking calls, driving squad cars and all seguing into a nighttime scene where the sirens scream and the neon flickers. Throughout this it remains everyday, mundane and routine, even as a showgirl drifts out of the theater where she’s been working and makes her way to a penny arcade. Even there the drug deal she’s intent on completing is nothing out of the ordinary, nor indeed is the casual filleting of her pusher by a competitor. So there you have it, life and death played out as just another unremarkable event in an overlit and gaudy locale – the whole process as cheap and throwaway as the scene of the crime itself.

Yet, in plot terms, this is more than just another statistic to write up in the records. Chance, that old staple of any self-respecting film noir, steps in and sees to it that the killer who is coolly departing should bump into a young patrolman. This man on the beat is Eddie Kelvaney (Steve Forrest) and while he doesn’t make a pinch he does get a good enough look at the knife man to be able to make an identification. Had he not been there at that moment, or had another less ethical man been pounding that particular pavement, the tale would have meandered off in a different direction.  But he was there and the fates would also have it that his older brother Chris (Robert Taylor) is a detective with a lot of shady contacts, with the healthy bank balance and unhealthy reputation that brings. Pressure will be brought to bear on Chris to ensure Eddie toes the line and forgets who he saw and where he saw him. Were it only about Chris himself, this would not be a problem; however, Eddie is an idealist and a man who holds firm to the principles of decency his late father lived by, and which his brother professes to regard with contempt. What follows is that age old contest, the battle for the soul of a man with temptation taking place in an urban wasteland with winking lights as opposed to the deserts of antiquity.

Rogue Cop was adapted from a novel by William P McGivern, the man who provided the source material for Fritz Lang’s punishing examination of corruption and abusive relationships The Big Heat. Similar to Lang’s movie the noir quotient of this production stems as much, and probably more, from the theme as it does from the visuals. While John Seitz shoots the whole thing beautifully and earned himself an Oscar nomination for cinematography, it’s not got that painted shadows look that the term film noir so often conjures up. It’s got a brighter appearance in general and director Roy Rowland aims for the kind of pared down and uncluttered visual simplicity that Lang had been working on.

Is it possible then that the look here was a reflection of the thematic shift taking place within film noir itself? Noir in the 1940s felt as though it concerned itself primarily with disenchantment and compromised morality on a personal, and thus more intimate, level. Moving into the next decade saw a cleaner and simpler aesthetic gain prominence, which might suggest that thematically it was drifting towards a more sharply defined ethical conundrum. The focus was increasingly on decay in institutional terms, and the ethical deficiencies in broader society. A good deal of the action is situated in flash night clubs and swish apartments, well-lit and with the type of surface gloss that is deceptive – a store-bought glamor that seeks to blind us to the real cheapness, the shabby abuse and exploitation lurking behind it all.

There are those who will tell you a film noir has to have a femme fatale. Personally, I feel she is a common or typical feature but not an essential one, although I do think a strong and pivotal female role in general is vital. Rogue Cop offers two such parts – Janet Leigh’s jaded entertainer desperate to escape the sins of the past and, giving a terrific performance, Anne Francis’ boozy moll who suffers grievously for a moment’s tactlessness. These two are key to the development of the plot and in determining the path Taylor’s dirty cop will follow.

Taylor is, right from the beginning, a man trying to save himself, a man hungry for redemption, even if he doesn’t realize it till later. The fact remains though that the itch is there, the mask of cynicism barely disguising the intensity of his concern over his brother’s welfare. He’s only a short step away from acknowledging his desire to find a way out – and that tipping point is achieved first by the fate of his brother, later intensified by the treatment of Francis, and finally confirmed by the constancy of Leigh. It’s this spiritual quest that lends weight to the whole movie and lifts it above a mere run-of-the-mill critique of corruption. All of which had me wondering why exactly this theme of redemption is to be seen all through 1950s cinema. I’ve often written about it here in relation to the western, where it found perhaps its truest expression, but it transcended genre and is almost ubiquitous. Was it a reaction, albeit a delayed one,  to the war years? And did it climax at or around the end of the decade? My feeling is that it had – with the closing of the classic noir cycle and the gradual winding down of the golden age of westerns. Still, this is just a feeling on my part and others may be able to offer a more definitive answer.

Of course Rogue Cop, being released in 1954, wasn’t coming at the end of any cycle. In fact, it signaled a return for at least one person to bigger pictures than had been the case for a while. That person was George Raft, one of the early stars of the gangster movie whose star slowly faded through the 1940s. I’ve heard it said – although I’d be happy to be corrected on this if anybody knows different – that Raft at the height of his fame was very choosy about his roles and became very cautious about the image he was projecting on screen. Essentially, he was said to be turning down anything that involved a persona which was less than squeaky clean, something which always struck me as a singularly petty and counterproductive approach. As the chief villain here, Raft is very good indeed, full of malice and vindictiveness. Watching him get this across so successfully had me thinking about the secret of getting under the skin of a villain, of making or becoming a bad man on screen. That demands both self-confidence and humility, it requires that an actor be big enough in his soul to be comfortable playing someone genuinely small and mean of spirit. In short, it needs courage.

Unfortunately, Rogue Cop remains on the missing list as far as official releases on disc are concerned. It is easy enough to watch online in passable condition but it deserves to be available commercially. Whatever is holding that up, it’s not the quality of the movie itself. This is a superb 50s film noir with first rate performances all round from an excellent cast, and a solid script which offers plenty of food for thought while simultaneously raising a number of interesting questions.

Hell’s Island

Yes, I know – there are those who will argue, quite vociferously too, that there’s no such beast as a color noir. I’ve heard these arguments before, seen them made with passion and insight. However, while I fully respect the view I cannot buy into it. OK, ultimately, none of this matters a jot but it’s the kind of stuff we film fans do like to chew the fat over. Anyway, I’m of the opinion that Hell’s Island (1955) ought to be categorized as film noir as it has enough of the core ingredients to qualify.

Somewhat unusually, the opening credits play over what turns out to be the climax of the movie. From there we move to a hospital, where the protagonist has been undergoing surgery for a bullet wound. Still lying on the table as the doctor patches him up, Mike Cormack (John Payne) recounts his tale to the local policeman. Now I might as well make it clear that some may find the whole affair more than a little contrived. There’s no denying this, and I think that you have to embrace this aspect if you plan on enjoying the ride. So, here we are in the operating theater, with the hero chain-smoking (with the doctor’s consent) and narrating the peculiar set of circumstances that brought him to that point in just over a week. He’d been working as a kind of bouncer in a Las Vegas casino when he’s handed a proposition – for $5000 he’s to travel to a Caribbean island and inquire into the whereabouts of a valuable ruby that the owner wants back. Why him? That’s simple: the wife of the last man in possession of the gem is an old flame of Cormack’s and he’s therefore seen as having a ready-made foothold. To me, this and what follows is all characteristic of pulp noir – the impossibly convoluted tangle of relationships overshadowing everything before we even start, a clipped and world-weary voiceover from the lead, a location where the opportunities for corruption seem ideal, a femme fatale (Mary Murphy) who looks and acts like she’s been hoodwinking suckers all her life and, of course, a tough guy lead everyone appears intent on crossing up.

This was the third feature director Karlson and star Payne made together (following on from 99 River Street and Kansas City Confidential) and it has to be said it’s the least of the three. That doesn’t mean it’s a bad movie; if anything, acknowledging that this is a lesser affair is a testament to the high quality of the previous two collaborations. It’s enjoyable and pacy, with moments of toughness to hold the attention. Furthermore, it’s photographed by Lionel Lindon so there’s a polished and stylish look to it all. Yet, as I mentioned above, it’s also unashamedly pulpy, and there’s never any serious attempt to sell the story as anything else. We get the shady, overweight underworld type in a motorized wheelchair (Francis L Sullivan), the femme fatale’s  effete associate (Arnold Moss) , and then there’s the protagonist who’s pursuing the novel career path of lawyer-drunk-bouncer-patsy. When I say that all of these are blended together in a budget-conscious, set bound (mind you, it is an attractive set) Pine-Thomas production, then it ought to give a sense of the kind of movie we have. Basically, it’s a caper with some hard edges, as well as being a good-looking showcase for its stars.

By this stage, John Payne had settled comfortably into these types of roles. He was capable of slugging it out convincingly with the best of them, and was credible whether on the receiving end of a casually brutal beating or booting a musclebound henchman into a pool full of hungry alligators. The scenes where he and Mary Murphy are trading kisses and threats are nicely done, but they too have that artificial, semi-cartoonish quality as though ripped from the cover of a 50s paperback; the whole thing winks at you in a stylish, sexy way but in your heart you know it’s superficial. A lot of the sexiness stems from Mary Murphy, giving an arch performance that’s fun to watch but you never really get the impression that she was stretching herself. And the thing is she was a good actress – having made a strong impression in The Wild One, she enjoyed a fair run in the 1950s. Around the time of this movie she was in two, in my opinion anyway, superior productions, Ray Milland’s fine western A Man Alone and Wyler’s The Desperate Hours alongside Bogart and March. The following year she would go on to play opposite Richard Basehart in Joseph Losey’s underrated and neglected The Intimate Stranger/Finger of Guilt – you can find reviews of that one by Sergio here and by Vienna here.  Moving further down the cast list, a slippery Arnold Moss is good value as expected. Frankly, I like a good heavyweight villain and so I feel it’s a pity Francis L Sullivan (in what I think may have been his last role role before his untimely death) doesn’t get more screen time.

Hell’s Island is one of those films that remains stubbornly difficult to acquire in decent quality. I picked up a German DVD (I believe there are also Spanish and Italian variants on the market but I have no idea how they fare in comparison) which is just barely OK. The movie is offered in a choice of presentations – a 4:3 one that seems to be a letterboxed non-anamorphic image, and a 16:9 one that I guess is blown up from the other?  Basically, it’s watchable but the image is muddy and colors are muted and dull. What’s needed is a full restoration – whether or not that’s likely is anybody’s guess. All in all, Hell’s Island is what I think of as enjoyable pulp noir – there’s as much, or more, caricature as characterization, and you’re never quite convinced that these people exist. Yet the direction and the actors keep you watching and at no time does it commit the cardinal sin of being dull or uninteresting. So, while it might not be essential you should still have a good time with it.

Incidentally, this happens to be the 500th post on this blog. Bearing in mind how long this place has been open for business, some might consider that slacking. Nevertheless, it is a milestone of sorts and worth mentioning in passing if nothing else. So my sincere thanks to all of you who have contributed so much to the shared experience over the years – I couldn’t do it without you. Stay safe and well everybody!