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A Matter of Life and Death (1946)
Handsomely-shot whimsical love story - with fascinating ideas on display (but also dull in places and parts have not aged well). Still, worth a watch.
A metaphysical tale set in war time where a near-death experience leads to an English airman doubting his sanity, hallucinating and falling in love - or is it all real after all! I enjoyed the first half of this well-lensed movie (many shots are like fine oil paintings of yore) where it establishes its parameters - and creates a love story across extra-dimensional and extra-temporal space. Later on, it is rather weighed down by ponderous speeches and overwrought lines - but if you can withstand these stretches - the overall effect is a positive one. I can see many movies that have borrowed ideas from here up to the present day and it is certainly dripping with originality. David Niven is the perfect RAF 'good chap' and we can sense the spirit of the Blitz in London and the 'fight them on the beaches' heroism that must have prevailed at that time when different ideologies fought to the point of nuclear war. This ambitious film wishes to enshrine the values of human love and peace on Earth - and for that I commend it!
Obsession (1949)
Preposterous cat-and-mouse plot played out in Hitchcockian seriousness with a suavely devilish turn by Robert Newton
Dr. Clive Riordan, a doctor whose wife (Sally Gray) tends to flirt a lot has had enough. When caught with yet another man, he decides he has had enough and takes matters into his own hands. From there on out he hatches a dastardly scheme to be rid of the latest interloper in a manner which becomes overly convoluted and vulnerable to detection. Though the story strains incredulity in places (and includes a needless coincidence) the parts are played meticulously in a haughty tone with a tightly written script that uses language very adeptly. Robert Newton performs like a dormant volcano, holding its emotional lava within, as he carries out his overwrought plan to revenge his wife. Faintly ludicrous at times but still very watchable.
Dark City (1950)
Grim, dreary and angst-filled semi-noir with star power from Heston set in a world of gambling and sultry songstresses
Danny Haley (Heston) is a loner with a dark past who now pals around in gambling dens followed around like a doting spaniel by Fran Garland, (Lizabeth Scott), a forlorn songstress. When a crooked card game leads to fatal consequences, suddenly Heston and his gambler friends are doomed to a similar fate. The story takes some twists and turns, buoyed up by four well-sung lounge songs (dubbed by Trudy Stevens) and has a pall of guilt and doom hanging over the entire film. Danny finally eaten up with remorse, takes steps to make up for his misbegotten past, but will be make it in time before he is hunted down?
F.B.I. Girl (1951)
Quality plot-packed FBI procedural B-feature
A politician needs to tamper with FBI files to advance his career so uses his fixer, a menacing Burr, to influence the girls working there to do his dirty work; these plans go awry and turn deadly. Our stalwart agents Romero and Brent try to figure out what's going on as another FBI girl (Totter) gets roped in. The plot becomes knotty and hazy at times and there are a few coincidences thrown in but we are treated to quite a number of memorable and unusual scenes as well as an action-packed finale that must have blown this B-movie's budget. An entertaining ride with the players taking the roles quite seriously despite the clunky plot mechanics. 6.5/10.
Storm Warning (1950)
Surprisingly tough movie lambasting the KKK is both nuanced and melodramatic - Ginger Rogers gets a chance to really act here but Reagan is stiff as an ironing-board.
We enter the seedy atmosphere of a corrupt town, that seems to be enthralled to the KKK, by seeing through the eyes of a visitor, Marsha Mitchell (Ginger Rogers), who witnesses the KKK in action while trying to get to her sister, Lucy Rice (Doris Day). When she finally arrives, distraught by what she's seen, she finds her sister is sympathetic but pretty naive, and under the thumb of her somewhat abusive and braggadocio husband. Now that the KKK know she's a witness - Marsha comes under pressure - even though justice has arrived in town in the form of another outsider, Burt Rainey (Ronald Reagan), the county prosecutor. Although preachy and simplistic initially, (with most sermons coming from Reagan's character), later there are some nuances and some twists, as well as a good dose of vicious violence, giving Ginger Rogers a chance to let loose with her temper in impressive fashion. There's a chaotic and sinister energy to the whole movie, one particularly nightmarish scene, and an unsettling villain who oozes quiet menace. Not a bad watch! 6/10.
Johnny Eager (1941)
Little-mentioned crime/noir story with Lana Turner and Robert Taylor lighting up the screen - an unusual character study of a hardened criminal.
Sociology student Lisbeth Bard (Lana Turner) finds her life gets turned upside down when she meets the smooth Johnny (Robert Taylor), who is in on parole and now gone straight by turning cabbie. But not all is as it seems; Johnny is a master of deception and his ingenious machinations, directed at those around him in his eagerness to stay on top, soon get tangled up by his romance with Lisbeth. A eminently watchable and quite twisted tale of crime and love - with some real standout scenes. Not sure how it is has taken me quite so long to catch this one - this is beyond the usual noir in terms of it going in more depth into the character of the criminal mind - well worth it. 7.5.
The Blue Gardenia (1953)
Well-directed film with mostly linear plot; Baxter is good but Conte and Burr are underused.
This is Anne Baxter's film as a lovelorn telephone operator hit on by the rather solicitous and sleazy man-around-town Raymond Burr. Although initially more like a soap-opera as we dwell on the lives of three female roommates and their romantic woes, it does get progressively darker and the emotional turmoil gets ratcheted up slowly by the end - the noir vibes are middling here as the feelings of guilt and suspense are diluted by a very straight-line plot, little in the way of noir lighting/camerawork and underused male leads. Still, Baxter brings some depth and pathos to her character and brings real conviction to her ordeal. Burr is creepy from beginning to end and Conte is the good-guy reporter - but both have been given very one-dimensional characters to play - still, they bring some gravitas to the scenes. For Fritz Lang completists only, I'd say.
Act of Violence (1948)
Top cast perform in very well-written post-war noir-drenched nightmare
A successful businessman is living out the American dream until his PTSD comes back in human form to reignite the memories that have haunted him since the war, ones that could contradict his shiny new persona. Though we might have seen these plot elements touched upon in slightly more superficial ways elsewhere, here they take on almost Shakespearean import - but in the taut wireframe of noir tropes. A nerve-wracking, nuanced and tense film, almost shot like a horror movie in certain moments, becomes a tragic one with a dark fatalistic outlook. The cast is tremendous, and there are some great scenes and shots - this is one for the ages. A must-see for any noir fan.
Big House, U.S.A. (1955)
Grim kidnapping turns into even grimmer 'crime-does-not-pay tale'- part-FBI procedural, part prison break, part-Western with Broderick Crawford and William Talman ('Crashout')
A ripped-from-the-headlines, cheap and seemingly simple abduction movie turns into quite the twisted story - meanwhile the kidnapper (Ralph Meeker) is caught and gets shanghaied into a prison break by unusual means - eventually heading back towards the scene of the original crime. After a humdrum start, things get more intriguing once Broderick Crawford and the other jailbirds appear. Throughout the story, the monotonous tones of the FBI procedural narrator inject themselves into the proceedings slightly jarringly as do some brutal scenes of violence (or implied violence). This B-movie, with its overall variety of styles, action, and locales, a slightly-above-average score, plus the familiar faces and tough-guy acting from some noir stalwarts like Ralph Meeker, Broderick Crawford and William Talman, satisfies quite well by the end. A solid flick.
Manhandled (1949)
Odd, tonally uneven but strangely engaging pseudo-noir worth watching for Dan Duryea's villain - an increasingly menacing greaseball character
Lonely and unassuming psychiatrist's assistant Ms. Kramer (Dorothy Lamour) overhears a dream being told that inadvertently gives an idea to her neighbour (and would-be lover) Karl Benson (Dan Duryea) who lives in the same building, working as a repo man and PI. This is an unusual not-quite-noir in that (a) there are three different detectives working on the case: one is a wise-cracking and comical police detective, one a maverick insurance investigator (Sterling Hayden - in a small role) and the third, a suspect himself, Karl the repo guy, (Dan Duryea) whose second job as PI comes in useful for his diabolical maneuverings, (b) the tone regularly switches between menacing violence and comedy scenes quite unabashedly which gives it that slight whiff of a parody and (c) the plot is fairly baroque (but not in a overly contrived manner) and leads to many flashbacks, and a wonderfully cruel twist of irony by the end. Lamour plays a more complex character than is apparent at first glance and does get her chance to strongly emote in more than one scene; however, both her and Hayden are underused and underdeveloped as there is quite a large cast of suspects to pay attention to - each of whom might hold a piece of the puzzle that could solve the mystery of the central crime. This is really Duryea's film whose character goes from intrusive slimeball to seriously psychopathically dangerous manipulator (esp. In one pivotal and memorable scene), and who by the end, turns out to have been too clever for his own good. Recommended. 6.5/10.
Crashout (1955)
Grim and violent prison break noir is elevated by great characterisation and performances - better-than-expected!
The opening credits show the prison break itself so this movie is all about the run for freedom. A rag-tag motley crew of inmates, none of whom seems to like the others much, crack under the tension of the chase in different ways and seem fated to never truly escape themselves. The atmosphere is doom-laden from the outset and becomes more tragic as it goes on. Rare moments of levity arise in a few contrastingly sentimental mini-subplots as certain women are encountered/accosted along the way - but here again there is a melancholic tone, the same one that runs through this tale from start to finish. A raw, gritty and fatalistic movie which is much better than it has any right to be! Recommended.
The Scarlet Hour (1956)
Well-worn femme-fatale-centred story with new twists to liven it up and very fire-and-ice performance from Carol Ohmart (in ne of her few movies)
The noir plotting is nothing new here but some added ingredients and twists serve to keep this engaging till the end, A rich dame wants to lose her husband for her broke lover and schemes her way to get it manipulating every male in her vicinity - she's desperate, spiteful, jealous, mean and seductive - and her charm works, until it doesn't. The plot is slightly convoluted but everything comes together well in the end (though it is a tad abrupt). Plenty of tension and angst throughout and very serviceable acting from this quite large cast. Watch out for Nat King Cole singing at a nightclub. Better than expected - enjoyable and recommended.
Ivy (1947)
Joan Fontaine is a revelation here as the coquettish Edwardian femme fatale who seems ambivalent about her own schemes and wracked with fear and guilt as she executes them.
A period melodrama with touches of noir and Hitchcock sounds mildly intriguing - and that's what this is; still you have to slog through the first 20-30 mins as the wheels get set-up before they start to turn. Ivy is a spendthrift wannabe aristocrat who enjoys the high life - but her devoted husband is down on his luck (and her more devoted lover is more interested in charity work) so she hunts a rich whale by inveigling herself into society and his circle. But her husband and lover won't let her go! What to do? Fontaine is the only reason to watch this movie as she plays the overly dramatic narcissistic blonde who looks like ice-cream wouldn't melt in her mouth but is all about manipulation, and is not above turning on her sexual charm (Fontaine manages to come on strong as hell) in order to get what she wants! This has a few artistic touches and the middle of the movie is strong - just the beginning is dull, and the ending a bit tagged on. A decent watch!
Follow Me Quietly (1949)
Above-average B-movie noir police procedural on the hunt for a serial killer plus a romance, surrealism and lots of flair from directors Richard Fleischer (with Anthony Mann).
I've been watching Richard Fleischer's movies recently and they all satisfy, his direction tangibly elevating the films, short or long. Here we have an hour-long hunt for a crazed killer, who leaves creepy notes in his wake "explaining" his bizarre random murders. The investigation is led by every-cop Lt. Harry Grant (William Lundigan) who is close to a nervous breakdown about resolving the case. To lighten his spirits, cheeky budding journalist, Ann Gorman (Dorothy Patrick) chases him as she gathers a story for her magazine and soon becomes pivotal to the case. There's a flashback, a montage, a surreal manikin, and a slightly off-beat and striking ending that really satisfies. Of course, being a cheap production, it has its flaws, but there's plenty to like!
Kill or Be Killed (1950)
Despite what the title and poster suggest, this is an eye-rollingly terrible snoozefest, littered with dreadful writing and so-so plot.
Only Lawrence Tierney completists should subject themselves to this dull, inert and unengaging flick about an engineer wrongly accused of murder. A lot of the story takes place in ships or a jungle as he goes on the run, and falls for a dippy dame who protects him. The sappy dialogue hopes to make us believe there is a romantic spark between these two despite there being little chemistry between them and they both act stiff as ironing boards throughout. Then the coincidences pile up to make matters worse. However, I'll give it three points: (1) for some OK action (2) the exotic locations and (3) there is some curious plotting involving a mute youth. But that's about it. Although it has a very short run-time I found myself checking my watch several times before I gave up on it 45 mins through (and watched the rest a few days later). You've been warned!
The Inner Circle (1946)
Frothy noir-like crime mystery plays like comedic Agatha Christie
A detective's new secretary become vital to his next case where a "Madame X" has seemingly committed murder of a radio gossip-columnist. Wise-cracking lines and comedic turns make this a very light-hearted and frivolous affair but all the parts are played with vim and pep, making the time spent with these characters a breeze. Just as in an Agatha Christie novel, many red herrings abound, and the final dénouement is very Poirot-like as all the suspects (inexplicably) gather in a room to be eliminated one by one till the killer is revealed. Almost a parody of a noir, there are plenty of witty lines right from the start and some surprises here and there that hold one's interest during its 55-min runtime.
Paid to Dance (1937)
Short plot-packed, break-neck paced, B-movie with a young Rita Hayworth in a talking role some scenes.
It seems those dancers-for-hire clubs have some shady dealings in the background with young girls being locked into contracts that allow them to be shipped to any club the owner wants - still, one can't operate without protection from the law and when a new protector comes into the picture, suddenly there's trouble in local boss Miranda's Paradise Club. These girls are also dying like flies and disappearing into thin air to the consternation of the citizenry so the governor decides to get tough has many repercussions for the girls. Rita Hayworth is a new dancer who gets mixed up in the conflict between the club owners, the agents and the law; however, she only has a few scenes here and there, and looks fairly ordinary here as she had yet to have her transformation into all-out film star. As the flick proceeds the pace picks up speed until by the end developments come thick and fast, enough to make your head spin. It's dog-eat-dog among the bosses as the steel ring of the police tightens. Clearly a low budget affair, this film in packs tons of plot as is surprisingly brutal near the end. Short and sweet!
The Clay Pigeon (1949)
Short B-noir from Dick Fleischer is packed with plot and action!
An RKO-produced movie, based on a true story, we follow the trials and tribulations of a post-war amnesic soldier suffering from PTSD who is under suspicion of treason and ratting on his fellow troops at Cabanatuan POW camp run by the Japanese army but escapes the hospital only to find that an old nemesis is trying to end him to preserve a dastardly scheme. There's intrigue, espionage-like work, action, romance and betrayal. The parts are played with vim and vigor and the pace is athletic. The noir here is more the atmosphere of strange forces at work and being hunted for unknown reasons leading to some dread and paranoia. Recommended.
Bodyguard (1948)
A cracking pace, varied location shots, unique scenes and quippy lines make this noir-lite a highly-enjoyable (if slight) 'should-see' (esp. for Lawrence Tierney fans).
Mike Carter (Lawrence Tierney), rogue detective, is invited to be a bodyguard of a rich dame, for a wad of dough. From there, he investigates a series of attempted and actual murders that seem to be happening around her family, (owners of a meat-packing company) and it turns out there is danger at every corner, with someone even out to get him, but why? Part mystery, part B-noir, the pace hardly lets up from start to finish as Mike is assisted by his colleague from the precinct and game-for-anything girl, Doris (Priscilla Lane) to try to figure out what gives. Lane and Tierney make for a winning pair in what should be more one-dimensional roles as they flit from location to location by various means (some quirky) and get tangled up with some of the meat-heads out to get them. There are also memorable framings, rarely-seen plot devices and tiny character vignettes that bring a spark or two to the proceedings and make it heaps of fun. You won't regret the time spent here (just 62 mins). 6.5/10.
Call Northside 777 (1948)
Worthy drama with sterling performances is let down by sluggish pacing and drawn-out sequences
"Call Northside 777" certainly carries an intriguing story ripped from the headlines as a journalist hunts down leads in a dead case where it seems an innocent man has been framed for unknown reasons. Well-filmed, often on location, this is not a noir by any means, but more of a journalist procedural with reporter P. J. McNeal (James Stewart) bouncing between a motley crew of characters and the hard-nosed city editor as his story gains massive traction with the public - plus there is a substantial reward on offer for clearing Frank Wiecek (Richard Conte in a small but crucial role). There is much to like here, but for me it was somewhat marred by a snail's pace tempo and becomes very saggy around the hour mark; the ending is also very over-extended. Injecting some urgency into the proceedings would bring some life to the film - esp. One with such a real-life background. I don't regret my time with it but expected much more. 5/10.
Flaxy Martin (1949)
Copy-paste ramshackle plot with coincidences and contrivances that beggar belief - but still retains a fast pace and a measure of entertainment value - just needed more Flaxy.
This flick seems to have been created by patching discarded off-cuts from other (better) movies with some very hackneyed dialogue, worn-out stereotypes and overly contrived plotting. Still, there are some small pleasures to be gained here in the energetic and pretty committed performances of the players, and in the break-neck speed and twists of the story. Virginia Mayo's Flaxy Martin is watchable but largely absent from the movie (her appearances bookend the film) while Zachary Scott's Walt Colby is an arrogant but hypocritical lawyer who becomes undone by his own 'cleverness', his lust for Flaxy, and his ill-judged support of the local crime-lord. Side-kick, Elisha Cook Jr. Plays to form as a psycho henchman although his dialogue is exceptionally cliched to the point of parody. To enjoy this film, one must simply ignore the gaping plot-holes and relish the mayhem!
New York Confidential (1955)
The syndicate hires a hitman and impresses the mob boss; Broderick Crawford, Anne Bancroft, Richard Conte all perform brilliantly!
This film centres on the troubled times of Charlie Lupo (Broderick Crawford), a NY mafia don; his men are killing each other without his permission, there's a huge corrupt business deal he's invested in, and his family life is suffering in the form of a rebellious daughter, Kathy (a young Anne Bancroft). To sort things out, he brings in smooth hitman Nick Magellan (Richard Conte) who becomes his right-hand man. Nick is certainly effective and impresses Charlie's girl and his daughter as he tries to stay 'professional' and unentangled. Things get dicey and Nick has to keep his cool as others are losing their heads. I've rewatched this and it's still as good - Conte plays the cold-hearted killer with panache and Crawford is a force of nature as he juggles his criminal life and family affairs. Bancroft is a firecracker of emotions and impulsivity, and her relationship with the father goes into more depth than one would expect from a 'gangster' movie. Thrills, action, violence, intrigue, passion - there's not much lacking from this very worthy noir.
Strange Impersonation (1946)
Noirish tale of the unexpected - is half soap-opera/half-nightmare - with its fair share of femme fatale action.
An uncanny plot and claustrophobic little sets make this odd but fast-paced story play out in very unexpected ways. Initially, the science lab setting gives it a sci-fi air - later it feels more like a thriller or a mystery - other times a Brazilian soap opera; but somehow the tonal shifts work in a sort of Freudian whirly-gig fashion and we drift from one to the other seamlessly. I can see why this movie enjoys cult status - it has its camp aspects - but there is also some artistic merit in a couple of memorable shots and in its unsettling eerie atmosphere. Notable for its femme fatale vs femme fatale conflicts, this will certainly make you sit up and watch for 68 mins. Although Hillary Brooke and Ruth Ford played their roles perfectly well, I was especially taken by Brenda Marshall, who sadly did make many more movies. A potent little brew of intrigue, twisted passions, and...strangeness. I heartily recommend for lovers of noir or 'otherwise'.
Border Incident (1949)
Cops (American and Mexican) go undercover to blow open an illegal people-smuggling operation run by merciless criminals
There is some good tension and action to be had here - and a couple of unexpected turns of event - as we go undercover in the vicious world of people-smugglers who treat their freight like trash - 'helping' them cross the border to US farms (with complicit farm owners) only to be robbed clean on the way back. Our two stalwart cops (Ricardo Montalban and George Murphy) infiltrate different ends of the operation, having to dodge suspicion, collect intel, as well as keep in contact with headquarters - and each other; not easy when you have creepy and brutish thugs running hell-on-wheels through the wilderness and an unscrupulous kingpin (Howard Da Silva) pulling the strings. I enjoyed the novelty of the setting (some desolate locations in the desert) and plotting - and the leads make for convincing officers of the law; the cinematography improves greatly in the latter half of the movie and there are some memorable outdoor shots and scenes. Certainly there is an noirish atmosphere of cynicism, hopelessness and menace, and the high stakes and constant tension make it pretty enjoyable. Not amazing but not bad either.
All the King's Men (1949)
Bluster, dirty tricks, and conviction pave the way for bigger-than-life Willie Stark (a populist of the people? or greedy shark?) in this quite sophisticated political film
In a movie that speaks to our times, Broderick Crawford IS Willie Stark - a man of the people seeks power - and learns how to play the game along the way. Almost like a fictional biopic at times, we see Willie move through the years, picking up friends, girlfriends and enemies as he reaches for the highest position in the state. "Do the means justify the ends?" is just one of the questions posed by this almost epic-sized movie; but while people all around suffer from Willie's machinations it is the common man who seems to benefit from his work to better their lives - but on closer examination, who is it that really benefits? Surrounded by tragedy in the family, a broken marriage, several affairs, as well as fawning lackeys who carry out his every whim, Willie Stark strikes me in some ways as a sort of precursor to Tony Soprano - of course in a very different context. It's quite a complex movie with many moving parts, conflicts of loyalty, and very watchable performances from the other supporting actors. Not a noir by any means, in my view, apart from a sort of cynicism and fatalism that hangs over the movie like a pall of smog.