Lana Turner--femme fatale (?) in JOHNNY EAGER (1942)

In this noir, beautiful blond Lana Turner completely bewitches her handsome co-star and sets in motion a series of decisions that ultimately lead to his demise. No, it's not The Postman Always Rings Twice. In that film, she takes her place among the most recognized femmes fatale, including Jane Greer in Out of the Past, Ava Gardner in The Killers, Barbara Stanwyck in Double Indemnity. Here, we're discussing what was perhaps for Turner a warm-up for that one--Johnny Eager (1942), in which it's Robert Taylor who falls prey to her charms. 

This post is my contribution to the Classic Movie Blog Association's Spring Blogathon about femmes and hommes fatale in film noir. Click the image to see all the terrific posts over the past few days.

"The town's full of women and I have to pick the most dangerous one in town." 

-- Robert Taylor as Johnny Eager.

So I'll be clear up front: in Johnny Eager, Lana Turner's character is not a true femme fatale. Yet, with the seductive way she goes about her business for the first half of the film we really not sure of her motives; that and the deadly plot spiral in the final act, make her part a juicy one to dissect. (Warning: spoilers below.)

Lana Turner and director Mervyn LeRoy
on the set of Johnny Eager

According to Robert Osborne, the beloved late host of Turner Classic Movies, this film, from a short story and screenplay by James Edward Grant, was a departure for MGM, the 'cadillac studio' that rarely made movies about the criminal element. They had a star in Robert Taylor, but decided that in order for his films to attract male fans, they needed to rough up his image and cast him as a gangster! (Just a year earlier 20th Century Fox successfully employed that strategy with Tyrone Power in the similarly named Johnny Apollo.) Twenty-year-old rising star Turner was cast opposite Taylor and was seen by MGM as their female sex symbol since Jean Harlow. While this minor noir is not as well known today, Johnny Eager made over $1 million in profit when it was released.

Robert Taylor in a publicity
photo from the 1930s

Turner was only four years removed from her first significant role, in They Won't Forget (1937), where her discovery by director Mervyn LeRoy was rewarded when he showcased her enticing blend of sexiness and innocence, and she was dubbed 'the sweater girl'. The film was aptly named, as audiences did not forget Turner, who was in a steep rise to stardom. Versatile LeRoy had a hit with the gangster classic Little Caesar (1931), and success with Turner in the earlier film--her comfort level with him made him a good fit for Johnny Eager. To promote the film MGM created an evocative shorthand for their star pairing of Taylor and Turner -- TNT--and indeed sparks flew between them both on and off the set. (For a detailed description of their pairing in this film, see my fellow CMBA blogger Aurora's post here.)

While Turner heats up the screen in her scenes, the film spends more time with the title character. Taylor is serviceable in his role as the titular big city boss and racketeer, as ruthless and hard-hearted as he is handsome. He's recently out of jail on parole and while appearing to go straight, finds ways to keep his crime organization active and has even greater ambitions to profit from a dog racing track operation. Getting in his way is the district attorney John Benson Farrell (Edward Arnold), who is one of a few not taken in by Taylor's cover as a suave mustachioed cab driver(!) Also serving as minor nuisances are his girlfriend Garnet (Patricia Dane) and his alcoholic right-hand man, Jeff Hartnett (Van Heflin in his first and only Oscar-winning role).

Things get significantly more complicated when Lisbeth Bard (Turner) turns up. We first see her early in the film when she's at court at the same time that Taylor is meeting his parole officer Verne (Henry O'Neill), and she takes note of the handsome stranger. Though the aforementioned officer refers to her and her friend (Diana Lewis) as 'sociology students', Turner projects a more mature and glamorous persona. And her look after seeing Taylor signals to us she has more than studies on her mind. She questions Verne about Johnny, and her comment "he looks to have more ambition than just driving a cab" makes us wonder if the criminal in him is enticing to her. In fact, the more she hears about his past, the more interested she looks. In this first scene, she seems like a good candidate for femme fatale, the concept that is neatly summed up by Foster Hirsch in Film Noir: The Dark Side of the Screen: these women are "malevolent temptresses, their power confined almost entirely to a sexual realm, their strength achieved only at the expense of men."

Lisbeth Bard contemplating Johnny's criminal record

Lisbeth's pursuit of Johnny begins in earnest when she shows up to his 'home' along with his parole officer with 'field work' as her rationale. Their mutual attraction is evident...and the camera is also smitten.

Lisbeth and Johnny check each other out

Once Lisbeth Bard's young beau turns up at a party, we think she may be an innocent student after all, infatuated with Johnny's good looks and potentially dangerous persona. But then she mysteriously appears in the office of a restaurant manager whom Johnny starts to shake down before noticing her presence. She's unfazed, and begins to come on strong, dropping any pretense of naivete: "You don't want me talking about this (incident) to Mr. Verne--he might think you've been lying to him." She then moves in on him, strokes his suit jacket lapels, and with a hardened jaw says "Don't lie to me Mr. Eager--I have no intention of reporting you." When she gets in his car, she suggestively says to him, "No, I don't want you to take me home", and their first clinch follows. When eventually they do arrive at her home, Johnny is unpleasantly surprised to meet her stepfather - the D.A. John Benson Farrell (Arnold).

Lisbeth, the 'killer'

A short time later, Eager is attempting to make room in his life for Lisbeth--he promptly dismisses his girlfriend while openly defying the two-faced Farrell's threats and bribes to stay away from his daughter. But, lest we think that Lisbeth, in femme fatale fashion, will break Johnny's heart to her own ends, almost the exact opposite happens. Johnny sees an opportunity to use Lisbeth for profit. He sets up a staged scene (which isn't revealed as being staged until after it's complete) where he goads Lisbeth into shooting his underling Julio (Paul Stewart) after he appears to threaten Johnny's life. We later learn his goal is to blackmail Farrell into agreeing to permit his dog racing track. Horrified by believing she killed Julio, Lisbeth promptly retreats into a catatonic, pitiful state for several days. We understand now that she is a victim like most other humans Johnny's life touches.

For the time being, Johnny goes back to his usual mob boss shenanigans, getting what he wants from Farrell and outsmarting most everyone else he meets. After a few days he's convinced to visit the distraught Lisbeth, only after prompting by her ex-beau, and shows some compassion at her condition. When she proves herself willing to sacrifice her freedom for him, he professes his love for her and admits he framed her. His subsequent unselfish and risky decisions then lead to his demise, and the picture ends with him dying in the street in the arms of his friend Hartnett.

Johnny's final confrontation looks as noir as they come

Lisbeth breaks down as Johnny confesses his love

So, if Lisbeth is not a femme fatale, what is she, really? Lana Turner is too glamorous to convince us she is a naive student. (Ironically, when this film was released, the 'femme fatale' wasn't yet a thing, at least in the noir genre, since it was so new. Audiences would not have come into the film with the same expectations as modern audiences looking back.) We wonder what her history with other men has been, despite the desire of her father. It may be her father is over-protective, influencing her to follow danger, take great risks even and get herself in over her head. Turner is perfect at letting slip that vulnerability that just might be part of her irresistibility to Johnny. Her breakdown near the end is truly heartbreaking.

When Lisbeth proves to be as self-sacrificing as Johnny is selfish, promising to turn herself into the police only after Johnny's no longer in danger as an accessory, she breaks the wall of ice around Johnny's heart. When she redeems him, his doing the right thing causes his death - so, literally, she is as dangerous to him had she been a nefarious character. If Lisbeth's not a true femme fatale, for Johnny, the end result is the same.

Sources consulted:
Lana: the Lady, the Legend, the Truth, by Lana Turner, E.P. Dutton, Inc, 1982.
Mervyn LeRoy: Take One, by Mervyn LeRoy and Dick Kleiner, Hawthorn Books, Inc, 1974
Lana: The Memories, the Myths, the Movies, by Cheryl Crane (Turner's daughter) with Cindy De La Hoz, Running Press, 2008.
The Dark Side of the Screen: Film Noir, by Foster Hirsch, A.S. Barnes & Company, Inc., 1981.

August Classic Film Screenings in Greater Boston

While my cinema highlight of the month will no doubt be the very special film festival of rare silents and early talkies in Rome, NY, (check out the Capitolfest website HERE), there will be again an abundance of big screen offerings locally.  I hope to take in a few.  Anyone want to join me?

Harvard Film Archive (HFA)
Great news!  Rouben Mamoulian - Reconsidered opens this month.  The HFA promises 'beautiful prints and recent preservations' to be focus of this complete retrospective of the talented studio-era director. Mamoulian worked with the best of the best, and excelled in many genres, although only directed a total of 16 films starting in the early 1930s.  His career included the stage as well, and he brought a theatrical sensibility combined with a love of and talent for technological innovations to his films.

Rouben Mamoulian

Fri Aug 12 7 PM APPLAUSE (1929)  Mamoulian's first film, an early sound musical featuring a back-stage drama.

Fri Aug 19 7 PM DR. JEKYLL AND MR. HYDE (1931) This lauded film version of the classic horror film features Fredric March stunning in the lead roles, and Miriam Hopkins in a vulnerable role, with juicy elements of the 'pre-code' era.

Fri Aug 19 9 PM SUMMER HOLIDAY (1948) A 'sunny musical' starring Mickey Rooney, based on a play by Eugene O'Neill ('Ah, Wilderness!')

Sat Aug 20 7 PM LOVE ME TONIGHT (1932) Film version of the Rodgers & Hart musical, starring musical pros Jeanette MacDonald & Maurice Chevalier, with young pre-superstar Myrna Loy in a supporting role.

Sat Aug 20 9 PM THE GAY DESPERADO (1936).  This one sounds interesting a 'musical-gangster-comedy' set in Mexico. Starring Ida Lupino, Nino Martini & Leo Carrillo.

Sun Aug 21 5 PM BECKY SHARP (1935).  Film version of Thackeray's 'Vanity Fair', starring Miriam Hopkins in the lead role.  Said to be the first feature film using three-color Technicolor process.

Sun Aug 21 7 PM RINGS ON HER FINGERS (1942).  Great cast here: Henry Fonda, Gene Tierney, and terrific character actor Laird Cregar.  It's Mamoulian's only screwball comedy.

Fri Aug 26 7 PM GOLDEN BOY (1939).  Those interested in seeing William Holden's first starring role will not be disappointed with this melodramatic tale of a boxer, based on a play by Clifford Odets.

Fri Aug 26 9 PM CITY STREETS (1931).  Gary Cooper & Sylvia Sidney star in this gangster drama.  I'll have had a heavy dose of Cooper at Capitolfest, so I may just need this fix a week later.

Gary Cooper & Sylvia Sidney
CITY STREETS (photo from HFA)

Sat Aug 27 7 PM QUEEN CHRISTINA (1933).  Greta Garbo stars with former lover and silent star John Gilbert in this romantic period piece.

Sat Aug 27 9 PM WE LIVE AGAIN (1934). Another romantic period piece, this time in Russia, with Anna Sten & Fredric March.



Sun Aug 28 4:30 PM SILK STOCKINGS (1957).  Mamoulian's last film and Fred Astaire's last dance film, also starring Cyd Charisse.

Sun Aug 28 7 PM THE MARK OF ZORRO (1940).  With Tyrone Power.  What else needs to be said?

Ty Power as Zorro. (photo from HFA)

Mon Aug 29 7 PM  HIGH, WIDE AND HANDSOME (1937).  Randolph Scott, Irene Dunne and Dorothy Lamour star in this musical dose of Americana, seen as a follow up to SHOWBOAT.






The Robert Aldrich retrospective continues as well in August, and here are what remain in the program:

Aug 18, 7 PM  KISS ME DEADLY (1955) closes the retrospective.  It also opened it, on June 3.  I attended that one; well worth watching this classic later noir on the big screen.

Fri Aug 5 9:30 PM:  THE ANGRY HILLS (1959) with Robert Mitchum.

Sun Aug 7 4 PM: THE FRISCO KID (1979) with Gene Wilder & Harrison Ford.

Sun Aug 7 7 PM: EMPEROR OF THE NORTH (1973) with Lee Marvin, Keith Carradine, & Ernest Borgnine.

Mon Aug 8 7 PM:  VERA CRUZ (1954) ahead of its time leaning toward a revisionist Western tone, with Gary Cooper & Burt Lancaster.

Sat Aug 13 7 PM:  WHATEVER HAPPENED TO BABY JANE, the classic schlocky thriller with Bette Davis & Joan Crawford.

Sat Aug 13 9:30 PM:  THE BIG KNIFE (1955) with Jack Palance & Ida Lupino.

Sun Aug 14 5 PM:  THE BIG NIGHT (1953).  This one was directed by Joseph Losey, but assisted by Aldrich.  Starring John Barrymore Jr., Preston Foster, & Joan Lorring.  The HFA site mentions it as an 'unsung gem', a modern-day Hamlet story, and includes Aldrich himself in a cameo.

Sun Aug 14 7 PM: HUSH ...HUSH SWEET CHARLOTTE (1964) a sort-of follow up to BABY JANE, this one pairing Olivia de Havilland with Bette Davis & Joseph Cotten.



The Coolidge Corner Theatre
On tap in their fun 'Big Screen Classics' we have THE GOOD, THE BAD & THE UGLY kicking off the month of August.  I need to see this, as one of the most iconic 'revisionist Westerns,' although the way my week is shaping up I doubt I will make it.  It's showing on TCM soon so I'll set my DVR.
Monday Aug 1, 7 PM:

Monday Aug 22, 7 PM:  Federico Fellini's 8 1/2 (1963)-- I'm super excited about this one, as I haven't yet seen it; "One of the greatest films ever made about film."  Starring the charismatic Marcello Mastroianni and Claudia Cardinale.

Museum of Fine Arts Boston

Jules Dassin (right) is in trouble in his heist film RIFIFI

The MFA has a nice theater open to the public, and features classics, foreign films and often hosts film festivals.  Next month they have scheduled several screenings of a new digital release of the French film noir classic  RIFIFI, by blacklisted Hollywood director and actor Jules Dassin, who has a minor role in the film.  It's a terrific one!  Sun Aug 7, 11:30 AM; Thurs Aug 11, 5:00 PM, Sat Aug 13 2:00 PM

How cool is Paul Newman in COOL HAND LUKE?

Somerville Theatre
The Somerville has a fun Thursday evening series in August called "Play it Cool", featuring some of the best of Steve McQueen, Paul Newman, and their partners in cool from the 1960s and 70s, in 35 mm prints. For a mere $10, you get two films. Almost like it was in the good old days!

Aug 4 starting at 7:30 PM it's Paul Newman night:  COOL HAND LUKE & CAT ON A HOT TIN ROOF (1958)

Aug 11, 7:30 PM: In GET CARTER (1971) & POINT BLANK (1967), we get Lee Marvin & Michael Caine.

Aug 18, 7:30 PM: OCEAN'S 11 (1960), with Rat Packers Frank Sinatra & Dean Martin, & THE THOMAS CROWN AFFAIR, with Steve McQueen & Faye Dunaway.

Brattle Theatre
Kudos to the Brattle for continuing their year-long celebration of Film Noir with the 6th part in the series focusing on FEMMES FATALE.  Double features presented both Mondays and Tuesdays as follows, with 'femmes fatale' highlighted:

DETOUR -- Tom Neal and Ann Savage.

Aug 1 & 2 Peggy Cummins GUN CRAZY (1950).  This movie is all kinds of crazy.  Also with John Dall.

Claire Trevor BORN TO KILL (1946) Also with Lawrence Tierney.

Aug 8 & 9
Lizabeth Scott DEAD RECKONING (1949) Also with Humphrey Bogart.

Lizabeth Scott TOO LATE FOR TEARS (1946) Also with Dan Duryea and Burt Lancaster.  This is a recent restoration by the Film Noir Foundation--an excellent one.

Aug 15 & 16
Barbara Stanwyck: DOUBLE INDEMNITY (1944).  Considered by many to be the top of the genre, in the very least, top of the early noir era.  Also with Fred MacMurray and Edward G. Robinson.
Ann Savage DETOUR A 'poverty row' noir that is held up as a good example of what innovative direction (Edgar Ulmer) and inspired acting can do with a low budget.  Also with Tom Neal.

Aug 22 & 23
Rita Hayworth GILDA Also with Glenn Ford.  See it for Rita Hayworth's luscious hair and her 'Put the Blame on Mame' musical number.
Rita Hayworth THE LADY FROM SHANGHAI Also with Orson Welles.  Welles directed his then-wife Rita in this superior noir.  Rita's hair here is controversially blond and short, compared with her long red locks in GILDA.

Aug 29 & 30
Gene Tierney LEAVE HER TO HEAVEN  Lovely Gene Tierney isn't such a lovely person in this noir melodrama.
Rosamund Pike GONE GIRL  This neo-noir was a big hit in 2014.  Also with Ben Affleck and Neil Patrick Harris.

Classic Film Screenings in Greater Boston -- March 2016

In what I hope will be a regular feature of this blog, I'm highlighting the wealth of classic film big screen viewing opportunities in and around Boston, MA for the month of March.  If you are in the area, please support these live screenings.

Brattle Theatre
To celebrate the 75th anniversary of Film Noir, The Brattle has been presenting a comprehensive series over multiple months exploring this fascinating genre.  In March, they present "Prime Noir of the 1940s", some in double feature format.  There are a total of 14 films in this installment of the series, too many to list individually here, but check out their calendar.  Some old favorites like LAURA and THIS GUN FOR HIRE are being screened, along with lesser known noir such as CRACK-UP and ACT OF VIOLENCE. As they say, grab your trenchcoat and fedora and join in this celebration of mid-century celluloid gloom!

From THE RECKLESS MOMENT

Coolidge Corner Theater

From EASY STREET

Fans of the great silent comedians, rejoice! The Coolidge (Brookline) will present, on March 21st, the next installment of their splendid "Sounds of Silents" series, shorts by Chaplin (THE PAWNSHOP & EASY STREET), and Arbuckle + Keaton (CONEY ISLAND) with live accompaniment by Donald Sosin & Joanna Seaton.

Read more about this event and order tickets here.  As usual, members receive discounts.
Personal note: I LOVE this series and try not to miss a screening!

On March 28th the Coolidge will screen Hitchcock's fabulous STRANGERS ON A TRAIN as part of their "Big Screen Classics" series.  Check it out here.

Harvard Film Archive
The HFA has such diverse offerings, past and present, that I often wish I could just hang out there, all day and well into the night.

In their "Innocence Abroad" series, on March 6th they are screening THREE COINS IN THE FOUNTAIN (1954) set in Rome.

The HFA is also presenting a retrospective of early French/Polish director Jean Epstein, and is screening several silents with live accompaniment, and early talkies from now through early March.  Check out the entire series here.  Of note:

March 4: THE SONG OF THE POPLARS  (1931); THE SEA OF RAVENS (1930); SONG OF ARMOR (1934); THE BEAUTY FROM NIVERNAIS (1924).
March 5:  THE RED INN (1923); THE WOMAN FROM THE END OF THE WORLD (1937).

From THE RED INN

Somerville Theatre
The Somerville in Davis Square has an annual series of silent film called "Silents, Please."  There are no entries in March, but the theater has engaged the Alloy Orchestra to present, in cooperation with WorldMusic.org, the Russian silent documentary called MAN WITH A MOVIE CAMERA on March 26th.

Visit here to learn more about this event.

Classic Film Obsessions for 2015

I watched 178 movies that were new to me in 2015. I know this because I use icheckmovies.com to log what I've seen.  This site is linked to www.imdb.com so every movie or TV episode logged there will be 'checkable' on icheckmovies.com.  While there are some contemporary films among the 178 --I do try to get to see a few films in theaters--most were films made before 1960. This post highlights just a few of my new discoveries and obsessions over the past year.

Film Noir
When I care to admit my prodigious movie-watching to friends or family, I quickly follow up with "you know I took an online course in film noir this summer."  I feel I get a pass after this comment, because, after all, you have to watch lots of films if you're taking a course (!).  While I may not claim that I'm obsessed with film noir, I can say for a few months this summer, June-August, I was very nearly so, by necessity.  This course was run by Ball State University in a partnership with Turner Classic Movies (TCM), and I joined about 2000 other budding hardboiled dames and gents:
https://www.canvas.net/browse/bsu/tcm/courses/film-noir
 I'm proud to say I earned a 'certificate' for my troubles.

During this adventure I corrected some embarrassing outages in my list of watched classic films, including THE MALTESE FALCON, THE BIG SLEEP, and OUT OF THE PAST.  I also found I loved some lesser-known noir including 99 RIVER ST., DOA, TOO LATE FOR TEARS.

My adventures into film noir led me to one of my 2015 obsessions:

Alan Ladd

Handsome, magnetic Alan Ladd was a huge star in the 1940s and 1950s, and yet is rarely mentioned today in lists of the most popular stars of Old Hollywood. I could go into why that is, but all I'll say here is, that's a real shame.  His most famous noirs, which I watched for the course, were probably THIS GUN FOR HIRE, THE GLASS KEY, and THE BLUE DAHLIA.  All featured Ladd's classic noir 'tough but vulnerable' anti-hero.  Ladd is probably best known today (if at all) in the greater public consciousness as the titular SHANE in George Stevens' western classic.  However for this blog, I want to highlight another Ladd western that is definitely worth your time: BRANDED.  Made a couple years before SHANE, and while certainly not in the same league, it combines a taut story, exciting direction by Rudolph Mate (former cinematographer), a three-dimensional and exceptional performance by Ladd, and terrific support from Charles Bickford, Joseph Calleia, Mona Freeman, and Robert Keith.  The basic plot summary is Ladd, as Choya the gunfighter, is talked into posing as the long lost son of a rancher to gain himself and his partner a great fortune.  However, after a while he begins to regret what he's doing and has the opportunity to make everything right.   Below are some screenshots (minor spoilers alert):

Opening title

Ladd prepares to shoot his way out of a hostage situation. He explains his guns are his only friends

Ladd reluctantly submits himself to getting the telltale tattoo that will create his new identity.

Sparks fly early with Ladd's new found "sister" (lovely Mona Freeman)

After a staged confrontation, Charles Bickford discovers the tattoo identifying the new ranch hand as his long lost son. (A shirtless Ladd scene is a requirement for most of his films.  Eh, who's complaining?).

A bit of remorse showing as Ladd completes the deception.

Lovely family 'discovery' scene.

Ladd's evil partner (wonderful Robert Keith) and Mexican step dad (Joseph Calleia)

Trouble on the border

Final confrontation and resolution scene.

Douglas Fairbanks, Jr.

I was introduced to the famous son of the silent film superstar earlier this year in one of his most famous, and terrific roles as the swashbuckling villain of THE PRISONER OF ZENDA (1937).  I was instantly smitten, and was thrilled to learn that he had his own day of movies in TCM's Summer Under the Stars this past August.  One of the absolute gems of this day was the pre-code UNION DEPOT, co-starring comedienne Joan Blondell, here in a dramatic role.  Doug gets to play a hobo masquerading as a gentleman during one fateful day at the station, where he gets into major trouble with a counterfeiter, and saves Joan from a nasty stalker while assuring she makes her train to her future, after, of course, trying to pay for her services.  It's a wonderfully choreographed film, taut at only 67 minutes-- the timing of the actions within each scene are perfect, and must happen in such a way to propel the action forward. Additionally there are little touches with minor, unnamed characters that are brilliant in creating the atmosphere of the time at the station, and adding some comic relief to the proceedings. Fairbanks is utterly convincing as the vagrant turned hero, demonstrating quite a range of emotions.  There is also a generous helping of pre-code spiciness to keep things interesting and real at the same time.  This film is on DVD and I had to add it to my collection.  MUST see! Warning -- some spoilers below.

Part of the stellar opening sequence, an extended crane shot of the inside of the station.

Friends on the lam plot their next move at the station. Fairbanks with the wonderful Guy Kibbee.

With a 'borrowed' outfit, Doug decides he likes his new rakish look.  

Doug and Joan's early tense meeting, neither sure what the other is offering.

In trouble.

Look at that face!!  Saying a wistful goodbye to Joan.

Back where he started.

George Sanders

Finally, I spent many hours watching films with the suave British Sanders.  Of the same generation as Ladd and Fairbanks, if a few years older, Sanders had a long career mostly playing debonair cads, but ones that can't be resisted.  His deep resonant voice was a huge asset for this talented actor, and I've read a number of comments on social media from those willing to listen to him read the phone book for an evening's entertainment.  I would count myself among them,  His most famous role is probably in the fabulous ALL ABOUT EVE, but I'm highlighting a lesser known film where he gets to play a good guy; mind you, a somewhat rakish and self-satisfied good guy, but heroic just the same.  The film is FOREIGN CORRESPONDENT, an Alfred Hitchcock film from 1940.  Playing a supporting character curiously named Scott ffolliott, Sanders steals most of his scenes from the other actors (Herbert Marshall excepted) with his breezy line delivery and body language.  He could also be straight and serious as shown below.

We're introduced to Sanders as the driver of the getaway car with stars Laraine Day and Joel McCrea.

A typical Sanders pose.

Sanders and fellow British actor Herbert Marshall (my obsession with him will need its own post) have a terrific, tense confrontation scene that is Hitchcock at his best.  Two of the absolute best voices  of  20th century cinema enhance their duel of wits.

Sanders in a rare moment for him -- complete straight horror as he watches a brutal scene at gunpoint.

Sanders at the center of this brilliantly composed scene toward the end of the film.  Tension is building.

That's it for my first installment -- whew!  This highlights only 3 out of 178 films new to me in 2015, but hopefully gives a sense of the diversity of entertainment that made my year what it was.  Thanks for reading and stop back!