Joan VS Jack Death Match in Nifty Noir “Sudden Fear” 1952

Jack Palance lights Joan Crawford's fire in 1952's "woman in jeopardy" film noir,
 "Sudden Fear."

I watched Sudden Fear starring Joan Crawford for the first time in years, with renewed interest. The film has grown in reputation in recent decades, what with several high profile film critics championing the film noir flick as a classic. 

Sudden Fear was the first film Crawford made as an independent after leaving her second long term studio contract, this time with Warner Brothers. Like the post-MGM Mildred Pierce, Sudden Fear gave Crawford’s career a shot in the arm. Fear was not in the same league as her biggest comeback with Mildred, but was enough to keep her career going in its 4th decade, especially in 1950s Hollywood, when the studio system was swiftly beginning to wane.

Joan Crawford gets to be glam and serious in the 1952 suspense noir, "Sudden Fear."

What I remembered as a solid star vehicle, is currently called one of Crawford's finest films. Well, I still think Sudden Fear is a solid star vehicle, not a classic, yet admirable in its own right. The nifty noir is not Mildred Pierce, Humoresque, or Possessed by any means, but closer to Crawford's slick star vehicles like Flamingo Road and The Damned Don't Cry. And Sudden Fear is certainly more substantial than camp classics that followed, such as Queen Bee and Female on the Beach. 

Though "Sudden Fear" was filmed on a moderate budget,
these essentials were provided for Miss Crawford's wealthy character.

An expert collection of artists were rounded up for Sudden Fear, a “woman in jeopardy” thriller: director David Miller, skilled with star actors; screenwriter Lenore Coffee, who had worked at Metro with Joan; Sheila O'Brien, Joan's favored designer, for the costumes; cinematographer Charles Lang; and composer Elmer Bernstein for the ominous, booming score. Newcomer Jack Palance was cast as the younger husband, and noir queen Gloria Grahame as the other woman. Bruce Bennett, who had played Mildred Pierce’s first husband Bert, was a good luck charm, as the family lawyer, and Flamingo Road co-star Virginia Huston played Joan’s secretary.

Joan Crawford with Bruce Bennett, Virginia Huston, and Jack Palance in 1952's "Sudden Fear." Huston reminds me of Carole Lombard here.

Many veteran film divas have done a "woman in jeopardy" movie, so it's only fitting that superstar Joan starred in several of this genre. Throughout her film stardom, Crawford’s movies often cast her as adversarial characters toward her leading men, which intensified at WB. And with Sudden Fear, the adversarial became antagonistic, with Joan often fighting for her film life.

While Joan often played working girls and women, which played off her well-known backstory, Crawford loved to play "great ladies" on-screen and labored to be thought of as one off-screen. As Myra Hudson (no relation to Blanche or Jane!), she's an heiress who has found further wealth and prestige as a playwright. The heiress/playwright is so loaded that she plans on leaving her inherited wealth to charity. 

Joan Crawford's heiress/playwright revises her will in hubby's favor, with her
 recorder. And will soon hear back a message from him! 1952's "Sudden Fear."

Crawford is great fun to watch as the playwright planning her life and dictating missives to her recorder in the most dignified of tones, as if she’s giving a sermon. Yet, there's a genuine warmth to her character as the lonely career woman who lets love come later into her life. Just a few years later, Joan herself would find the same, after being single a decade, when she married Pepsi’s Alfred Steele.

Joan Crawford as Myra Hudson, heiress and playwright, in 1952's "Sudden Fear."

When Crawford's Myra has to let the leading contender go from her latest play, the actor leaves in an angry huff. But a "chance" meeting on a train trip from NYC's Broadway back to California's San Fran, they meet again and fall in love. Myra is in seventh heaven, but Jack Palance as Lester Blaine is steadily revealed to be the schemer from hell. 

Stranger on a train, indeed! Jack Palance as Lester Blaine, in 1952's "Sudden Fear."

While Crawford gets to emote up a storm as Myra Hudson, David Miller was an adept studio/star director. He lets Joan give a diva performance without going totally over the top in this taut thriller. Crawford's expressions of loneliness as well as happiness as the betrayed bride are most believable. Joan’s solo scenes in Myra’s study and hiding out in Irene's apartment in climatic scenes are played big, but not to the total point of ridiculousness. Joan uses all her accumulated acting skills and tricks to put this character and story across and got a well-deserved Oscar nomination. Only a few times are there camp moments: Myra's imagining the different ways hubby Lester could kill her while bug-eyed with fear or Joan hiding in terror at Irene's before the finale, sweating like she’s in a sauna, instead of closet. 

Joan Crawford strikes one of her go-to movie poses in 1952's "Sudden Fear."

What I found interesting is that Myra's career as a playwright is a stellar success, but has no romantic life. She is great at creating characters, but not a great judge of character, and is fooled by this actor—and a “charm boy,” at that! Also interesting is that Lester Blaine's shady past is not spelled out. What really did happen at that house on Fire Island, for instance? Lester is a hot head, yet amazingly keeps his cool as he jumps through hoops in Myra's world.

Once the facade is dropped and Myra finds her life in jeopardy, Sudden Fear goes into overdrive as the newlyweds plot to kill each other. How fascinating that the genteel playwright's gut reaction is to fight back with her own plan of murder. Yes, she drops and shatters the recording of Lester's murderous intentions. But I think the authorities would easily believe old money Myra over no-name actor Lester. Hey, film noirs aren't renowned for their believable plotting. So, game on!

Who's zoomin' who? Myra and Lester let the death match begin in "Sudden Fear."

I won't give away the endless twists except to say that when it comes to the finale, Lester and Myra make such a racket in their death match that it's amazing the entire neighborhood isn't awakened by their Tom and Jerry-style chase!

How intriguing that a number of the plot twists hinge on accessories of the day that are now a thing of the past: monogrammed kerchiefs, stationary, and head scarves. In this film noir, everyone smokes like chimneys, have guns tucked in their furs and overcoats, and notes hidden in gloves!

There are also some nods to living legend Crawford's way of life: her overly coordinated wardrobe, ankle strap shoes, and even an extremely organized list of a revenge timeline against her hubby and his girlfriend.

Like Joan Crawford herself, Myra Hudson is very organized, right down to her murder timeline, in 1952's "Sudden Fear."

Jack Palance got his big break with Sudden Fear. As the beginning actor who becomes the husband to older, wealthy playwright, Palance goes from charming suitor to doting husband to brutish opportunist skillfully. Palance is intense, made even more so with his severe facial features. Jack got a Best Supporting Actor nomination, though he was actually the film’s leading man.

Jack Palance, with his intensity and severe looks, was perfect as the villain husband,
in 1952's "Sudden Fear."

As with Myra, Lester Blaine has a dualistic personality. The one he shows to Joan's Myra is sensitive and cultured as the struggling young actor. Quoting Shakespeare, reading to her, and solicitous to her needs, plus letting her monogram everything he owns! Then when scheming with Gloria's Irene, Lester's animalistic, even when he is showing affection.

Irene Neves, Lester’s partner in crime, is played by Gloria Grahame. It just happens that Irene has also changed coasts, from New York City to San Francisco. And with no visible means of support, Irene has started dating a friend of Myra’s family, "Junior," played by a young Mike Connors, here billed as “Touch.”

Gloria Grahame as the vixen of "Sudden Fear" has some of the best lines! Here she is with a very young Mike Connors as her suitor.

Gloria's performance as the sexy, poisonous little Kewpie doll is delicious. Gloria’s a bit of droll comic relief from the glowering intensity of Crawford and Palance. Grahame won a supporting Oscar that year, not for Sudden Fear, but for The Bad and the Beautiful.

The ex-couple re-team for a more drastic plan. Unfortunately, one of their debriefings takes place in Myra's study, which has a state of the art recording system that was left on. The revelation in Myra's library is skillfully done, as is the murder as it's supposed to happen, as opposed to how it really goes down. It's all a bit far-fetched for my taste, but is still great fun to watch. The final scene has Joan walking off into the wee hours alone, as was often the case!

A striking moment by Joan Crawford in 1952's "Sudden Fear," when Myra Hudson sees what she has become. 

A look at Joan Crawford sparring with Jeff Chandler, Female on the Beach:

https://ricksrealreel.blogspot.com/2023/01/love-is-beach-for-lana-joan.html

One of the many absurdities of FX's "Feud: Bette and Joan" was 70ish
Jessica Lange recreating snippets of Crawford's greatest hits.
For "Sudden Fear," Jessica looks more like Kaitlyn Jenner than Joan!

'Shane' Still a Stunner 1953

'Shane' and 'High Noon' were Hollywood's first modern westerns.

I never watched 1953’s Shane all these years because I thought it was just a typical Hollywood western. Well, George Stevens’ Shane is “just a western” about as much as his A Place in the Sun is just a romance or Giant is just another epic. Director Stevens gave depth to movie genres in his honest look at the American way of life.

I just saw Shane for the first time during a snowy spring break in Upper Michigan. My Mom couldn’t believe I’d never seen one of movie’s most famous westerns, so we watched Shane together. I was knocked out the imaginative storytelling, memorable scenes, stellar cast, authentic location shooting, and the realistic attitude about how the west was really won.

Joey: Why don't you ever wear your six-shooter, Shane?

Shane: Well, I guess I don't see as many bad men as you do.

Alan Ladd in his signature role as the reluctant gunslinger, Shane.

The simple story, but with complex storytelling, was inspired by the infamous Johnson County War in 1892, when rich ranchers tried to run off homesteaders with the help of guns for hire. Adapted from Jack Schaefer’s popular novel, Shane is a gunfighter trying to escape his past. He comes upon the Starretts, a farming family who could use a hired hand. Not only are there chores to be done, a domineering cattle rancher named Rufus Ryker wants the Starretts and other homesteaders out of his way. Joe Starrett staunchly believes that he and his fellow farmers have a right to their claims. Starrett soon admires the strong, silent Shane, as does his wife Marian, and son Joey. Shane goes out of his way not to be goaded into fighting, but as the Ryker clan escalates their efforts to drive out the farmers, this inevitably leads to the climatic gunfight.

The Starret family live up to their name, while Shane strikes a pose.

Joe Starrett: Who is Ruf Ryker or anyone else to run us away from our own homes? He only wants to grow his beef and what we want to grow up is families, to grow 'em good and grow 'em, grow 'em up strong, the way they was meant to be grown. God didn't make all this country just for one man like Ryker.

Methodical director George Stevens with his reams of film footage.

The myth that a financially fragile Paramount Pictures nearly shelved director Stevens’ Shane is absurd. Even George Stevens, Jr. has repeated this anecdote, but then, Hollywood loves these ironic anecdotes. According to Ultimate Movie Rankings, Paramount Pictures had 8 of the top 20 grossing movies of 1952, what with their comic goldmines Martin and Lewis, and the still popular Hope and Crosby. Not to mention Paramount had the #1 blockbuster of ’52, The Greatest Show on Earth. Here are Paramount’s top 20 domestic box office figures for ‘52: The Greatest Show on Earth, 32.9 million; Sailors Beware, 11.9; Jumping Jacks, 11.1; The Stooge, 9.7; Come Back Little Sheba, 9.7; Son of Paleface, 9.4; Road to Bali, 8.3; and Just for You, 8.3. Adjusted for today's dollars, this would total well over a billion dollars in grosses, not including foreign grosses. 

While Shane was shooting in the fall of ‘51, the same studio released Stevens' A Place in the Sun, a critical and commercial smash. While he was up to his elbows in pruning the fruits of his four month Shane shoot in early 1952, George Stevens won his first best director Oscar for Sun. It's highly unlikely that Paramount would then shelve their golden boy's latest movie. Stevens was famous for his long filming schedules, with footage shot from every conceivable angle, which would then take him anywhere from one to two years to edit. George Stevens Junior once said that his father’s movies were really made in the editing room.

Another hold up was when Paramount decided that Shane would be their first widescreen film, though it was filmed in the standard smaller screen ratio. Then they decided to add Stereophonic sound to complement the big screen ratio. There was no way they were going to sit on or dump Shane. “Did you know Shane was shelved at first?” makes a good Hollywood story. Just as how The Wizard of Oz and It’s a Wonderful Life were supposedly flops when first released, these stories take on a life of their own.

Alan Ladd's Shane has had just about enough of bad guy Ben Johnson!

Ed Howells: This Wilson, would you know him, Shane? If you saw him?

Shane: Maybe. If it is Wilson, he's fast on the draw, so be careful.

Howells: You seem to know a lot about this kind of business, Shane. I don't want no part of gunslinging. Murder's a better name.

Shane manages to be naturalistic and mythic at the same time—and this fits the talents of Alan Ladd perfectly. I had never seen any Ladd films prior, except for his last film, The Carpetbaggers. As world weary cowboy star Nevada Smith, Alan Ladd was the best thing about the shallow Hollywood soap opera. 

As Shane, Alan Ladd is low-key but strong, never overacting or falling back on mannerisms. The Paramount star, in his last film under contract, is totally natural and magnetic. Alan Ladd also possessed a wonderfully resonant speaking voice, like other iconic actors of the time: Gregory Peck, William Holden, Rock Hudson, etc.

Alan Ladd was a contemporary of Tyrone Power, they were a year apart. While 20^th Century Fox treated Ty like a prince in comparison to Paramount and Ladd, Power also felt insecure that he was regarded as just a pretty face. While neither were Laurence Olivier, I think both Ladd and Power were underrated by critics of the era. With Shane, you see what Ladd could do, with great material and director.

Shane: Yeah, you've lived too long. Your kind of days are over.

Ryker: My days! What about yours, gunfighter?

Shane: The difference is I know it.

Shane, the gunslinger who tried to go straight.

Much has been made of the fact that Alan Ladd was short, especially opposite tall leading ladies or villains. Well, you know what? A lot of actors were short back then—and still are today! Back in Alan Ladd's era, three of the shortest male stars had larger than life personas at Warner Brothers: Bogart, Cagney and Edward G. Robinson. The difference was these guys were not your typical movie stars, yet comfortable in their own skins. Later, Dustin Hoffman and Al Pacino continued that tradition. Short action heroes Cruise and Stallone came later. When Robert Redford broke through in the ‘70s, his height was actually the basis of a magazine article! And Patrick Swayze, who plays sort of a bouncer version of Shane in Roadhouse, takes a lot of wisecracks for his short, slim appearance from the small town’s bad guys.

Ladd was 5'5", as if that made him less masculine. My Dad was also 5’5”—and he was not to be messed with. When I was in 7^th grade, an older boy walked up to me one lunch hour. He asked if Dick Gould was my old man. I nodded yes.

The clean-cut kid smirked and said, “I’ve seen him around. He’s just a sawed-off cowboy, isn’t he?”

My dad and his equally short brothers’ reputations were pretty well-known in my hometown, so I boldly replied, “The next time you see him, why don’t you tell him that?”

The boy stared at me a moment, then walked away!

I guess that generalization makes Ladd a sawed-off cowboy, too. Yet, with his almost animal-like stare and stillness, Ladd’s totally believable as a bad ass in Shane.

Alan Ladd may have been slight in build, but still every inch the star!

Joe Starrett (to rancher Ryker): I'm not belittlin' what you and the others did. At the same time, you didn't find this country. There were trappers here and Indian traders long before you showed up and they tamed this country more than you did.

Ryker: They weren't ranchers.

Joe: You talk about rights. You think you've got the right to say that nobody else has got any. Well, that ain't the way the government looks at it.

Van Heflin, the perfect everyman, as the simple farmer who stands up to the cattlemen.

Van Heflin, that great star character actor, is likeable and believable as the decent farmer family man. Heflin’s Starrett is ahead of his time as a movie male who is secure with his wife’s crush on the hero. Jean Arthur was one of director Stevens favorite actresses, so he chose her as the farmer’s wife, Marion. Arthur is one of film's all-time delightful comediennes, who could also play drama. However, Arthur’s uniquely squeaky voice, especially during the film’s climatic moments, undercuts her credibility in trying to stop the impending violence. Also, Arthur at 50 and Heflin, 43, are bit long in the tooth as a pioneer couple with a small boy, and celebrating their 10^th wedding anniversary. As their son, Joey, movie fans seem to either love or loathe Brandon De Wilde’s performance. I found De Wilde better than most child actors of the era, though I think his Joey is used to telegraph the film’s underlying story a bit too much.

Jean Arthur, as the farmer's wife, Marion, who hates violence and loves Shane.

Marion: Guns aren't going to be my boy's life.

Shane: A gun is a tool, Marion. No better and no worse than any other tool—an axe, a shovel, or anything. A gun is as good or as bad as the man using it. Remember that.

Marion: We'd all be much better off if there wasn't a single gun left in this valley—including yours.

Jack Palance, the man whose mug launched a 1,000 nightmares, as Wilson, the gunslinger with an evil grin.

Shane has a stellar supporting cast. Jack Palance has a small but vivid role as the ranchers' smiling gunslinger, Jack Wilson. A young Ben Johnson is intense as Chris Calloway, one of Ryker’s ranch hands. This is a rare bad guy role for Johnson—though Chris redeems himself near the film’s climax. Also, did you know that Johnson was originally a rodeo cowboy and stunt man? Emile Meyer is memorable as the firebrand ranch baron, fierce and pathetic at the same time. Elisha Cook, Jr. was born to play Stonewall, the spooked would-be tough guy.

Shane happens to feature some of TV’s future classic familiar faces, like Ellen Corby (Grandma Walton!), Nancy Kulp (Jane Hathaway!), and Edgar Buchanan (Uncle Joe!).

Alan Ladd and Van Heflin as the gunfighter and the homesteader in 'Shane.'

The extensive location shooting in Jackson Hole, Wyoming is superb, with the Grand Tetons prominent in the background. Cinematographer Loyal Griggs couldn’t have been thrilled to see his work shaved from the top and bottom to appear widescreen. Perhaps the Oscar he won for Shane helped ease the pain. Today, revivals and DVDs of Shane are rightfully shown in its original ratio.

Director Stevens didn’t want the typical backlot/soundstage western look for Shane. Stevens had the characters’ homes and makeshift town constructed on location and the characters looked more sweaty than spiffy. That same realistic attitude is true with the film’s attitude toward bar brawls and gun violence. People are left with bruises after fights and lost lives leave bereaved family members bereft.

Shane: I gotta be goin' on.

Joey: Why, Shane?

Shane: A man has to be what he is, Joey. You can't break the mold. I tried it and it didn't work for me.

Joey: We want you, Shane.

Shane: Joey, there's no living with, with a killing. There's no going back from it. Right or wrong, it's a brand, a brand that sticks. There's no going back. Now you run on home to your mother and tell her, tell her everything's alright, and there aren't any more guns in the valley.

Don't believe the bullshit stories that 'Shane' was shelved. This was director
George Stevens' follow-up to 'A Place in the Sun.' 

George Stevens, always a socially conscious movie maker, was changed by his time in WWII. Stevens’ film unit captured the landing at Normandy, the liberation of Paris, and freeing the Dachau concentration camp. Stevens didn’t come back to Hollywood, just looking for a hit to put him back on top. George Stevens made several war documentaries, some of which were used at the Nuremberg trials. And when he did return to commercial filmmaking, George Stevens was more interested in what was going on in the world than just recycling Hollywood clichés. Even when working in the western genre, Stevens’ big fight scene were punctuated by huge close ups and excruciatingly timed punches, so audiences felt beaten and weary by the fight, too. The gunfight scenes were one of the first in film to use wires to jerk the performers back, mimicking the impact of a gunshot. Stevens wanted to show the effects of violence as well as the dilemma over the use of force.

George Stevens was a masterful storyteller, using powerful imagery and truth in his films. I knew of Shane’s famous ending, but I was overwhelmed when I watched for the first time. The finale is truly memorable, and Shane is still a classic.

Shane says his goodbyes to Little Joey.

Joey: Shane, you’re hurt!

Shane: I'm alright, Joey. You go home to your mother and your father. And grow up to be strong and straight. And Joey, take care of them, both of them.

Joey: Yes, Shane. [Tears well up in Joey's eyes] He'd never have been able to shoot you - if you'd have seen him.

Shane: Bye, little Joe.

Joey: He never even would have cleared the holster, would he, Shane? [calls after him] Pa's got things for you to do, and Mother wants you. I know she does. Shane! Shane! Come back!

Shane! Shane! Come back! Better have a few tissues handy!