One Girl's Confession (1953) and Joran van der Sloot

image from Film Noir Photos

I've been working my way through the various films in the Bad Girls of Noir collections (Vol. 1 and Vol 
2) when I came across this little gem: One Girl's Confession (1953).  This film is pretty unusual for a noir in one respect: the story focuses on a female protagonist. If you look at the history of major film noirs, Out of the Past (1947),  The Killing (1956),  Double Indemnity (1944), The Asphalt Jungle (1950), etc. they all have female characters who play significant roles in the story, but everything revolves around the male lead. So to watch a film noir about a woman was very refreshing.

One Girl's Confession is a story about Mary Adams (Cleo Moore), a hardworking girl who seems down on her luck even though her outrageously good looks seem to hypnotize men. She works at a restaurant owned by the same sleazy scumbag that ruined her own father financially years ago. When she sees the scumbag hoarding money, she decides to take revenge and steals the dough and hides it. Fully knowing the extent of what she's done, she happily confesses and is willing to serve out a jail sentence. The only hitch is that she won't reveal where the cash is stashed. It's waiting for her once she gets out of the clink. However, when Mary is put on probation and is released earlier than she thought, the life she was plotting out for herself doesn't quite work out the way she planned.

After I watched the film, I headed off to the gym to work off some tension and get some cardio. While on the elliptical, I caught a glimpse of the king of major sleazy scumbags, Joran van der Sloot on one of the gym's televisions. My ire towards that poor excuse for a human being helped me burn off some extra calories. Now you may be asking, so what does that have to do with One Girl's Confession?

Here is the asshole in question.

Joran van der Sloot has been tied to missing American teenager Natalie Holloway since she disappeared in Aruba on May 30th, 2005. On May 30th, 2010, exactly five years later, he's now tied to the murder of Stephany Flores Ramirez, who was found dead in Sloot's hotel room in Peru. This piece of s**t who is pretending to be a man was tried several times for the Holloway murder but couldn't be convicted. Even though undercover agent Patrick van der Eem got van der Sloot to reveal that he dumped Holloway's body into the ocean, Sloot still got away with his crime.  So off he went to the Netherlands to get high and traffic prostitutes. The story of Joran van der Scumbag is a long and complicated one that I won't go into here but at least you get the jist.

Now let's compare van der Sloot with Mary Adams:

Mary Adams - Committed a crime (theft), confessed and gave herself in, served her sentence, at several times was willing to give away the fruits of her crime ($$$) to help others, faced hardship but learned her lesson.

Joran van der Sloot - Committed a crime (murder), kept quiet about certain details and got help from his daddy, never served a sentence, tried to extort money, never learned his lesson and killed again.

I came away from One Girl's Confession with a good feeling inside. I came away from all the news coverage of Joran van der Sloot with incredible anger. Mary Adams is poor trying to make ends meet, van der Sloot comes from privilege. Mary tries to be kind while Sloot thinks other people are beneath him. 

I was so affected by these two stories that I just had to write this post. It's so interesting how both of these stories, of two polar opposite characters (one fictional and one unfortunately real), intersected. It just goes to show how easy it is to relate classic films to every day life.

The Glass Wall (1953)

The construction of United Nations Secretariat building in New York City, New York was completed in 1952. Although it is in New York and activities that happen on the premise are under state and local jurisdiction, the land on which this building stands is considered international territory. The edifice stands at 505 feet tall and has almost 40 stories. It was designed by architects Le Corbusier and Oscar Niemeyer who created a modern building that stood out from the classic architecture that surrounded it. What is unique about the Secretariat building is that it looks like a giant glass wall. You can see the reflection of the city's skyline in the continuous rows of windows. It represents the uniting of nations to create a more cohesive world yet the building seems less like a beacon and more like a giant impediment. On the other side of the building is the East River which flows into the Atlantic. In some ways, the building looks like a wall blocking the US from the world and the world from the US. And the building, it's significance, it's placement and it's appearance proved to be perfect fodder for film noir.

The UN Secretariat building features prominent in The Glass Wall (1953) making the title of the film very apropos.  Peter Kaban (Vittorio Gassman) has reached a glass wall. He can see through the wall to the other side, where there lies hope for a new life and for freedom. But the wall is an illusion and he can't get through. He tries to shatter the glass wall but doing so comes with major repercussions.

After spending nearly 10 years in concentration camps and watching his entire family die in a gas chamber, Peter escapes Aushwitz and walked 300 miles to get on a shipping vessel headed towards America. He gets on the ship as a stowaway and when he gets there, he is denied entrance because of his illegal entry. He tries to reason with the goverment officials using Statute Six which allows people of Allied forces who have helped the American cause to enter America. Peter helped an American soldier named Tom but only knows very rudimentary information about his American friend and cannot convince the officials. Determined not to go back to Europe, as it would be a death sentence for him, he escapes the docked vessel and goes on the lam, looking for his friend Tom. Tom is his one chance at staying in America and for his salvation but like any good film, finding Tom isn’t easy, even when Tom starts looking for Peter.

Peter has a naivete and a wholesomeness that makes us sympathize with him. He's been through so much and it pains us to watch him go through more pain and anguish. There is an amazing scene where Peter walks around Times Square and looks around in wonderment and awe at all the flashing lights, people and general hussle and bussle. He is the film noir equivalent of a lost puppy and we are desperate to save him.

Peter becomes a psuedo-celebrity. His face is plastered on the front page of the newspaper and many people in the city recognize him because of that. He runs and runs even past the point when he doesn't have to run anymore and running would do him more harm than good. We watch Peter’s slow descent into delirium as his body starts to lose it's battle against the broken ribs that threaten to puncture his surrounding organs. His physical deterioration adds to the ascent to the story's climax. When Peter reaches The Glass Wall, he sees the reflection of the building through a puddle. It's the last beacon. It's his final destination. It's his biggest obstacle that he must face. Can he make it? Can he push himself just a bit more? Can he take himself to the brink of death in order to save his life?

I would be remiss if I didn’t talk a bit about the film’s biggest shining star, Gloria Grahame. She has a formidable role of Peter’s love interest and friend, Maggie. Maggie is disillusioned by the same system which has also rejected Peter. She's used to men wanting her body and forcing themselves on her. She's fed up with not having money. She has nothing to fight for until she meets Kaban and she'll rob small children to help him out. Maggie is as desperate as Peter and in this way they complement each other. Grahame always excelled in roles in which the character’s were jaded and fed up. She emoted frustration very well especially with her characteristic frown and pout.

This film comes at a time when Americans are still reeling after the effects of WWII and of the horror that has come to light about the Holocaust and concentration camps. A massive influx of WWII refugees infiltrated the United States, many coming through Ellis Island which is also featured in the film. Many of these immigrants were know settling into their new lives in the US and trying to become part of the local fabric. Many abandoned their pasts for their futures while others never forgot where they came from. When Peter (a Hungarian) is on the lam, he runs into a sympathetic Hungarian-American who takes him in to her home. The sympathy they show for a complete stranger, and a well-known criminal at that, really demonstrates the bond between immigrants and the people from their homeland.

This is what I call an effective movie. It’s relevant to the times, it’s shot on location, the characters are interesting and sympathetic, the pacing works and the rising tension keeps you at the edge of your seat. There are some great shots of New York City and the inside of the UN Secretariat building. The pinnacle of the film is a superb monologue delivered by Vittorio Gassman (Peter) in an empty UN conference room. If that scene doesn’t move you, you have no soul.

The Glass Wall (1953) is highly underrated and overlooked. In my honest opinion, it has to be one of the best and effective film noirs out there. I’m very appreciative that it’s finally got it’s debut on DVD through the Bad Girls of Film Noir Vol 1 boxed set. And maybe with it’s availability, this little noir will get the recognition it deserves.

Born to Kill (1947) @ Chez Kevin

On Sunday night, a few friends came over to Chez Kevin for dessert and a movie. Just this past October, Kevin had purchased his first home. A condo; the first floor in a historic Queen Anne style home. I am not exaggerating when I say that everyone who sees Kevin's place is absolutely gobsmacked. The home is filled with character, has a gorgeous layout, nice big rooms and original Queen Anne details. My favorite details are the Queen Anne style tiles around one of his two fireplaces and an old-fashioned pencil sharpener. Kevin decorated it well with lots of nice furniture, candles and other special accents.

Before we watched the movie, I took some pictures of Kevin's place. He's got extensive collections of DVDs, books on movies as well as movie poster artwork. Here are some highlights:

Here is Kevin's main bookcase for his DVDs. Notice the painting on top? It's a commission painting done by the ultra-talented Kate Gabrielle of James Dean in Giant (1954). Kevin's always given me very thoughtful gifts, so for his last birthday I thought I'd do something special for him.

This is part of his collection of DVD boxed sets.

When Kevin was debating what movie to show, he considered Fellini's Nights of Cabiria (1957). He has a poster of the film in his living room.

Two of Kevin's favorite directors.

Here are some more movie posters (Italian). When you walk through Kevin's condo, there is no doubt that the person who lives there is a true film buff!

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After much debate as to what to show during the movie night, Kevin ultimately decided on Born to Kill (1947). He introduced it to us as a film noir, that is as dramatic as it is darkly humorous. I met Kevin a couple years ago when I was a student in his film noir class, so for him to show a film in this genre for his first official movie night was a special treat for me.

I hadn't seen Born to Kill before so I was looking forward to watching a film new to me.

Or so I thought.

Born to Kill (1947) stars Claire Trevor and Lawrence Tierney. Trevor is a divorcee who witnesses the aftermath of a murder committed by Tierney. She is both terrified and entranced with Tierney, tapping into her own murderous and evil tendencies. Trevor is engaged to a rich man in order to gain her own financial freedom from her rich foster-sister, Audrey Long. Tierney punishes Trevor by marrying Long and using her for his own selfish purposes.

As I was watching the film, certain things seemed awfully familiar. Then when I saw actress Isabell Jewell, who plays Laury Palmer, I had a vision of her lying, prostrate on the floor, dead, the camera focusing on her shoes. At one point, I wanted to point at the television and proclaim "She gets murdered! I remember her shoes!". Alas, I held my tongue so as to not ruin the movie for anyone. It's not much of a spoiler, considering most of the story is based on the investigation of her murder, but it would have been rude otherwise. When the image I had in mind popped up on the screen, I knew that indeed I had seen this film.

Isn't it amazing that one can watch a film, forget all about it with the exception of one solitary image? That seems to happen to me a lot.

Some topics of conversation from pre-show and post-show bonding.

1) Lawrence Tierney was an intimidating man. Onscreen and off.

2) Lawrence Tierney once played Elaine's dad on Seinfeld.

3) In the late 1940s, folks were fascinated by evil women. This explains why so many films during this era showcased femme fatales.

4) Costume Designer Edward Stevenson had a penchant for strange hats and head-dresses as well assymetrical clothing.

5) Engagements were unusually short in those days.

6) The popcorn that Lisa brought in from Trader Joe's was absolutely delicious!

Thanks again to Kevin for such a great movie night! I'm looking forward to his next one.

He Made Me Watch It ~ Chinatown (1974) @ the Brattle

I know I know, it's the wrong decade for me. I usually avoid the 70s like the plague. But the film takes place in 1937 and it's as historically accurate as it could be, so I'm letting that slide.


Me? A Film Buff? More like a Film Bluff if you ask me.

I'm really tired of being the person who claims to have extensive knowledge of classic films but has yet to see many of the classic classics. Those films that everyone and their mother has seen and permanently reside on important lists like the AFI's top 100. I'm embarassed to admit that I haven't seen Lawrence of Arabia (1962), Bonnie & Clyde (1967), To Kill a Mockingbird (1962), West Side Story (1961), My Fair Lady (1964), 12 Angry Men (1957), among others. Every decade has some classics that I've avoided for whatever stupid reason I have come up with. My biggest excuse is that it's popular. I've always been a bucker of trends and the additional layer of popularity on the film is like that nasty icing on a cupcake that you have to eat through to get to the cake (or you remove it like I do).

So I've been very very very open-minded lately. Carlos suggested we see Chinatown (1974) on the big screen and I immediately acquiesced. It's not even really He Made Me Watch It but more like He Subtly Suggested It and I Immediately Jumped on the Bandwagon.

I came to Chinatown (1974) with almost no prior knowledge except for the fact that it starred Jack Nicholson and Faye Dunaway and that the film has won critical acclaim and some Oscars. I'm very glad that I hadn't because I came with no preconceived notions and the film to me was fresh and new.

Carlos, Kevin, Lisa and I saw Chinatown (1974) at the Brattle Theatre in Harvard Square on Wednesday night. Chinatown is a favorite of both Carlos and Kevin but Lisa and I were both newbies. Although I was very tired and perhaps didn't pick up all the details of the complex plot like I could have if I had been perky, I thoroughly enjoyed this film. Much of what I liked of it was that it felt more like 1937 than 1974, which I appreciated. The style of the film was very noir but seeing as the movie was shot in post-Hayes Code days, they could take a lot more liberty with sexuality which I thought was interesting. I've always been fascinated with the abuse of power when it comes to natural resources, like water, and this film focuses on the redirection of water in Los Angeles during a late summer drought.

I was happy to see that many folks came out on a Wednesday night to see Chinatown at the Brattle. A few folks laughed during a scene they found particularly campy (the Daughter-Sister-Slapping scene with Dunaway and Nicholson), but I chalked that up to their unfortunate ignorance and incapacity to understand the film. I have absolutely no patience for people who mock classic films. Those people should not even be allowed to see these films in public, in my honest opinion. They couldn't ruin my night though, I had a blast.

Stay tuned to this space as Carlos makes me watch another film on the big screen!

Harvard, Mystery Street (1950) and Me!

Did you know that the film Mystery Street (1950) may very well be the first movie filmed on location in Boston?

I recently wrote a review of this film for Film Noir of the Week. It's up now, so go check it out: Review of Mystery Street (1950).

I was simply delighted that real Massachusetts locations were used in the film and I had fun watching as the characters traveled in and out of Boston. One particular shot caught my eye. Ricardo Montalban's character drives up to the gates of Harvard University. He parks his car at a metered spot (and doesn't pay of course) and walks through the gates. I know this may seem mundane to the average person, but being from the area and having walked through those same gates countless of times, I was giddy with glee to know that my beloved Ricardo Montalban walked through those same gates almost 60 years ago.

My friend Kevin took this picture of me (with his iPhone no less) in front of the gates. We happened to be in Harvard Square and I had just finished writing the review.

I hope you'll take an opportunity to read my review over at Steve-O's wonderful Film Noir of the Week blog and watch Mystery Street (1950) for yourself. It's a wonderful jewel of a noir that shouldn't be missed.

Guest Blogger Steve-O ~ On Classic Boxing Films

Since 2005, Steve-O has been bringing us weekly installments of in-depth reviews on Film Noirs over at his site Noir of the Week. It is one of the most comprehensive and interesting collection of articles, written by Steve-O and various other contributorss on this ever popular genre of films. Steve-O does us the pleaures of stopping by to enlighten us on classic boxing films. Enjoy!
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I'm a sucker for films about the sweet science. I admit it. As much as I try to convince co-workers that Rocky IV isn't really very good – I still find a great amount of pleasure watching it. However, I do find most modern boxing dramas – from Cinderella Man to Rocky - entertaining but a bit lacking.

Now if you want to talk about great boxing films – then you have to talk about the gritty classics from the 40s and 50s.

City for Conquest is a guilty pleasure. James Cagney plays the same guy he played in most WB tough-guy films. Cagney showcases some deft footwork in the ring – but his punches are thrown like one of the Dead End Kids in a brawl. The film is a very slick Warner Bros film filled with over-the-top drama. Strong performances make the film an absolute pleasure though. Ann Sheridan as the girlfriend, Arthur Kennedy playing the more sensitive brother, and Anthony Quinn as Sheridan's slimy dance partner all help tell the rags-to-riches tales. When Cagney goes blind in the ring and Sheridan's dancing career is also flushed the film has its most tear-jerking moment. City for Conquest is a New York story through and through - and it's one I find myself watching again and again.



More realistic is Body and Soul. John Garfield plays a young Jewish street kid who is lured into a career as a pugilist. He quickly moves up the ranks – and at the same time dumps his artist girlfriend and – surprisingly – his poor mother (played by Anne Revere). The film was an independent production by Garfield but the lack of a budget didn't stop clever film makers from making a slick sports movie. Unfortunately, a decent copy is a challenge to find. The US DVD release is muddy and cuts one of the best lines from the movie. When Charley is deciding to through a title fight – and make a fortune by betting against himself – a local grocer from the old neighbor hood says, "In Europe, the Nazis are killing our people, but here Charley is Champeen! No, it's not about the money." Charley is devastated by the comment. Hopefully someday a better DVD will be released of this one.



Kirk Douglas is at his evil best in Champion. In fact, I'm finding that Douglas is one of the best anti-heroes of the 40s and 50s. Barry Gifford, writing in his book Devil Thumbs a Ride & Other Unforgettable Films, calls Champion the most vicious boxing film until Raging Bull. Douglas as the cut-throat fighter makes Garfield in Body and Soul look like a boy scout in comparison. This was the big break out film for Douglas. Douglas – prior to Champion – learned how to smoke while making Strange Love of Martha Ivers because the director though he needed something to do with his hands. In Out of the Past and Ace in the Hole, he found amazing ways to light and share smokes. In Champion Douglas' hands were taped and gloved most of the time. He found what to do with them. Bury them into his opponent.

Robert Ryan - unlike the other leading men mentioned above – was actually a pretty decent boxer in his day. In The Set-Up he proves it. No film has better boxing fight scenes than this one. When I first saw this movie I loved it but I find – strangely- that I like it less and less with each viewing. I think I'm going to blame the DVD which seems too bright. The sets out on the streets look like sets. And the film feels too stagey at times. Ryan is fantastic in it and the fight scenes – it's worth repeating – are just perfect. Film noir fans love the cast of ugly faces including George Tobias, Wallace Ford and Percy Helton. Beauty does make an appearance though. Audry Totter – one of the queens of noir – plays Ryan's woman.

Finally, there's Bogart's last film The Harder They Fall. No, Bogie doesn't play a boxer. Luckily he keeps his shirt on and manages instead. The film both glorifies and condemns the sport. This is an appropriate send off to the grizzled Bogart. The film is heartbreaking when it shows broken down brain-damaged boxers of the past. Bogart's Eddie Willis is his best role since In a Lonely Place.

Recently at my blog, Noir of the Week, we covered both Body and Soul and The Set-Up. Film noir is notorious for using similar locations and professions. Boxing – with it's many appearances in dark cities - was the sport of film noir.

The Killers (1946) @ the Brattle

I finally got an opportunity to take my mother to The Brattle Theatre yesterday. They had a 1 pm screening of the classic film noir The Killers (1946) and not only did it work for both of our schedules, neither of us had seen this gem and getting to watch it on the big screen was a treat.

For every 1 classic film I watch, my mother watches 3. She's just the consumate consumer of old movies and she gave up Mexican telenovelas permanently to catch flicks on Turner Classic Movies. We both approach classic films in different ways. My mother watches, enjoys, discards and moves on to the next film. I, however, pore over minute details, do research and try to stretch out the film experience as much as I can. I think we both get different things out of classic films but bond over our mutual love for them.

So on Saturday I took my mom to Harvard Square, where we had a quick lunch at a Vietnamese restaurant and picked up coffee and macaroons at a new coffee joint. We headed over to the theater to pick up our tickets.

I directed my mom up to my favorite seats in the theater (balcony, last row, far right corner) and we did some pre-show bonding as she snacked on some popcorn.

When the lights dimmed, we were in for a treat. The Killers (1946) is an engrossing and suspenseful film noir. Burt Lancaster plays Swede, a former boxer and con artist who is killed by two hit men. Insurance investigator James Riordan (Edmond O'Brien) traces the complex trail of clues to piece together the events that led up to Swede's murder. Swede had been caught up with femme fatale Kitty Collins (Ava Gardner) and various other con artists in a heist that went terribly wrong, in the way that heists do in film noirs. I highly recommend this film to anyone who hasn't seen it yet.

Mom's reaction to the movie in her own words: It was good. Very suspenseful. It was interesting that they start with the murder and worked backwards.

After the film, we headed back to my car which required a subway trip outbound (parking in Harvard Square is a nightmare!). Funny enough, I saw my favorite T guy at the station. I introduced him to my mom and he was gracious enough to let us through for free! Come to find out, he's a big film fan and watches old movies on AMC and TCM! Us classic film fans are everywhere I guess.

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If you live in the Boston area, make sure you check out The Brattle Theater if you haven't already done so. Here are some upcoming showings that film noir enthusiasts will want to see.

The Killers (1946) - 4 showings today Sunday April 18th

Criss Cross (1949) - 2 showings Tuesday April 21st

Phantom Lady (1944) - 2 showings Tuesday April 21st

The File on Thelma Jordan (1950) - 3 showings Thursday April 23rd

If Jeff Bailey from Out of the Past (1947) were on Match.com

Jeff_Bailey

Baby, I don't care.

30-year old man

Bridgeport, California

seeking women 23-25

within 100 miles of Bridgeport

Relationship: Never Married

Have Kids: None

Want Kids: Someday (3)

Body Type: Rugged

Height: 6" 1'

Smoke: Regularly

Drink: Regularly

About Me and Who I'm Looking For

I recently came out of a bad relationship with a dangerous woman. When she murdered my ex-partner and I discovered she was carrying stolen money, I knew I had to move on. I need someone who isn't like a leaf blowing from one gutter to another. And one that isn't awfully cold around the heart. She has to love fishing, be kind and want to live a quiet life in a cottage with me and our children. I deserve a break.

In My Own Words:

For Fun: Fishing on mean rivers, imbibing drinks and not paying for them and smacking seedy nightclub managers.

My Job: Pumping Gas. It's decent work.

Favorite hot spots: San Francisco, Lake Tahoe, Bridgeport, Acapulco

About Me

Best Feature: Chin Dimple
Sports and exercise: Chasing people
Education: Street smart
Occupation: Gas Attendent/Other
Income: $5k per job
Turn-ons: Danger & Excitement and Calmness & Security
Turn-offs: Murder, Back-stabbing, Theft, Deceit

About My Date

Hair: Blonde, Dark blonde, Red
Eyes: Flirty ones with long eyelashes
Height: 5'0" to 5'6"
Body type: Slender
Smoke: Regularly
Drink: Social Drinker or Regularly
Have kids: None
Want kids: Someday

Out of the Past (1947) by the Numbers

Repeat viewings of Out of the Past (1947) have been part of my movie watching repertoire for years. It all started when I was an undergrad in college and decided it would be fun to watch movies for homework! So I took a film class. The Quiet Man (1952) almost made me turn my back on classic films forever when Out of the Past saved me. When I watched it, I was both captivated and confused. I swooned in the same way I do when in the presence of a highly charistmatic man. I was hypnotized. Repeat viewings have increased by love and adoration for the film. I've seen it in for homework and for fun. I've seen it alone and with other people. I've seen it at home and recently got an opportunity to watch it on the big screen for the first time at the Brattle theater with several Out of the Past virgins. That seminal film encouraged me to pursue my interest in classic films, to nurture a love for the past and to start this little blog, my little haven on this vast web that is the internet.

What I discovered about Out of the Past when I last viewed it on the big screen, was how many wonderful small details enrich the film. I thought it would be fun to do a project of listing some of these details by the numbers. It was quite an intense process and it was difficult to be so thorough, but I'm pleased with the results. Enjoy!

• 10 alcoholic beverages not paid for
• 2 manly chin dimples
• 36 cigarettes
• 9 matches lit
• 11 lighters lit
• 12 outfits worn by Jane Greer

• 6 dead bodies
• 2 slaps and several punches
• 5 instances of women being man-handled
• 10 beautiful metaphors
• 4 shots with the Golden Gate bridge in the background
• 6 scenes with Kirk Douglas and Robert Mitchum together (alone)
• 2 fishing rods
• 1 shot glass thrown into the fire
• 11 kisses
• 4 trenchcoats
• 6 times in which the word "cute" is used
• 131 lbs. - the weight of Eunice Leonard and the suitcases of Kathy Moffat
• 1 mean river

I'm sure I'm off by a couple of cigarettes, a slap and maybe a trenchcoat, but there you have it!

Ginger's Review ~ Beyond a Reasonable Doubt (1956)

Go check out Ginger's review of the Fritz Lang noir Beyond a Reasonable Doubt (1956) (starring Dana Andrews of course) over at Steve-O's blog Noir of the Week. Yes I know, I'm a blogger, recommending you read another blogger's post on another blogger's blog. But hey this is my blog, I can do what I want.

Ginger's review is straightforward and ultimately reaches out and smacks you in the face. She doesn't like the film and she's not afraid to tell you that. However, after reading the review you may still want to watch the film anyways just because of all the fun stuff she points out. Cheesy come-ons, burlesque clubs and strippers circa 1956? Sign me up!

Here is the linky love:

Ginger's Blog ~ Asleep in New York

Steve-O's Blog ~ Noir of the Week

Ginger's Review ~ Beyond a Reasonable Doubt (1956)

The Naked City (1948)

The plot of The Naked City (1948) is pretty straight-forward noir fare. A young model is killed in New York City and detectives are on the case to find out who committed the crime. As far as plot go, it's pretty unremarkable. However, the film itself was ground-breaking. It's the first movie ever to be filmed on location in New York city. Scenes were shot in the streets, in real apartments, in real buildings and with real people. The "extras" were real bystanders walking the streets. The movie was a sort of documentary/film hybrid. The story is fictional but the locations and all their elements are very real.

The film is narrated by Mark Hellinger, the producer. In the very beginning he introduces the movie, himself, the director Jules Dassin, etc. all by name. How many movies acknowledge within the context of the narration it's existence as a film and those responsible for its creation? What movie ever acknowledges itself as a movie? Occassionally, the acknowledgement comes as a joke buried deep within the center of the plot, however, The Naked City introduces itself in all seriousness as a movie. Reality is juxtaposed with fiction to create a vehicle unseen by moviegoers at that time.

This is the city as it is. Hot summer pavements, the children at play, the buildings in their naked stone, the people, without makeup.

These words are read by Hellinger at the end of the film's introduction and they are important. The film is stripped down of any of the glamour Hollywood was known for. It is literally a film without makeup. None of the actors in the film are particularly glamorous or showy. None are big name stars. They look like average folk working their way through a naked and gritty version of New York City. In fact, the only glamour in the film is killed off in the very beginning. The young model is murdered in her apartment and she is seen only in shadow and darkness. Her jewelry and other baubles are stolen and we never see them. Even the model's friend, who works in the same industry, is seen in a less glamorous light than one would expect. She is more victim than celebrated beauty. In this film, fanciness was removed and the grit was exposed. What we see throughout the rest of the movie are slices of the lives of the working class and shots of the city in all its naked, bare beauty. These elements make this not only an excellent film noir, but a superb movie all-around.

Sad Note: Producer/Narrator Mark Hellinger died of a heart attack in 1947, but survived long enough to have seen a preview of the ground-breaking film.

Check it out!

My good friend Kevin has just written a review on the classic film noir Where the Sidewalk Ends (1950). Go read it on Steve-O's site Noir of the Week!

Please also stop by Christian's excellent blog The Classic Film Show. And if you have spotted an image of a classic film star in your city (on the side of a building, on a shop sign, etc) please contribute to his "Stars in the City" post. An amazing idea and I'm excited to dust off my camera and give a shot (literally).

Noir of the Week - The Dark Corner (1946)

Check out my review of the film The Dark Corner (1946) on Steve-O's website Noir of the Week. Yay!

12 Movies Meme

Tag! I'm it!

Ibetolis over at Film for the Soul tagged me to participate in the 12 Movies Meme started by Lazy Eye Theatre. I don't really get the rules so I kind of just went with a similar form based off of Ibetolis' entry. Basically I'm creating line-ups for 6 double-feature nights (Monday through Saturday), each with it's own theme. I've also provided a reason for why I chose that line-up. I have to tag 5 people and with an interesting twist, I'm tagging 3 guest bloggers (their responses I'll post here) and 3 bloggers. I know that's 6, but since I'm already breaking rules... My double-features and tags are listed below. Enjoy!

Monday
Theme: Right in the Belly - Poisonous Stories
Films: D.O.A. (1950) & Notorious (1946)
Reason: My favorite film noir matched with an astounding Hitchcock classic, both feature protagonists who have been poisoned.

Tuesday
Theme: Blonde Bette Davis Does Not Want to Kiss You
Films: Cabin in the Cotton (1932) & Of Human Bondage (1934)
Reason: Two great Bette Davis films, with her as a blonde, both include famous lines about kissing. Cabin in the Cotton - "I'd like to kiss ye, but I jus' washed ma hair". Of Human Bondage - "And after ya kissed me, I always used to wipe my mouth! WIPE MY MOUTH!"

Wednesday
Theme: Robert Mitchum Just Wants to Love on You
Films: Holiday Affair (1949) & Two for the Seesaw (1962)
Reason: Robert Mitchum's softer side shines through with these two romances. A delight for anyone who crushes on him.

Thursday
Theme: The Morning After ~ Ultra Sexy Pre-Codes
Films: Female (1933) & The Divorcee (1930)
Reason: One thing leads to another and well, you know... Women in charge of their sexuality. And a little Norma Shearer never hurt anyone.

Friday
Theme: Triumphant Triumvirates ~ Everything's Better in Threes
Films: Three on a Match (1932) & A Letter to Three Wives (1949)
Reason: It's a shame I couldn't make this one into a triple-feature! Based on threes, great films about three very different women coming together in unusual circumstances.

Saturday
Theme: Multiple Families, Multiple Problems
Films: Yours, Mine and Ours (1968) & With Six You Get Eggroll (1968)
Reason: Two films that gave birth to The Brady Bunch. What happens when two families come together as one? Laughter is sure to follow.

TAGS
Frank ~ Guest Blogger
Bob ~ Guest Blogger
Kevin ~ Guest Blogger
Carrie ~ Classic Montgomery
Ginger ~ Asleep in New York
Steve ~ Film Noir of the Week

Three Great Film Noir You Never Heard Of by Steve-O

One of the coolest things about loving film noir is discovering lost, forgotten films. True, most lost films are forgotten for a reason. However, every now and then you find a film so amazing that it makes watching hours and hours of bad films worth while.

If you're new to classic film noir, I recommend you first check out all the great movies released on DVD over the past few years. Start off with big studio noirs like Out of the Past (1947), Criss Cross (1949) and Gilda (1946). Then work your way to the smaller budget films like Caged (1950) and D.O.A. (1950). If you're still a noir fan, step down to the Bs like Railroaded and Decoy.

There you have the three tiers of film noir. Don Miller, writing in "B" movies: An Informal Survey of the American Low-budget Film, notes that there were three classifications of movies during the 30s and 40s: “... the A, the B, and the programmers, sometimes alluded to as a 'nervous A' or 'gilt-edged B.' That hybrid would often play the top half of a double bill, have one or two fairly high-priced performers and, when a character walked into a room, the walls wouldn't shake as he shut the door; it looked reasonably opulent, but if a studio tried to palm it off as a big or A picture, you knew they were kidding.” The three films that I want to recommend fall into the B category. They're nearly impossible to find on television and I doubt they'll ever find their way to DVD. They are cheaply made without a movie star in sight. Nevertheless they're wonderful.

First is a film called Suspense. The 1946 film is – and I'm not kidding here – a figure-skating noir. Olympic figure skater Belita stars as a skater that dumps her mobster boyfriend for a peanut vendor (Barry Sullivan). The film is wonderfully strange with outstanding performances from Albert Dekker (The Killers) and Bonita Granville (her other noir role was The Guilty). The film is loaded with strange images (including Belita crashing through a giant Dali-like skull to begin a skating exhibition) and some true suspense.

Night Editor from the same year is based on a long-running radio series. The film begins, like the radio series, with a newspaper editor recounting a scandalous story from the past. Surprisingly, the story he tells is fatalistic and dark. A drunk cop spends his nights cheating on his wife with a sexy (and also married) society girl (a wicked performance by Janis Carter). The cheating couple witnesses the brutal murder of a woman on a dark street. The cop (William Gargan) doesn't stop the killer for fear that it would cause a scandal. He doesn't want it to get out that he was stepping out on his wife. To make matters worse, detective Cochrane – who has already been reprimanded for poor performance -- shows up to work hungover and is quickly assigned the murder. He has to investigate and at the same time find a way to cover up his role. His cars tire tracks at the scene makes him a potential suspect in the killing. 99-percent of the film is just perfect. The happy ending tacked on at the end is very annoying but not unexpected. However, this is a great little movie.




The third film I covered last week at the Noir of the Week blog. The Guilty (1948) is possibly the cheapest movie I have ever seen. The acting is wooden and the sets look like they just might fall down. However, it's a damned involving story of murder. A twin girl is killed in a dark, nameless city. The prime suspect is a WWII shell-shocked vet. A couple of other potential suspects include the “bad” sister's violent boyfriend and creepy middle-aged house member. Who did the killing? I found myself involved from beginning to end.






These three films are not easy to find. However, if you do get to see them you'll probably agree they're true black-and-white gems.

Unseen Noir

The Harvard Film Archive had an Unseen Noir series over the long holiday weekend, showcasing numerous noir films that were not available through regular channels. This was a great opportunity for me and my friend Kevin to watch some unique film noirs!

On Friday night, Kevin and my new friend Bob and I watched a double feature of He Ran All the Way and The Sound of Fury. On Sunday night, Vivienne and Nate joined us for a screening of Pitfall. The place was packed on both nights, which gave me all sorts of warm proud feelings inside. To see so many people come out to watch these movies when they could be spending their money on some brainless blockbuster. Below are my thoughts and reactions or interesting information on each of the films.

He Ran All the Way (1951) - John Garfield plays Nick, who is running away from the police after accidentally killing a cop. Is he genuinely evil or is he a good guy gone bad due to circumstances? He romances Shelley Winters, as Peg, only to sequester her and her family in their apartment as he grows ever anxious of being caught. Peg is caught between her growing affection for Nick and her love and devotion for her family. And time is running out.

~ Why isn't this on DVD? Garfield + Winters + Noir = $$$
~ John Garfield's last film.
~ classic gutter scene. Every film noir should have one.
~ great camera angles and shots. Lots of focus on Garfield's face.
~ One scene, Garfield's face is half in shadow, showing how he's split between good and bad.
~ low-budget, short, so the focus is on the story and the rising tension.
~ Suspense was well-done. As the plot progresses, Garfield's character becomes less patient and more suspicious.
~ My favorite line was a suggestion made to Winters character about how a little lipstick, a hairdo and a nice dress can make a man do anything you want!

The Sound of Fury (1951) ~ Based on a true story, this is an interesting study in journalistic sensationalism and the violence that can erupt from mob mentality. Frank Lovejoy plays a family man, desperate for cash for his wife, kid and baby on the way, who gets entangled in a kidnapping gone wrong with the charismatic Llyod Bridges. The media and community are hungry for blood.

~ Why isn't this on DVD? Bridges + Mob Mentality + Noir = $$$
~ Uncomfortable to watch because it was so poignant. Left me somewhat depressed.
~ Wow. Llyod Bridges. Wow. Double wow.
~ Reminded me of the equally uncomortable They Won't Forget (1937).
~ Didn't help that they kept talking about how people won't forget.
~ Several funny moments helped us feel the intensity of the tragedies to come.
~ Kathleen Ryan reminded me of Melanie Lynskey.
~ Mob riot/jail scene was breathtaking!

Pitfall (1948) ~ Dick Powell is a jaded insurance man who is bored with his job + wife + kid = safe life scenario. He meets Lizabeth Scott who's boyfriend is in jail for stealing insured jewelry. Biggest mistake, sending a detective, played by Raymond Burr, over to Scott. Sadistic Burr wants Scott but so does Powell and the love triangle gets ugly.

~ Why isn't this on DVD? Powell + Young Raymond Burr + Noir = $$$
~ Raymond Burr gave me the chills. Burrrr...
~ Lizabeth Scott is like a combination of Lauren Bacall and Susan Peters!
~ One of a few great movies based on insurance companies. The Apartment, Double Indemnity.
~ My first Jane Wyatt film.
~ Any film with a fashion scene is a-okay with me.
~ Some of the story, especially dialogue, seemed to much like filler. Could have been more tension build up.
~ Dick Powell can do it all, in my honest opinion. He was superb in this.

Molestada: Ace in the Hole (1951)

“Molestada” is the best word I could think of to sum up my experience watching Billy Wilder's classic film noir, Ace in the Hole (1951). “Molestada” in Spanish means to be "bothered". But there is something more to "molestada" than there is in "bothered", "disturbed" or even "discomforted". There is a twinge in “molestada” that captures that feeling of a fine nerve being plucked, triggering a well of emotion which over time and after so many plucks begins to overflow.

To say I was completely molestada by Ace in the Hole (1951) is succumbing to the great power of this film. An exploration of media manipulation through the story of one particular bad apple, Charles Tatum (or Charlie, Chuck or plain Tatum depending on who addressed him), a deceitfully opportunistic and greedy journalist. He sees an unfortunate situation, a man trapped cave, and knows how to exploit it for his own need. What's amazing about this is that Tatum is seeking a type of immortality in a business where one's story one day is treasured, and the next day, it's used to wrap fish. He even admits this himself, but still wants to grasp that fame, to make his mark in the industry.

Tatum's character is matched evil-to-evil with Mrs. Lorraine Minosa, the platinum-blonde wife of the poor man trapped in the cave. She's my favorite character. A hard-boiled dame, so overcooked that even her yolk is rock hard. She has only one very small soft spot, which is reserved for the elation she receives from money. Lorraine is as manipulative as Tatum, using her husband's situation for her own selfish needs. Two such characters are so bad, that one town will always be too small for them and its a wonder they don't instantaneously combust when they meet.

I discovered while flipping through my Leonard Maltin's Classic Movie Guide that the film was initially called Ace in the Hole but the name was changed to "The Big Carnival". As part of the Criterion Collection, its kept its original name, for which I'm truly grateful. While Leo Minosa's entrapment and Tatum's media frenzy do result in a twisted carnvial of sorts, I think this film is more aptly named Ace in the Hole as its the germination of Tatum's lucky break, which he exploits too much.

It's a marvel I even got through this film. It took two days of watching it in ten-minute intervals. Somehow I made it through to appreciate it for what it is.

The Asphalt Jungle: Images Speak

I had never put much thought into it but when I recently did a repeat viewing of The Asphalt Jungle (1950) for my film noir class, I kept thinking about the various publicity pictures and posters used to promote the film. They vary greatly and each says something different about the movie and the time it was released. It got me thinking, what goes into these works of art and photography? Because first impressions are everything, I'm sure that the creators of these promotional images thought very greatly about who the potential audience was and what would draw them in enough to pull out their wallet and fork over the cash to buy a movie ticket.

So I had some fun and let my mind run wild with the idea. I scoured the internet (okay I just Google'd) and picked 3 of my favorites to discuss.

This is by far my favorite one. I had discovered it a couple of years ago when I did my regular post-viewing research of The Asphalt Jungle. This image is straightforward and eye-catching. You've got all the main stars in the image and it's a clever shot of them from below. They are surrounding a pile of jewels which ties them all to the jewel heist which is at the center of the film. This is the image most representative of the film's story. It's not just about a convoluted robbery that goes bad, it's about several individuals who all have their own weakness that leads to their downfall.

This one confuses me greatly and downright irks me. It reminds me of the pathetic cover of a certain BBC-Austen miniseries in which the American packaging showcased 2 models instead of the actors because they were better looking than the actual stars. It's misleading and wrong! This particular poster tells the audience, "come watch this film because you'll see sexy Marilyn Monroe strut her stuff." Those poor lustful souls will only come away disappointed to have seen her in just 3 short scenes.

As I write this, I cannot help feeling like a hypocrite. I did come to find this film as a Monroe fan wanting to see more of her films. I liked the film for what it was and not necessarily for Monroe's role. Yet this title is often distributed as a Monroe film. I'm hoping that in a few years this will be known only as a very good film noir.

Let's ignore Marilyn Monroe scared face in the corner for a moment and look at the other elements of this image, which happens to be the DVD cover. This is quite good. In the background, you have the asphalt jungle and the tagline "The City Under the City" which is representative of both the underground scenes and the "underground" network of hoodlums. Then set below the city you have the 3 main people involved with the actual heist (versus those involved with only the planning of the heist); Sterling Hayden, the hoodlum, James Whitmore, the driver and Anthony Caruso, the box man ~ explosives. Then right below them you've got the sex, i.e. Monroe. Clever thing about this image, is that it's on a tilt symbolizing the impending downfall of these characters (except the sex, which survives of course).

Double Indemnity: Second Viewing

I didn't quite have the time before my first class to watch Double Indemnity (1944) two more times, but was lucky enough to be able watch it once in an interactive manner. By which I mean, I took notes while I watched. I sometimes notetake while watching films. My hands are pretty restless and taking a pen to paper has a tendency to calm me. Also, my mind becomes more alert as I'm actively searching for interesting things to write down. It makes for a more in depth movie experience.

My second viewing of the film was quite interesting. I'd been looking for minutae and subtleties that I may have overlooked during the first go. The language, lighting and plethora of staircases all stood out to me. Part of me wonders how much of what I get out of a film is what I am searching for (either consciously or subconsciously) and what the filmmakers put into it for the viewers to find. Here are some things that I discovered in my second viewing.

1. Robert Osborne -Any movie benefits from a Robert Osborne introduction. Always impeccably dressed, he welcomes you into the movie with fun facts and quips. If your lucky, he will tell you a particular scene or image to look out for. And am I the only one that thinks that loft-style studio is beautiful. Could I move in? I think Osborne should introduce every DVD, no matter what the film.


2. Edith Head - I didn't notice this the first time around, but caught her name in the opening credits. No wonder Barbara Stanwyck looks so stunning! The amazingly talented Edith Head dressed her. I wonder if she dressed the men? If so, I've got a few complaints. The main one being that Fred MacMurray's suits seem to hang on him while Edward G. Robinson seems to be bursting out of his.


3. Film Noir Language - "Dame" "Hot Potato" "Outfit" "Dimwitted" "Song and Dance", this movie is chock full of colloquialisms. Yet what I find so intriguing is the wit and banter and the heavy heavy flirting! I wonder how much of the intricately sexy language was a result of passing this film through the codes. Did the language have to be clever to convey all the sex that had to be censored?


4. Linear and Square - It's "straight down the line" until they get to the "end of the line." The plot movement is very linear. The sequence of events pertaining to the crime seem to happen back to back like a line of dominoes and the uncovering of the crime by Keyes (Edward G. Robinson) seems to happen in the same sequence as the crime does, it's just one step behind. Everything falls apart when Fred MacMurray's character breaks that line. The square element is the romantic entanglement which is at the heart of the story. Phyllis - > Walter - > Lola -> Nino. I could call it a circle, but this is film noir! It's all about the harsh angles.


5. Fire - Did anyone notice Fred MacMurray's amazing ability to light a match with his thumb? I found this oddly sexy. As though he was so pumped up with testosterone and adrenaline that he thought nothing of potentially burning his thumb with the match. It was just a faster way to light a cigarette.

Double Indemnity: First Viewing

In preparation for my first Film Noir class next week, I will be watching the classic, Double Indemnity (1944). I have already seen this film but it was some months ago and a refresher seemed necessary. Why watch this film again? Why not, I ask? For any of you who are repeat viewers, you will understand that each viewing of a film is its own unique experience. Minute subtleties overlooked on the first pass, reveal themselves during a new viewing. Sometimes even after 100 viewings of a favorite film, I will be surprised to discover something new and the feeling is equivalent to finding a $5 bill you didn't know you had. Plus repeat viewings are a way for us to intertwine an important movie into our lives. To badly paraphrase deconstructionist Jacques Derrida, single moments cannot be grasped, so to experience something one must repeat it; either the experience itself is repeated in the same form or in a similar form or the memory of it plays in one's mind.

Repeat viewings have always fascinated me. There are certain films that I feel lend themselves to that continued experience. As an experiment, I will document my reactions to each viewing of this film and will finish with a final round up of what I learned from my class. These are my impressions on my first viewing. Elapsed time does not help with my memory so I will only draw on what sticks out in my mind the most.

• Naughty Fred MacMurray - Most of you know him as the detective gone bad in Double Indemnity (1944) or the sleazy, womanizing boss in The Apartment (1960), but my mind's image of Fred MacMurray is quite different. To me, he is the loveable and charismatic actor of so many romantic comedies and dramas from the '30s and '40s. The rich but loving boyfriend of Katharine Hepburn in Alice Adams (1935), the morally righteous lawyer married to a pathological liar in True Confession (1937), or the poor lovestruck suitor who has to compete with an even more endearing wheel-chair bound Ralph Bellamy in Hands Across the Table (1935). To see him be a little bit bad in this film was confusing yet very exciting.



• The Wig - It stands out. Even director Billy Wilder thought it was a bit ridiculous. Yet one couldn't envision Barbara Stanwyck in the role of the conniving femme fatale without the curly, blonde wig. It's severe but she's severe. It's over the top, but she's over the top. It just works. And also there is something that happens to a woman when she goes blonde. Like Deborah Kerr in From Here to Eternity (1953), they go a little bit bad, or in Stanwyck's case a whole lot. However, this is all coming from a brunette who has a serious case of blonde-envy.



• Secondary Romances - They work. Period. I love them and oftentimes I find them more interesting than the primary romance. In this case, the forbidden love between rich daughter Lola and Nino who is poor and rough around the edges. Very intriguing.