Ida Lupino: Filmmaker Collection

Now available from the good folks at Kino Lorber Studio Classics is Ida Lupino: Filmmaker Collection, a Blu-ray boxed set featuring four films directed by Ida Lupino: Not Wanted (1949), Never Fear (1950), The Hitch-Hiker (1953) and The Bigamist (1953). Each of the four films has been beautifully restored and the discs includes a selection of special features. The Blu-rays are available individually too but the boxed set comes with a stylish slipcase and an exclusive booklet which republishes former Variety film critic Ronnie Scheib's article Ida Lupino: Auteuress.

I was particularly excited for this boxed set because I'm very interested in Ida Lupino's work and with bad copies of these films have been making the rounds it was high time they be presented at their very best.

Not Wanted (1949)

Ida Lupino's directorial debut came without an onscreen credit. She had taken over for Elmer Clifton when he suffered a serious heart attack and was too ill to continue. He died shortly after the film was released. Not Wanted stars Sally Forrest as Sally Kelton, a wide-eyed and naive young woman who falls for an older man, a piano player named Steve (Leo Penn). Much to her parents dismay, Sally runs away from home and follows Steve who only has a passing interest in her. Drew Baxter (Keefe Brasselle), a gas station attendant with an injured leg, falls for Sally only to have her runaway again. Turns out Sally is pregnant with Steve's child and hides out at a home for unwed mothers to decide her future. Lupino co-wrote and co-produced the film. This is a fantastic little drama that doesn't cast judgment on its protagonist. Rather it beckons the audience for some sympathy. Lupino's sister Rita has a small role as Joan, a fellow unwed mother who bonds with Sally.

Special features:
New 4k restoration in conjunction with the Academy Film Archive
Audio commentary by Barbara Scharres, Director of Programming at the Gene Siskel Film Center and filmmaker/historian Greg Ford
English subtitles
The Wrong Rut - hygiene reel
Various Kino Lorber Classics movie trailers

Never Fear (1950)

Lupino's next picture Never Fear was a personal one. The film reunites Sally Forrest and Keefe Brasselle as Carol and Guy, a pair of dancers on the brink of success. Just as Guy proposes to Carol and they book their next big job, Carol comes down with a case of polio which partially paralyzes her legs. She's sent to a rehabilitation center, Kabat-Kaiser, where she struggles with feelings of self-pity and despair. There she meets fellow polio patient Len (Hugh O'Brian) who has a much better attitude about his condition. Lupino's sister also appears in the film in a similar role to that she played in Now Wanted as one of the protagonist's peers who offers some perspective with her experience. At the age of 16, Lupino herself suffered from the disease which paralyzed her right hand. This was during one of the major polio outbreaks in California. The polio vaccine was still a few years away and this film was one major way Lupino brought awareness to the disease. Never Fear is a taut and compelling drama that feels authentic even if you didn't know the backstory. It was filmed at the Kabat-Kaiser facility in Santa Monica and the extras were real patients.

Special features:
New 2k restoration in conjunction with the BFI
Audio commentary by film historian Alexandra Heller-Nicholas
English subtitles
Various Kino Lorber Classics movie trailers

The Hitch-Hiker (1953)

Perhaps Lupino's best known and most acclaimed work, The Hitch-Hiker proves that a female director could work beyond the scope of what would be considered women's pictures. Lupino not only directs but she also co-wrote the screenplay with ex-husband and frequent collaborator Collier Young. The story revolves around three male characters. Roy (Edmond O'Brien) and Gilbert (Frank Lovejoy) are best buds out on a fishing trip in Mexico. They pick up a hitch-hiker Emmett (William Talman) who unbeknownst to them is a deranged serial killer who is targeting unsuspecting motorists. What ensues is a frightening road trip that keeps audiences at the edge of their seats. The dynamic between the three actors is palpable and Talman is absolutely terrifying as Emmett.

Special features:
New 2K restoration in conjunction with the Library of Congress
Audio commentary by film historian Imogen Sara Smith
English subtitles
Various Kino Lorber Classics movie trailers

The Bigamist (1953)

For Lupino to have worked on The Bigamist to me meant she was the ultimate professional. Why? Not only was she the director, she also directs herself as one of the stars. Also she collaborates again with her ex-husband, writer/producer Collier Young who was at the time married to the film's other star Joan Fontaine. I'm not sure I would have been capable of all that but Lupino did so and the end result was this fine drama. Edmond O'Brien stars as Harry Graham, a salesman who travels back and forth from San Francisco and Los Angeles. It turns out he has two different women in each city, his wife Eve (Joan Fontaine) at home and his girlfriend Phyllis (Ida Lupino) in L.A. His secret comes to light when Mr. Jordan (Edmund Gwenn), an adoption coordinator, investigates Harry. The conceit could have lent itself to melodrama but instead Lupino and her crew offer a sensitive portrayal of a man in love with two women. We know how it will all end but we enjoy the journey anyways.

Special features:
New 4k restoration in conjunction with Paramount Pictures
Audio commentary by film historian Kat Ellinger
English subtitles

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Kino Lorber Studio Classics Ida Lupino: Filmmaker Collection will make a fine addition to your home library of classic films. This is a must-have for any Ida Lupino fan or anyone who enjoys 1940s/1950s dramas and film noir. My one complaint about the set is the formatting of the booklet which makes it difficult to read. I wish some more effort to design it as a proper book had been taken.

Thank you to Kino Lorber for sending me a copy of this set for review.

Lisbon (1956)

Lisbon: City of Murder, Intrigue and Excitement!

Captain Jack (Ray Milland) is a professional smuggler with an eye for the ladies. He goes by a strict code of ethics: no murder, no narcotics, just straight smuggling. When Jack arrives at Lisbon port he finds Inspector Fonseca (Jay Novello) hot on his trail. But luckily Jack and his shipmate Tio Rabio (Humberto Madeira) hide their loot before the Fonseca and his team can find it. In Lisbon, Jack meets with career criminal Mavros (Claude Rains) who has an assignment for him involving the wife of an American imprisoned in a Communist country. Jack is to arrange for Sylvia Merrill (Maureen O'Hara) to have a clandestine business meeting with Mavros and to help Mavros' team smuggle Sylvia's husband Lloyd Merrill (Percy Marmont) into Portugal safe and sound. However Captain Jack is about to get more than he bargained for with this new job. He's equal parts smitten and confused by the beautiful Sylvia. It's clear that she married her much older husband for money. Is she really concerned about her husband's well-being or are her efforts to ensure her financial security? Sylvia quickly becomes enamored with Captain Jack. And she's not the only one. Mavros' live-in girlfriend/employee Maria Madalena (Yvonne Furneaux) also develops an affection for him. But the mercy of her boss and the infatuated Seraphim (Francis Lederer). When Mavros plants an idea into Sylvia's mind to ensure that her husband doesn't make it back alive, she dismisses the idea at first. But $24 million dollars and the chance at real romance with Jack is much more alluring. Will Jack break his code of ethics or will he stay true to himself?

Lisbon (1956) was shot on location in Portugal for Republic Studios. Filming in Europe was big business for Hollywood in the 1950s and 1960s and this film has the notable distinction of being the first film entirely shot in Portugal. The story was based on an original idea by Martin Rackin and was adapted for the screen by John Tucker Battle. Paramount held the rights to the story before it was purchased by Republic.

Ray Milland not only stars in the film but he also produced it and directed it. In the credits he goes by R.A. Milland for his producer role and R. Milland for the director role. After making Dial M for Murder (1954), Milland took his career in a different direction and Lisbon was the second film he directed and the only one in which he received credit as producer.

I'm half Portuguese so for me Lisbon (1956) was like time traveling back to my dad's home country around the time he was living there. He emigrated from Portugal in the late 1950s and moved to Brazil before moving to the United States in the early 1960s. I've spent time in Lisbon and it's a gorgeous city. And 1956 Lisbon looks beautiful shot in Naturama and Trucolor. There are lots of great shots of the city and Milland used a variety of Portuguese actors in the film including Vasco Santana, Joao Benard da Costa, Humberto Madeira and singer Anita Guerreiro. Nelson Riddle composed the music for the film and his rendition of Lisbon Antigua was a huge hit in the US. It's a  fado song (a type of traditional Portuguese folk music) and is sung by Guerreiro in one of the scenes.

Story-wise, Lisbon was kind of a disappointment. It took too long to get to the point and when it did I didn't care much. The beginning and ending scenes were great. I loved the resolution to the story. It's very satisfying for Milland's character. And the opening scene shows Claude Rains as the heartless Mavros as he lures and kills a bird to feed to his cat. It gives us some insight into his cruel nature. Maureen O'Hara is absolutely stunning in this film. She has the most complex character of the cast which isn't saying too much because a lot of these characters are rather two dimensional. It's worth watching Lisbon for the beautiful on location shooting by Jack A. Marta, the brilliant color made even more beautiful with the newly remastered Blu-ray, for the great cast and O'Hara and Furneaux's amazing wardrobe.

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Lisbon (1956) is available on Blu-Ray and DVD from Kino Lorber. When you use my buy links you help support this site. Thanks!

The Blu-Ray comes from a new high definition master from a 4K scan of the original Trucolor negative. It also includes audio commentary by film historian Toby Roan and a variety of Kino Lorber related trailers.

Thank you to Kino Lorber for sending me a copy of Lisbon (1956) for review. 

The Big Steal (1949)

This post is sponsored by DVD Netflix.

In 1949 RKO found themselves in a bit of a bind. Their latest project, The Big Steal, was already in the works when their star, Robert Mitchum, found himself in the clink for possession of narcotics. A couple of years earlier RKO had purchased Richard Worsmer’s short story from Columbia Pictures. They had planned to make the film with their star Chester Morris. When RKO bought the rights they turned to Daniel Mainwaring (aka Geoffrey Homes) to adapt the screenplay. They needed a leading lady and RKO made a deal with Hal Wallis for him to loan out Lizabeth Scott. But with Mitchum’s headline making scandal Scott and Wallis wanted nothing more to do with the project. No one knew exactly what effect Mitchum’s incarceration would have on his career. RKO chief Howard Hughes wasn’t about to his star Jane Russell be associated with Mitchum. At least not for a few more years when Mitchum and Russell made His Kind of Woman (1951) and Macao (1952). Hughes and his team needed what The Washington Post called “a bankable last-minute casting replacement.” And that replacement was Jane Greer.

Mitchum and Greer had starred together in the film noir Out of the Past (1947). It was a natural fit to reunite them for The Big Steal. “The woman with the Mona Lisa smile” had fond memories of working for RKO and would tell stories of the family atmosphere of the studio. They groomed their stars and had an active role in training them and building their careers from the ground up. In the early days of her career she auditioned for several studios and moguls but it was independent producer Howard Hughes who signed her up for a contract. Hughes was obsessed with Greer and would deny her work when she didn’t return his affection. She managed to get out of that contract and sign up with RKO. However Hughes bought RKO a few years later and was back in control of Greer’s acting career. In an interview with journalist James Bawden, Greer said,

“He had bought RKO and I figured I was through. But he was still fixated with me. When I was well enough to work, he simply stopped sending scripts. Had to pay me or the contract would have blown up. But just to get at me, he sent the checks and no work offers. Refused to loan me out. He was going to punish me for marrying someone else. He was going to make me suffer.”

It’s sad that we can’t discuss Jane Greer’s work without talking about all the times Hughes tried to sabotage it. In the case of The Big Steal, Hughes placed in a precarious position of starring alongside an actor with a potentially tarnished reputation. But little did Hughes know that Mitchum’s arrest would have the opposite affect on his career and that audiences would embrace seeing Greer and Mitchum on screen once again.

“Never mind where you’ve been just worry where you’re going.”

The Big Steal stars Robert Mitchum as Duke Halliday, an army lieutenant on the run from his captain Vincent Blake (William Bendix) who thinks Duke stole $300,000 cash from the Army. Blake follows Halliday to Mexico where Halliday is on the chase for the person who actually stole the money, Jim Fiske (Patric Knowles). Along the way Halliday meets Joan Graham (Jane Greer), Fiske’s girlfriend and another victim of Fiske’s double-crossing schemes. Halliday and Graham do not get along. It’s a battle of wits between these two. Just as Halliday has Fiske in his grasp, he’s thwarted by police inspector General Ortega (Ramon Novarro). Halliday hitches a ride with Graham, much to her dismay, and the two set off on a wild goose chase through the Mexican countryside in search of Fiske. With Blake on their tail and a lot of obstacles in their way, this unlikely pair are about to find out that not everything is as it seems.

Film historian James Ursini refers to The Big Steal as “screwball comedy meets film noir.” You may watch this film and wonder what’s so noir about it. It’s truly a hybrid film, much lighter fare than Mitchum and Greer’s Out of the Past (1947). This was an opportunity for the two to tap into their comedic talents. Greer’s lost a bit of her youthful glow and not as soft and deceptively innocent looking as she was in the role of Kathie Moffat. Greer’s Joan Graham is wise and world-weary. She has the ingenuity to keep things moving along especially when Duke stalls. Their scenes together are playful. Halliday calls her “Chiquita”, Spanish for small. He makes fun of Graham’s driving only to discover that his sexist remark is completely unfounded: she’s a more than competent driver and can tackle the winding roads at great speed. She's the sidekick he needed. They don’t trust each other at first but soon develop a sweet affection for each other that blossoms into a romance but also makes them protective of each other. Theirs is a hate-love relationship whereas in Out of the Past it was very much love-hate.

Shot on location in Mexico, relative newcomer, director Don Siegel, had to keep production going while Mitchum served his time in the LA County jail. In an interview, Greer remembers, “We all sat around for two months getting paid and waiting for our leading man to reappear.” Any scene that could be shot without Mitchum or with a stand-in was filmed. Mitchum was released from jail in March 1949 and it was full speed ahead for production. There was another time crunch to deal with. Greer was pregnant with her second child and starting to show. What resulted was a taut little 71 minute movie, a non-stop chase movie with some continuity errors but no room for needless lingering. One notable aspect of the film is the depiction of Mexicans in the film. They are wary of tourists, especially American ones. Graham chastises Halliday for treating various Mexican characters in an abrupt manner. It’s clear that Graham and Halliday have to work with the locals rather than have the locals work for them. As a Latina, I look for the representation of Latino characters in film and I found these scenes kind of refreshing.

For fans of Out of the Past (1947), seeing Mitchum and Greer together again, albeit in a very different type of movie, is a treat. It’s not a great film but it’s enjoyable viewing for Noirvember. Stay tuned because I have an in-depth article on Jane Greer and Robert Mitchum coming up in the annual "giant" issue of The Dark Pages newsletter.

Disclaimer: As a DVD Nation director, I earn rewards from DVD Netflix. You can rent The Big Steal on DVD.com.

Fritz Lang's Beyond a Reasonable Doubt (1956)

On the surface Tom Garrett (Dana Andrews) has everything going for him. He's a successful novelist and engaged to the beautiful and wealthy Susan Spencer (Joan Fontaine). But the restless Tom keeps postponing their marriage. When Susan's father, newspaper publisher Austin Spencer (Sidney Blackmer), and Tom witness an execution, the two concoct a plan to prove that circumstantial evidence can send an innocent man to the electric chair. They want to prove to District Attorney Roy Thompson (Philip Bourneuf) that the justice system is inherently flawed in this way. The unsolved case of the murdered nightclub performer Patty Gray seems to be the perfect case for them to tackle. The two work together building up fake evidence to make it seem like Tom killed Patty. When Tom is inevitably arrested and brought to court, the end of their game is in sight. But when Austin Spencer dies in a fiery car crash on the way to the court house with the documents that will absolve Tom, now he's on his own. That is unless his fiancee Susan, who hadn't been privy to Austin and Tom's plan, can save him. But when Susan finds out something shocking about Tom, and why he wouldn't commit to a wedding date, she has to face some harsh truths and make one of the biggest decisions of her life.

Dana Andrews and Joan Fontaine in a publicity photo for Beyond a Reasonable Doubt

Sidney Blackmer and Dana Andrews in Beyond a Reasonable Doubt

Beyond a Reasonable Doubt (1956) has one of the best plot twists of all time. I've watched it on several occasions and even though I know the ending the film gets under my skin with every viewing. I don't want to spoil it for anyone who hasn't seen it because the twist is what makes this movie so good. And beyond the plot device, the movie's exploration of capital punishment, double jeopardy and the justice system overall is thought-provoking.

This novel concept came from the mind of writer Douglas Morrow. Not only was Morrow an Academy Award winning screenwriter (The Stratton Story), he was also at one time an opera singer, a law student at Columbia, a movie producer and eventually went on to serve on an advisory council for NASA. The Space Foundation even has a public outreach award named in his honor. The original plan was for Morrow to create his own independent production company and develop his story idea into a screenplay with Ida Lupino. They both had Joseph Cotten in mind to star in the role of Tom Garrett. However, that plan fell through and another independent producer, Bert Friedlob, bought the rights to Morrow's story. Lupino and Cotten were eventually dropped from the project. I can only surmise that if Lupino had indeed contributed to the screenplay, the female characters wouldn't be so one-dimensional as they were in the final product.

This is one of two films Friedlob worked on with director Fritz Lang. The two had a contentious relationship (you can read more about this in my article on While the City Sleeps, their first film together). They worked on both While the City Sleeps and Beyond a Reasonable Doubt simultaneously with the latter shot in Chicago over 20 days. The atmosphere on the set was rife with tension. Lang and Friedlob butted heads on many aspects of the production and couldn't come to an agreement about the ending. Eventually Lang got the ending he wanted but he wasn't satisfied in the least bit with the final picture. According to Lang biographer Patrick McGillligan, Lang said the following about Beyond a Reasonable Doubt, "I hate it but it was a great success. I don't know why." While it failed at the box office, the film would go on to receive critical praise over the years. In 2009, director Peter Hyams remade the film in a drama starring Michael Douglas, Amber Tamblyn and Jesse Metcalfe.

Beyond a Reasonable Doubt proved to be its own sort of death knell. Frustrated by the lack of control he had over his film projects, Fritz Lang left Hollywood for good. He made three films in Europe before retiring. Producer Bert Friedlob, once married to actress Eleanor Parker and renowned as a lothario and businessman, died of cancer in 1956 at the age of 49 just a month after the release of Beyond a Reasonable Doubt. His cancer came on suddenly and developed rapidly despite several surgeries performed to save him. RKO distributed Friedlob's final film but their demise was just around the corner. In January 1957, RKO ceased operations. Actress Joan Fontaine was nearing the end of her movie career. She made only 6 more films after this one and went on to work in TV.

Beyond a Reasonable Doubt (1956) is available on Blu-Ray from the Warner Archive Collection.
When you use my buy link to make a purchase at the WB Shop you help support this site. Thanks! The Blu-Ray features a brand new 1080p HD remaster as well as the original trailer and closed captions.

George, D.W. and Matt discuss the film on the Warner Archive Podcast episode The Darkness of Noir. For those of you participating in #Noirvember make sure you add Beyond a Reasonable Doubt to your to-be-watched list!

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Beyond a Reasonable Doubt (1956) on Blu-Ray for review!

The Woman in the Window (1944)

"Trouble starts from little things. Often from some forgotten natural tendency."

It's impossible to talk about Fritz Lang's The Woman in the Window (1944) without talking about its famous ending. I'm not going to even try. You've been warned.

Years ago I taped this film off of TCM and watched it with my mother. We were completely engrossed in the film and developed a growing concern for Edward G. Robinson's character. As the movie progressed we knew there was no way out for him and panic started to set in. He was getting deeper and deeper into a bad situation. What was going to happen to this poor sweet man? All he did was admire a portrait in the window. How did he get into this mess? Just as the film reached its climax we held our breath. When the ending came and we saw it was all just a dream, we breathed out a huge sigh of relief. My mother still talks about the film to this day. Sometimes she doesn't remember the title or the particulars of the story. But the ending, she'll always remember that. It's the one instance where a movie becomes its own hero and saves the audience from falling off the precipice into heart ache. And we're grateful for it.

The Woman in the Window stars Edward G. Robinson as Richard Wanley, a professor of criminal psychology. With his wife and kids away on vacation, Professor Wanley spends time with his professional peers, including district attorney (Raymond Massey) and Dr. Barkstane (Edmund Breon). All three men are going through a mid-life crisis of sorts. They all have one thing in common: the admiration of a beautiful woman whose portrait is displayed in a shop window. One evening Wanley, as he stares at the portrait, sees a reflection. It's the portrait's subject, Alice Reed (Joan Bennett). What starts as an innocent flirtation ends with Wanley at Reed's apartment and a dead body. Reed's rich boyfriend tries to kill Wanley and an act of self-defense, with the help of Reed passing a pair of scissors to Wanley, will easily be misinterpreted as murder. The two plot to dispose of the body but they've gotten more than they bargained for. Reed must face her beaut Heidt (Dan Duryea) who catches wind of what happens and wants to be paid in return for his silence. And Wanley is implicating himself more and more as his district attorney friend handles the investigation. Wanley only sees one way out but luckily wakes up in time to discover it was all just a dream.

Based on the novel Once Off Guard by J.H. Wallis, The Woman in the Window was adapted to screen by Nunnally Johnson. Johnson had become a successful script writer at 20th Century Fox. Wanting to expand his business opportunities into both writing and producing, he founded International Pictures, Inc. Johnson's first project was adapting Wallis' novel onto film. He had both Fritz Lang and Edward G. Robinson in mind for the project. After Marlene Dietrich and other actresses turned down the female lead, Bennett was offered the part. Johnson's daughter Marjorie Fowler, then Marjorie Johnson, worked as an editor on the film.

Some major changes were in store for Wallis' story. According to Fritz Lang biographer Patrick McGilligan, "the novel had hinted that the female lead was a prostitute; Johnson made the character more ambiguous, but still obviously a rich man's mistress." Then there was that ending. In the novel, the protagonist, a professor of English not criminal psychology, deems all hope to be lost and commits suicide. This just wouldn't do for the movie version. Johnson wanted the original ending but got push back from studio execs. According to Johnson biographer Tom Stempel, suicide was a "story solution discouraged by the Production Code. [William] Goetz insisted that the story be revealed at the end to be a dream. Johnson felt that kind of ending was a cheat but Goetz was insistent..."

And wouldn't you know it, the ending worked. The Woman in the Window was a hit at the box office. While critics complained about the ending, they praised the film overall. According to McGilligan, quoting Fritz Lang, "the happier ending 'made a difference of a million dollars more in receipts."

Upon the success of The Woman in the Window, Fritz Lang, Joan Bennett and Bennett's husband, producer Walter Wanger, teamed up to start Diana Productions named after Bennett's daughter from her first marriage. Their first production was Scarlet Street (1945) which reunites Woman's three main stars Edward G. Robinson, Joan Bennett and Dan Duryea in what proved to be an eerily similar story. Many classic film fans like to joke that Scarlet and Woman are essentially the same movie.

Bennett and Lang collaborated on a total of 5 films which also include Confirm or Deny (1941), Man Hunt (1941) and the Diana Productions film Secret Beyond the Door (1947). This is notable because Fritz Lang was notoriously bad with his actors and many would give up working with him after one or two films. Stars like Brigitte Helm, Spencer Tracy and Henry Fonda wrote off working with Lang. Sylvia Sidney, who collaborated on three films with Lang, and Bennett seemed to be the only ones who were willing to endure working with the director.

The Woman in the Window is a marvelous film. A taught film noir that tugs at your heartstrings. I love that Bennett's Alice Reed isn't a femme fatale caricature. There's more complexity than usual. Bennett really shines in this part which reminded me a bit of Jane Greer's character in Out of the Past (1947) but with more heart. Robinson does a fine job drawing out the audience's sympathy for his character. He's sweet and pathetic and we want to protect him like a baby bird that's fallen out of the nest. And Dan Duryea. Nice man in real life and pure evil on screen. A sign of true talent that he could so effectively play the opposite of himself. Robinson, Bennett and Duryea make for a dynamic trio on screen and are just as enjoyable in the next installment.

And for the record, I loved the ending. Sure it's a stereotype of an old Hollywood cop-out but I bought it hook, line, and sinker.

The Woman in the Window (1944) is available on Blu-Ray and DVD from Kino Lorber Studio Classics. The disc includes subtitles, audio commentary by film historian and film noir expert Imogen Sara Smith, and a variety of noir trailers. The film has been newly mastered in high definition and looks great on Blu-Ray. The package contains a reversible jacket with another poster design on the reverse side.

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Thank you to Kino Lorber for sending me a copy of the Blu-Ray for review.

Cinema Shame: Le samouraï (1967)

When I was curating my Cinema Shame list for 2018, I looked to FilmStruck for some inspiration. Le samouraï (1967) is a staple on FilmStruck's Criterion Channel and one of the first films I noticed on the service when I signed up as a beta user. I wasn’t familiar with director Jean-Pierre Melville’s work and hadn’t seen many Alain Delon films. For me that’s good enough a reason to dive in because I love exploring unfamiliar territory. In addition to that, my love of French cinema and the influence of my friend Kate Gabrielle, who is a big Alain Delon fan, helped put Le samouraï on my FilmStruck watchlist.

Le samouraï stars Alain Delon as Jef Costello, a professional hitman hired to kill the owner of a jazz club. He goes through an elaborate ritual in preparation for the kill: he dresses up in his signature trench coat, with popped collar, hat and white gloves, he establishes an alibi with his girlfriend Jane (Nathalie Delon) and he steals a car. The hit goes according to plan until it doesn’t. The club’s pianiste (Cathy Rosier) becomes a witness to the murder. Jef is put in a police line up and is suspected of being the killer by Le Commissaire (Francois Perier). This puts his bosses, which include some of the club’s staff, in a precarious situation. They decide that they must get rid of Jef to protect themselves. Jef goes from killer for hire to target.

Jean-Pierre Melville was heavily influenced by American Film Noir and it shows in Le samouraï. This French neo-noir thriller is atmospheric and strikingly visual. I love how the film plays with light and shadow. Alain Delon is a perfect fit for Jef, the cold, detached and methodical protagonist. Delon brings a mystique to the character that makes Jef one cool mofo. Delon is a work of art in motion. I love how beautifully he’s positioned in the different scenes. With his amazing blue eyes are piercing through the screen, Delon is someone you just want to keep looking at. Yes there are other actors in this movie but they all seem to serve as pawns to tell Jef’s story.

And his story is brilliantly told. The first 10 minutes are without any dialogue. We watch Jef go through the motions of his pre-kill ritual. Just watching him we learn about what kind of man he is but also we’re held at a distance. In one of the early, it’s a rainy day, Jef has just stolen a car and a beautiful young woman looks over at him while they sit in traffic. He acknowledges her presence but makes it clearn he has no interest in pursuing any form of interaction with her. As the audience we have the same dynamic with him. In Jef’s apartment is a bullfinch in a cage. I like to think the bird represents Jef’s fear of being trapped. He’ll do anything to be free and stay free. At any cost.

I fell for Le samouraï hook, line and sinker. I’m here for more Melville, more Delon and more French neo-noir. It was by happenstance that I watched Robert Wise's film noir thriller Odds Against Tomorrow (1959) immediately after watching Le samouraï . I found out later that Melville adored that film, kept his own 35mm copy, and watched it over 80 times. A review of that film is coming soon!

Le samouraï is available to watch on FilmStruck's Criterion Channel. There is no expiration date so this one is not going anywhere anytime soon.

Le samouraï (1967) is the fourth of eight films that I am watching for the 2018 Cinema Shame challenge. Check out my original list and stay tuned for more reviews!
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Hell on Frisco Bay (1955)

Steve Rollins (Alan Ladd) is a man who's been wronged. After serving a 5 year sentence at San Quentin for a crime he didn't commit, the former cop is now free. Waiting for him at the gate is his old partner Dan (William Demarest) who sticks with him through thick and thin, and his wife Marcia (Joanne Dru), a lounge singer who gave into temptation while her husband was away. But Steve can't be bothered with dealing with his failed marriage. He's on a mission to track down the one man responsible for putting him in the slammer: Vic Damato (Edward G. Robinson). He got a hot tip from Frank Ragoni about who set him up and now Ragoni is missing. All fingers point to Damato who leads a mob syndicate that terrorizes the Italian fishing community of San Francisco. He's drunk with power and will kill anyone who gets in his way, even one of his own. He rules his team with an iron fist. First there's his number one man, Joe (Paul Stewart), who will do anything Damato tells him to but pulls away when he starts a romance with former screen star Kay (Fay Wray). Then there's Hammy (Stanley Adams), a blood thirsty mobster who is a little too eager to please, Damato's naive nephew Mario (Perry Lopez) and his man on the inside, dirty cop Detective Connors (Peter Hansen). Steve must make his way through web of shady characters to uncover the truth and to bring down Damato once and for all.

Hell on Frisco Bay (1955) is a fascinating noir, filmed in Cinemascope and Warner Color by with plenty of on-location shooting in the city by the bay. San Francisco serves as the beautiful backdrop for a dark tale of disturbed characters. Viewers will see shots of the Golden Gate Bridge, the Bay Bridge, Fisherman's Wharf and the San Francisco, Ghirardelli Square, the Embarcadero and the iconic hills of San Francisco. Anyone familiar with the city will find plenty of recognizable scenery.

Based on the novel The Darkest Hour by William P. McGivern, Hell on Frisco Bay was adapted by screenwriters Sydney Boehm and Martin Rackin for Warner Bros. McGivern also wrote The Big Heat which is one of my favorite Noirs and one of the best films Fritz Lang made during his time in Hollywood. It was directed by Frank Tuttle who worked with Alan Ladd on This Gun for Hire (1942). Ladd, who also served as an uncredited producer through his company Jaguar Productions, hired Tuttle and other colleagues from his Paramount days including William Demarest, Paul Stewart and Anthony Caruso.

This Noir boasts a cast of characters portrayed by some of the best in the business. Edward G. Robinson playing a heartless mobster is no stretch as he had been playing such characters for many years. Alan Ladd looks worse for wear but his performance as Steve begs for the audience's sympathy but also holds them at a distance. I was quite taken with Paul Stewart's nuanced performance as Damato's reluctant sidekick Joe. He's not an actor I'm all that familiar with but this film definitely brought him to my attention. Fay Wray has an important but small role as a former actress who tries to protect her gangster boyfriend. I wish Joanne Dru and William Demarest had more to do in the film. They really just serve as the protagonist's counter parts. Starlet Jayne Mansfield has a bit role as the girl Perry Lopez dances with at Damato's night club. A young Rod Taylor, billed as Rodney Taylor, has a small role as one of Damato's thugs. His fight seen with Alan Ladd isn't quite believable but it's still fun to see Taylor in what was his fourth movie. In fact Ladd and Robinson have a big action-packed scene in San Francisco Bay that is also not quite believable. But with the help of stunt men and some studio footage, it works.

Hell on Frisco Bay is a gorgeous movie. Where it lacks in story telling it makes up for in stunning visuals and dramatic music by Max Steiner. This movie makes me long for a time when you could dress up, go to a classy lounge, have a drink and hear a good song or two. I always forget how richly visual 1950s movies are until I watch a good one and am reminded of this fact. Because of the gorgeous color cinematography, the film felt less like a Noir and more like a 1950s drama. I don't think this hurts the film at all. It makes it more of a hybrid.

Hell on Frisco Bay is available on Blu-Ray and DVD-MOD from the Warner Archive Collection. According to their recent podcast Hard Lessons this is the first time this film has been available either on DVD or Blu-Ray format. The film has been remastered from the original camera negative at 4k. You can buy the DVD and Blu-Ray at the WB Shop. Using my buy links helps support this site. Thanks!

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Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Hell on Frisco Bay (1955) to review!

Hangover Square (1945) #Noirvember

"But Mr. Middleton, music is the most important thing to me."

"No Mr. Bone. The most important thing is your life."

Obsession can destroy a person. In the 1940s, venerated actor Laird Cregar was making strides in Hollywood. He had success in films such as Blood and Sand (1941), I Wake Up Screaming (1941), This Gun for Hire (1942) and Heaven Can Wait (1943). However he hit a major career roadblock when he lost the part of Waldo Lydecker in Laura (1944) to Clifton Webb. The problem was that Cregar looked the part of a heavy. Audiences instantly knew he was a villain. Cregar was a big guy, over 300 pounds with bulging eyes. For Hollywood this meant being relegated to obvious villain roles. He'd be denied romantic leads and complicated characters. Cregar's obsession with his craft led him on the road to destruction.

20th Century Fox's Darryl F. Zanuck didn't know what to do with Cregar who had turned down several roles hoping for something that would make him a star like his idol John Barrymore. After much negotiation, Cregar got the lead role in Hangover Square (1945). This role would be his last.  Cregar had gone on a crash diet losing a whopping 100 pounds. After the filming he planned on having operations that would transform him from villainous heavy to romantic leading man. He underwent the era's equivalent of gastric bypass surgery in December of 1944 with plastic surgery on his eyes to follow. Having done so much damage to his body in the quest to become the actor he always wanted to be, Cregar's body gave out and he died a few days after his stomach operation.

Linda Darnell and Laird Cregar

Cregar's performance as George Harvey Bone would be his grand finale. His character's trajectory would mirror his own. Directed by John Brahm, Hangover Square is a Film Noir set in the Edwardian era. George Harvey Bone is a celebrated composer. He suffers from psychotic spells that set him in murderous rages. When he comes out of these spells he doesn't remember what he's done and he returns to being his mild-mannered self. His friends Sir Henry Chapman (Alan Napier ) and Chapman's daughter Barbara (Faye Marlowe) are concerned about him and ask him to seek the advice of psychiatrist Dr. Allan Middleton (George Sanders). Dr. Middleton suspects the recent murders were committed by George but continues to study him to make sure.

George falls into the snare of lounge singer Netta Longdon (Linda Darnell). She's beautiful, exotic and just out of reach. She entices him in a way that the sweet and doe-eyed Barbara. Netta uses her sexual allure to get George to compose original songs for her. George falls in love and Netta has no clue what psychotic rage lurks beneath George's relative mild exterior. Everything literally goes up in flames in two dramatic climaxes: a Guy Fawkes bonfire followed by the tortured performance of George's masterpiece, his grand concerto.

The story was based on author Patrick Hamilton's 1941 novel. Adapted for the screen by writer Barre Lyndon, significant changes were made to the plot. The setting was shifted from England on the brink of WWII to an Edwardian setting. In the movie, the principal character is a composer and music becomes an overarching theme in the story. Legendary composer Bernard Herrmann contributed a beautiful score as well as a fantastic 10 minute concerto.

Hangover Square is a stunning Film Noir. Cinematographer Joseph LaShelle's artistry is on full display. The artful composition of scenes with forced perspective, careful placing of objects and people and stunning lighting add to the eeriness of the film. There is one shot in particular that I loved. George Sanders' Dr. Middleton is confronting Cregar's George Bone. Sanders is in shadow and Cregar is washed in a harsh light. The recent 4k restoration sharpens the visual artistry of the film.

I'm always delighted to find a new-to-me Film Noir to fall in love with. Hangover Square did not disappoint. I particularly loved the performances and found a new appreciation for Laird Cregar. He artfully plays a Dr. Jekyll/Mr. Hyde type delivering a masterful final performance. Unfortunately we were all robbed of what could have been a long and legendary career from this talented man.

George Sanders and Faye Marlowe

I'll watch anything with George Sanders in it and he's what drew me to the film in the first place. I only wish there was more of him in this movie to enjoy! Linda Darnell is playful as the wily femme fatale. I was particularly delighted with Faye Marlowe whose Barbara is the polar opposite of Darnell's Netta. Hangover Square is her film debut. At the tender age of 17, Faye Marlowe was in a high school production of Our Town and caught the eye of a talent agent. Soon after she did a screen test and was signed to a contract with 20th Century Fox.  Years later Marlowe joked, "back in those days studios were signing up starlets like bad checks." Darryl F. Zanuck changed her surname to the glamorous Marlowe and John Brahm cast her in the role because she reminded him of his ex-wife. Marlowe is still with us and is the last surviving cast member.

Amazon — Barnes and Noble — Best Buy

Hangover Square (1945) is available on Blu-Ray from Kino Lorber. Bonus features include audio commentary track with screenwriter/historian Steve Haberman and actress Faye Marlowe and a separate commentary track with author/historian Richard Schickel. There's a short doc on Laird Cregar, a few trailers and an audio recording radio production of the movie featuring Vincent Price in the lead role.

Thank you to Kino Lorber for sending me a copy of the Blu-Ray to review!

Alias Nick Beal (1949)

It's a story as old as time. A mortal sells his soul to the devil for what he really wants only to suffer the consequences later. Bargaining with evil always comes at a cost.

"I'd give my soul to nail him." - Joseph Foster

Joseph Foster (Thomas Mitchell) is a good man by all accounts. He's devoted to his wife Martha (Geraldine Wall). He runs an athletic club for wayward boys with his good friend Reverend Thomas Garfield (George Macready) and takes on a particular tough case with Larry Price (Darryl Hickman). As district attorney, he seeks to put a criminal in jail but just needs the proof.  And this is when his troubles begins. When he proclaims he would sell his soul for evidence needed in the case, a mysterious figure by the name of Nick Beal (Ray Milland) shows up. He's a strange man. He appears and disappears seemingly out of the blue. He's conjures up the much needed evidence and helps Foster run for governor. Then things start to spiral out of control. Foster develops a wandering eye when Beal hires prostitute Donna Allen (Audrey Totter) to play the role of dutiful campaign secretary and temptation to Foster. Then people start to question how Foster was able to get that evidence that had once been destroyed. Foster can't seem to shake the shadowy figure who haunts him day by day. Who exactly is Nick Beal and what does he want from Foster? Can Foster save his marriage, his career, his life?

Directed by John Farrow, Alias Nick Beal (1949) is a terrific Film Noir with a fantastic cast, captivating story, ominous music, beautiful and eerie cinematography. It's everything a film noir should be: dark, brooding and captivating. Based on an original story by Mindret Lord and adapted for the screen by Jonathan Latimer, Alias Nick Beal is a modern story in the tradition of Goethe's Faust. It's a morality tale with a clear warning against "trading principles for personal glory."

Audrey Totter and Ray Milland in Alias Nick Beal

If you came to Alias Nick Beal for Ray Milland, you won't be disappointed. A few years after his Academy Award winning performance in The Lost Weekend, Milland wanted to strengthen his acting muscles with different types of characters. Nick Beal presented him with a chance to play a villain, a captivating one at that. Audrey Totter has a fantastic role as Donna who transforms from a lowlife to a career woman. She's a complex character who begins to doubt her newfound role. Totter is always amazing to watch on screen and I love her in this sort of two-part role. One of my favorite actors of all time Darryl Hickman has small but memorable role as a tough kid from the streets who becomes the recipient of Foster's benevolence. Cast members looked back on this film kindly. John Farrow and Audrey Totter both proclaimed it as one of their best films. Farrow could be tough on actors but he seemed to get on swimmingly with Milland.

Watching Alias Nick Beal, I couldn't help but feel like it came from a parallel universe. Another old Hollywood where many movies like this existed and this one just happened to sneak through to the other side. Perhaps it's the fact that this film is so highly sought-after and hard to get that makes it that way. This movie aired recently on TCM as part of their Summer Under the Stars tribute to Ray Milland. It was the first time they had ever screened the moment making it one not to miss. This film, along with many others, are part of the Paramount library owned and tightly controlled by MCA. If you find yourself with an opportunity to watch Alias Nick Beal, do so. Who knows when you'll get another chance.

Update: According to this article in The Hollywood Reporter, the last film Hugh Hefner screened at the Playboy Mansion, nine days before he passed away, was Alias Nick Beal. Did he tape it off of TCM?!

Undercurrent (1946)

In 1946 Robert Mitchum was under contract to RKO. They had loaned him out to MGM for two pictures Undercurrent (1946) and Desire Me (1947) which were filmed back-to-back. He had relatively small roles in both as the third person in a romantic melodrama. Both films turned out to be box office failures. Not that this hurt Mitchum's career trajectory at all. In fact, placing Mitchum in movies with the type of high-caliber stars that were missing from RKO's line-up, in this case MGM heavyweights Greer Garson in Desire Me and Katharine Hepburn and Robert Taylor in Undercurrent, was incredible exposure for Mitchum. And the following year he'd make Out of the Past (1947) which would help secure him a spot as a popular leading man in Hollywood.

Katharine Hepburn, Robert Taylor and Robert Mitchum's shadow in a publicity shot for MGM

Directed by Vincente Minnelli, Undercurrent (1946) is part film noir, part neurotic melodrama. Katharine Hepburn stars as Ann, a scientist and 30-something daughter of well-respected Professor Hamilton (Edmund Gwenn) whom she lovingly refers to as Dink. She's a tomboy, wears pants, loves chemistry, and doesn't fuss too much over her appearance. But in the world she lives in she's really just a dowdy woman on the verge of spinsterhood. When charming young inventor Alan Garroway (Robert Taylor) comes to visit Professor Hamilton, Ann is soon swept away by his romantic gestures. Garroway is attracted to Ann much in the same way he would be to a new idea for an invention. He sees possibility to transform her into a glamorous socialite. All seems well in their marriage until it becomes apparent that Garroway harbors dark secrets. He's severed his relationship with his brother Michael Garroway (Robert Mitchum) and in conversation with Ann he paints the picture of unforgivable sibling betrayal. Ann believes him until she discovers Alan's first lie and things begins to unfold. Ann suffers the internal battle between her love for Alan and her desire for the truth. Is Alan really the man she fell in love with? And where is Michael?

Katharine Hepburn and Robert Mitchum in Undercurrent (1946)

 "Is there good swimming?" - Ann

"No, riptide." - Michael

"Looks very calm." - Ann

"You can't always see that undercurrent." - Michael

"Like life." - Ann

Clearly I watched this movie for one reason: Robert Mitchum. While his character Michael is central to the story, Mitchum himself doesn't appear until 62 minute mark of a 2 hour movie and his total screen time is probably less than 10 minutes. Needless to say this was a disappointment for me but I was grateful for to check off another Mitchum movie off my to-be-watched list.

While it's categorized as a film noir, I like the term "neurotic melodrama" a lot better. It really captures the overall theme of the movie. The build up of tension is slow and methodical. None of the roles suited the main players. Ann was a weak role for Katharine Hepburn whom we all know shines when she has strong characters to play. Mitchum as the mysterious brother was also a weak character for him. Robert Taylor's performance was decent. I grew more fearful of his character as the story progressed so I thought that was an effective part of the movie. I think this film is worth watching for the main players, the melodrama and the build up of tension. This was Jayne Meadows film debut. She plays Sylvia Benton, a no-nonsense socialite who was unwillingly caught in a love triangle with the two brothers. She has a small but fantastic part as the tough woman who opens Ann's eyes to what's happening around her. Clinton Sundberg plays Taylor's right-hand man. Marjorie Main has a small role in the beginning of the film as the Hamilton's maid and mother figure to Ann.

This movie was a departure for Minnelli so he wasn't the only one on set who out of his element. From what I've read, Hepburn and Mitchum didn't get along which could be why there is very little to no tenderness between them in what should be tender scenes in the film. In an interview with Dick Lochte, Mitchum remembered overhearing Hepburn refer to him as a "cheap flash actor." This was the only time they worked together which was probably for the best.

The film didn't perform well in theaters. In 1947 playwright Fay Elhert sued MGM for using the title of his play, one he submitted to MGM for consideration, for this movie. Laraine Day had been promised the title role of Ann in exchange for her appearing in Keep Your Powder Dry (1945). MGM didn't hold up their end of the bargain and Day severed her contract with them.

I'm conflicted about this movie. I want to like it but something pulls me back. I can't quite put my finger on it. It could be shorter with even more tension. Maybe other actors better suited to the roles would have improved the film for me. But otherwise it's just an ordinary movie that I just happened to enjoy but not too much.

If you've seen this film I would love to know what you think!

I watched this film on iTunes. I missed an opportunity to see it at the Brattle Theatre as part of their Robert Mitchum centennial repertory series but hope to catch another screening soon.

Sources:
TCMDB
Robert Mitchum: Baby I Don't Care by Lee Server
Mitchum in His Own Words edited by Jerry Roberts