Tough Without a Gun by Stefan Kanfer

Tough Without a Gun
The Life and Extraordinary Afterlife of Humphrey Bogart
by Stefan Kanfer
Hardcover - February 2011
9780307271006 $26.95
Paperback - February 2012
Alfred A. Knopf (Random House)

In a corrupt world he kept his own code of honor, without the consolations of religion or social approval. - Stefan Kanfer

[Bogart was] the only man I have ever known who truly and completely belonged to himself. - Lauren Bacall

The term "tough without a gun" comes from author Raymond Chandler. Chandler said "Bogart can be tough without a gun... he has a sense of humor that contains the grating undertone of contempt." Bogie was a man's man. He was the man. He was tough with or without a gun. You watch him, you admire him, you fear him and you want to be him. The most important thing you need to know about Bogie was that he was always himself. He was never molded or shaped. Instead, he stayed true to what he was and it showed on screen and off.

Stefan Kanfer's book, Tough Without a Gun, focuses on the film career, personal life and the posthumous development of the cult of Bogie. I really wish Kanfer had dedicated more time to the Extraordinary Afterlife part. We get 227 pages of Bogie's life and death and only 27 pages of his afterlife. However, those short 27 pages do provide a lot of insight into why, almost 55 years after his death we still idolized Bogie.

In the book, we get to glimpse at a very young Bogie who came from a well-to-do WASP family. His mother was an illustrator (she drew the famous Gerber baby but Bogie was not the model contrary to popular belief) and his father was a doctor. He was a privileged kid but when he became an adult a lot of things changed. His mother and father's marriage went south (although they didn't divorce), his father got himself into bad debt and his sister, after having a child, suffered from post-partum depression which led to her alcoholism. We see that Bogie's early dramatic career, on stage and in movies, was very much a way for him to earn money to help his family.

Kanfer glosses over what he thinks are Bogie's smaller films and Bogie's biggest films are given more time, back story and explanation. He spends a lot of time talking about High Sierra (1941) , Casablanca (1942), The Maltese Falcon (1941), To Have and Have Not (1944), The African Queen (1951), etc. Do be aware that he does give away entire plot lines. If you haven't seen a film he's talking about, skip over that section and come back to it after you've seen the film. Kanfer also looks closely at Bogart's four marriages including the most well-known (and romanticized) one he had with Lauren Bacall as well as his friendships with directors, actors and actresses and his relationship with his two children.

Tough Without a Gun is chock-full of interesting anecdotes and insights. And the funny thing is, the most interesting ones are not about Bogie at all. However, they do relate to Bogie in some way and are put into context. Here are my favorites:


- James Cagney operated a 100 acre farm in Martha's Vineyard (I want to find this!)
- Edward G. Robinson had a huge collection of art work.
- Joan Bennett's husband shot her agent out of jealousy. Bennett was blacklisted from films even though the agent wasn't fatally wounded and she never cheated on her husband. Bogie helped her get her role in We're No Angels (1955).
- On the Waterfront's plot may be Budd Schulberg and Elia Kazan's response to the HUAC.
- Peter Sellers was an expert Bogie impersonator and did some of the dubbing in Beat the Devil (1953).
- Casablanca almost didn't make it onto film because of the Post-Code issue of the two main characters being lovers previous to the story.
- Director Edward Dmytryk  gave many more names to the HUAC than Elia Kazan and he also spent time in jail for his Communist ties.

Also, Kanfer's book has a major error in it that I spotted right away. And it's not about Bogie! Kanfer says the following about Paul Henreid's role in Now, Voyager (1942): "On a cruise, the ugly duckling meets the unhappily married Henreid, and under his ministrations turns into an enchanting and self-assured swan." NO! That is NOT what happens. By the time Bette Davis' character makes it onto the cruise she's already a swan and it's under Claude Rains' ministrations that she makes her transformation. For those of you who are fans of the film, you may recall Henreid's character being shocked by a picture of her in her ugly duckling stage. I really hope the publisher fixes this error before the paperback publishes.

Kanfer reveals a lot about Bogie without dishing dirt. This book is great for those of you who love Bogie but don't want gossip-ridden fare. Kanfer's portrait of Bogie is both kind and realistic. The book is insightful and you'll come to understand why Bogie became such an iconoclast. So what are you waiting for? Get your read on!

Full Disclosure: I asked the publisher for a review copy.

Winner of the Fourth Blogiversary Giveaway

And the winner of my Fourth Blogiversary giveaway is... (drumroll, please)

Jill! AKA Kitten Biscuits from the classic film blog Sittin' on a Backyard Fence. You can also follow her on @BiscuitKitten on Twitter.

This was her entry: 

"My all time favorite Cary Grant film is Hitchcock's NOTORIOUS. Grant worked with some great directors during his career, but no one uncovered the darker side of the Cary Grant persona better than Hitchcock. Grant's Devlin is the most complicated character he ever played and he did so beautifully. It is a shame he didn't play these types of roles more. I love Devlin's skepticism, his sex appeal and romanticism, his feelings of betrayal by Alicia (while betraying her), and his redemption. I also can't forget to mention Ingrid Bergman. She and Grant had excellent chemistry, which makes all the difference. Plus they are both ridiculously sexy in this film.

I love NOTORIOUS so much that I drove 4 1/2 hours to Savannah, GA with my husband (we live in Atlanta) to see a 35 mm screening. A glorious moment I will never forget. "

I would like to second the "ridiculously sexy" comment! Too true. And she makes a great point about Hitchcock bringing out Cary Grant's darker side. He did the same in Suspicion (1941). And driving 4-1/2 hours to see Notorious?! That's some serious dedication right there. 

Jill has won a copy of Good Stuff: A Reminiscence of my Father, Cary Grant by Jennifer Grant.

Thank you to everyone who entered my giveaway!

Summer of Classic Films in Boston - July 2011

Lots of great films for July!

Brattle Theater - Cambridge

Tickets are $9.75, Matinees before 5 pm are $7.75. Students $7.75 with ID. Seniors $6.75. Children under 12 $6.75. You can also purchase one of many different membership packages.

The Leopard (1963) 
July 8th - 10th (Friday - Sunday) - 4pm and 7:30 pm

The Man Who Knew Too Much (1956)
July 11th  (Monday) - 2:30 pm and 5:00 pm
July 12th  (Tuesday) - 2:30 pm and 5:30 pm

Double Feature! Two for the price of one!
The Birds (1963) & Psycho (1960)
July 18th (Monday) - 2:30 pm (Birds) 5:00 pm (Psycho)
July 19th (Tuesday) - 2:45 pm and 7:00 pm (Birds) 5:15 pm and 9:30 pm (Psycho)

Battleship Potemkin (1925)
July 22nd (Friday) - 8:00 pm
July 23rd (Saturday) - 12:30 pm, 2:15 pm, 4:00 pm, 5:45 pm, 7:30 pm
July 24th (Sunday) - 12:30 pm, 2:15 pm, 4:00 pm, 5:45 pm, 7:30 pm

-----------------------

Somerville Theater - Somerville

Weekday matinees (before 5pm and not including Holidays) are $5. Saturday, Sunday and  Holiday matinees (before 6pm) are $7.00. All other times are $8.00. There are discounts for Senior Citizens and children under 12.

The African Queen (1951)
July 3rd (Sunday) - 11:00 am
July 4th (Monday) - 5:00 pm and 8:00 pm

Singin' in the Rain (1952)
July 10th (Sunday) - 11:00 am
July 11th (Monday) - 5:00 pm and 8:00 pm

The Wizard of Oz (1939)
July 17th (Sunday) - 11:00 am
July 18th (Monday) - 5:00 pm and 8:00 pm

Dr. Strangelove (1964)
July 24th (Sunday) - 11:00 am
July 25th  (Monday) - 5:00 pm and 8:00 pm

Ninotchka (1939)
July 31st (Sunday) - 11:00 am

Silent Film Series - Buster Keaton
Special event price $12.00, $8 for Seniors and Students
July 10th (Sunday) - 7pm
Seven Chances (1925) plus Keaton shorts Neighbors (1920) and The Goat (1921)
with live musical accompaniment

-----------------------

Harvard Film Archive - Cambridge

Tickets are $9, $7 for Students and Senior Citizens. Some screenings are $12 or even free (check the website)! Cash only folks. Don't bring the credit card. And you can NOT buy in advance so show up early.

These films are part of the Joseph L. Mankiewicz series.

The Barefoot Contessa (1954)

July 22nd (Friday) - 7:00 pm

July 24th (Sunday) - 4:30 pm

Somewhere in the Night (1946)
July 22nd (Friday) - 9:30 pm

All About Eve (1950)
July 23rd (Saturday) - 7:30 pm

The Late George Apley (1947)
July 23rd (Saturday) - 9:30 pm

Guys and Dolls (1955)
July 24th (Sunday) - 7:00 pm

People Will Talk (1951)
July 25th (Monday) - 7:00 pm


Suddenly, Last Summer (1959)
July 29th (Friday) - 7:00 pm
July 31st (Sunday) - 4:30 pm

The Honey Pot (1967)
July 29th (Friday) - 9:15 pm

Escape (1948)
July 30th (Saturday) - 9:30 pm


No Way Out (1950)
July 31st (Sunday) - 9:30 pm

The African Queen (1951) at the Brattle

This passage comes from the book Tough Without a Gun: The Life and Extraordinary Afterlife of Humphrey Bogart by Stefan Kanfer:

In the early 1950s the Brattle Theater in Cambridge, Massachusetts, tried something old. Like many another venue for productions of Shakespeare, Chekhov, and Shaw, the Brattle had become a film house in the early 1950s. But it was a film house unlike any other. It had a rear-screen projector, rather than the standard setup that beamed movies on a screen above the audience. And it had owners who believed that the past could be more alluring than the present.

 In April of 1957, the Brattle screened Casablanca (1942), 15 years after it had come out and 3 months after Bogart died. Kanfer goes on to show how the posthumous cult of Bogie starts at the Brattle and spreads across the country gathering followers along the way. Having seen Casablanca (1942) at the Brattle and having seen The African Queen (1951) , another Bogie film, there too, I think this is pretty darn cool. It makes me love the Brattle more than I do already.

For a whole week, the Brattle showed a restored 35mm print of The African Queen (1951) starring Katharine Hepburn and Humphrey Bogart and directed by John Huston. In cases like these, I'm glad I haven't yet devoured all the great classics because I got to experience viewing The African Queen for the first time on the big screen. Not having seen it in its previous condition, I can't tell you how the restored print compares however I can tell you that I saw was strangely beautiful. A Technicolor film showing dirt and grime in all its glory. 

The trifecta of Huston-Hepburn-Bogie just works. The director and the two stars were a scrappy trio. Hepburn had an adventurous spirit and her natural mischievousness made her a perfect fit for playing Rose Sayers. Stefan Kanfer says that Hepburn enjoyed hanging around heavy drinkers John Huston and Humphrey Bogart. Perhaps because she was in a long-term, albeit extramarital, relationship with hard drinker Spencer Tracy and knew what to expect. Hepburn didn't drink much on set herself but maybe she should have. She believed in drinking lots of water and ended up getting very sick after ingesting contaminated water. Huston & Bogie staved off the sickness by sticking to the booze. Perhaps Bogie's portrayal of the gin-loving Charlie Allnut was easy peasy for him and perhaps the sober version of Charlie, after Rose throws away all his liquor, required a little more work. It all comes together to make one beautiful picture.

I enjoyed this film very much. I was a bit thrown off by that first scene in the church when all the native Africans are trying to mimic the sounds of an English hymn as Katharine Hepburn and Robert Morley try to sing eloquently over their drones. It did set up the comedy aspect of the movie though. While Rose and Charlie are in a lot of danger, it's a very light-hearted movie. Because there is such a strict focus on those two characters you get plenty of time to understand them, care for them and laugh at their wild antics. While this film was also screened at the Somerville Theatre, I'm glad I watched it at the Brattle, the so-called originating point of the cult of Bogie.

Captains Courageous (1937) at The Somerville Theater

One of these things is not like the others. One of these things just doesn't belong.

 

Does your local theater have this kind of variety? I doubt it!

 

Please, sir. Could you show me the way to the main theater?

 

The Somerville Theater recently kicked off their Classic Film Series with two screenings of Captains Courageous (1937). I was a bit surprised that this movie was even in the line-up. Surprised, yet very, very happy. Captains Courageous is a film I've been meaning to watch for quite a while and getting a chance to see it for the first time and on the big screen to boot was an opportunity I couldn't pass up. And I went by myself! I've been to a lot of social gatherings lately so it was really nice to be able to watch this on my own. And although I always encourage people to share classic films with others, sometimes it's nice to have a movie all to yourself. It's a very intimate and personal experience and I recommend it if you ever need a break from being social butterfly.

Directed by Victor Fleming, Captains Courageous stars Freddie Bartholomew as Harvey Cheyne, a spoiled little motherless brat whose father, Frank Burton Cheyne (Melvyn Douglas), sends him off to boarding school each year. Off Harvey goes with pockets full of cash and false sense of entitlement. The father is neglectful of his son and without any guidance Harvey is a poor excuse for a boy. With the power of his dad's money, Harvey tries to bribe and trick his way into things. The other kids start to dislike Harvey and he wants out of school so he tells his dad that the school masters are abusing him and accepting bribes. Once the father finds out Harvey's real problem, he pulls him out of school and takes him on a cruise to Europe for some dad-son bonding time. But oops! Harvey falls off the boat. No worries! He gets rescued by a Portuguese fisherman named Manuel Fidello (Spencer Tracy). Manuel brings Harvey back to the fishing Schooner. Lionel Barrymore  plays the captain, Mickey Rooney  plays the captain's son, John Carradine  plays Long Jack and there is a motley crew of other seafaring men on board. Harvey is stuck on the schooner for the 3 months the fisherman will be out at sea before they head back to Gloucester, MA with their catch. Reluctantly on both their parts, Manuel and Harvey start a friendship. Manuel becomes the father figure Harvey never had. The situation is too good to be true. You just know something bad is going to happen.

Manuel Fidello (Spencer Tracy) is curly-haired, Portuguese and lives in Massachusetts. Who does that remind me of?

Oh yeah. ME! But I have a better accent than Spencer Tracy did. The man could not speak Portuguese!

Having seen as many classic films as I have I can usually place a film in a certain time period by observing a few things. If I can, I try to guess the exact year. If I'm off, it's only ever by a little bit. So having forgotten that this film is from 1937, I looked at a few things to guess that the film was from the late 1930s. For one thing, Lionel Barrymore is up and walking. After his accident and with his problems of arthritis, Lionel Barrymore was wheel chair bound from the 1940s until his death in the mid 1950s. A youngish Mickey Rooney looked young but not too young. Spencer Tracy, who didn't age very well and always looked older than he was, did not serve as a point of reference to me at all! Neither did Freddie Bartholomew because frankly this is the first of his films I've ever seen and I wouldn't have been able to guess from his age. In the beginning of the film I spotted a lot of Art Deco fixtures and furniture. That definitely places is it in the 1930s. The content of the film places it post pre-Code (so after 1934). Ultimately, I guessed 1937 or 1938.

I had a wonderful experience at the Somerville Theater! I sincerely wish I brought a few tissues as I really needed them and my shirt sleeve wasn't cutting it. I want to say thank you to them for taking a chance and showing this wonderful theater on the big screen!

Silent Film Stars Historic Records Available on Ancestry.com

Below is a press release from Ancestry.com. I think this will be very interesting for folks who are researching information about silent era film stars and coming across major obstacles. I have a few film stars I'd like to research. I hope this will be a good source for biographers which may mean more classic film biographies in our future! You do need a membership to use the service though. It may be well worth it for the truly dedicated film historians.

--------------------
Silent Cinema Stars Private Information Revealed In Historic Studio Archives- Now Available Online at Ancestry.com

Thousands of stars of the early silver screen detailed in Motion Picture Studio Directories

§ Records include Charlie Chaplin, “Fatty” Arbuckle and Oliver Hardy (images available)

§ Directories reveal ‘vital statistics’ stars probably didn’t want you to know…


Provo, Utah – June 13, 2011 – Ancestry.com, the world’s largest online family resource, has launched online records of the original Hollywood film studios, which profile the superstars of silent cinema at the beginning of the 20th century. Digitized in partnership with the California State Library (where the original ledgers are held), the records are now fully searchable online for the first time by name, birthplace and date of birth.

Much like today’s online film and actors database IMDb, the directories were compiled by executives of the ‘big five’ studios – Warner Bros., FPL Corp (Paramount), RKO, MGM and 20thCentury Fox. ‘Up & Coming’ studios also contributed to the records, among them Universal, Columbia and United Artists.

The Motion Picture Studio Directories (1919 and 1921)feature thousands of leading actors, actresses, cinematographers, writers, editors, directors, producers and screenwriters of the day – at a time when cinemas were selling more than 100 million tickets a week. The silent film era was so incredibly prominent during its heyday that the highest grossing film of the time, The Birth of a Nation, earned $10 million in 1915, equivalent to more than $216 million in modern era earnings and a runaway blockbuster by today’s standards.

The records contain information about iconic actors and actresses such as Charlie Chaplin, who reached the height of his fame during the silent film era by using mime and slapstick to great effect. His records describe him as 5’4” with brown hair and blue eyes and list his address as the Charlie Chaplain Film Co on La Brea Avenue, Los Angeles.

Actors’ entries include details of past film roles, age, birthplace, height, weight, address and even a home phone number in some cases. The biggest stars often paid to include photos in order to attract greater interest from film executives (images available).

In fact, several actors omitted or amended their information to make them more marketable. The entry for one of the most famous of all silent movie actresses, Gloria Swanson, has the date of birth omitted, despite being just 32 at the time, and Roscoe ‘Fatty’ Arbuckle - one of the highest paid actors of the silent era - has a number of facts excluded, notably his weight.

Some further famous names listed include:

· Oliver Hardy – The ‘big man’ of comedy double act Laurel & Hardy, Hardy appeared in hundreds of films in a career spanning over 30 years. His directory entry includes his industry nickname ‘Babe,’ his unusual height for the era (6’1”) and weight (350 lbs).

· Lillian Gish – One of the leading actresses of the silent era and considered to be one of the greatest of all time, Gish played a lead character in The Birth of a Nation – the largest grossing of all silent movies.

· Buster Keaton – Known for his constantly stoic, deadpan expression during his comedy appearances, Keaton earned the nickname “The Great Stone Face”. He is listed as having taken part in military service, fighting for the US in WWI. It is during his service that Keaton developed an ear infection which left his hearing permanently impaired.

· Mary Pickford – Known as the “American Sweetheart” or “Girl with the Curls,” Pickford was a world-renowned actress. Her records detail her career starting as early as five-years-old and list her address as 4500 Sunset Boulevard, LA.

“These records paint an intriguing picture of how the early film industry operated and include some of the first and biggest names ever to appear on the silver screen,” remarked Quinton Atkinson, Ancestry.com Director of Content. “It’s fascinating to see the details that would have been kept reserved for film executives of the day and perhaps the details within might provide the link needed to prove your relation to a film executive, famous director or even one many movie stars found in the directories.”

Visit www.ancestry.com/motionpicturesto start searching the records now.

About Ancestry.com (www.ancestry.com)
Ancestry.com Inc. (Nasdaq: ACOM) is the world's largest online family history resource, with more than 1.6 million paying subscribers. More than 6 billion records have been added to the site in the past 14 years. Ancestry users have created more than 24 million family trees containing over 2.4 billion profiles. Ancestry.com has local Web sites directed at nine countries that help people discover, preserve and share their family history, including its flagship Web site at www.ancestry.com.

Fourth Blogiversary

It's been four wonderful years writing this blog. In those four years, I've made lots of great friends both online and off and had many wonderful experiences. If you've been reading this blog for four years, for one year for 1 minute, I appreciate you reading at all!

In celebration of my Fourth Blogiversary, I'm giving away one copy of Good Stuff by Jennifer Grant. I recently reviewed it for Father's Day.

Contest rules:

One entry per person. You must live in the U.S. or Canada (I'll make an exception for Sweden!). Contest ends Thursday June 30th at Midnight EST. Winner will be chosen at random. There is only one prize. If the winner does not respond within one week of being notified via email, a second winner will be chosen.

All you need to do to enter is fill out the below form (the entry gets sent to me but doesn't appear on the form after you click Submit). Or you can add your entry to the comments section. Do not Tweet or Facebook your entry. I won't count it. It must be entered through the form or added to the comments.

Full Disclosure: I purchased an extra copy of the book Good Stuff through Random House for this giveaway.

GIVEAWAY ENDED

Good Stuff by Jennifer Grant

Good Stuff: A Reminiscence of My Father, Cary Grant
by Jennifer Grant
9780307267108
May 2011
Knopf (Random House)

Happy Father's Day!

Good Stuff is unlike any other book you will ever come across. Reading it is a very intimate experience, one you share with the author. Jennifer Grant has given the public a peek into the love between a father and his only child. The father, Cary Grant, just happens to be one of the most famous, well-known and adored actors ever to have lived. We come to the book with a false sense of familiarity with Cary Grant only to discover that we didn't know about this part of his life at all.

Jennifer Grant reminisces about the first 20 years of her life; the years when her father was alive. Although the book goes back and forth through time freely, the reader never gets lost. Each chapter has a theme which anchors it and the progression of the book feels chronological even when it isn't. The author tried to capture the "essence of Dad's soul" when writing this book. It's not minute-by-minute account of 20 years past rather a way to portray her father the way she knew him. The title, Good Stuff, refers to something Cary Grant would say alot. The author says, "Dad used the expression 'good stuff' to declare happiness or, as one of his friends put it, he said it when please with the nature of things." The Cary Grant in this book is very happy to have finally had a child, one he could dote upon, teach, and most importantly love. You get the sense that he is scared of death because he doesn't want to miss those precious moments of his life. He didn't want to miss the good stuff.

Jennifer Grant is intelligent, observant and thoughtful and shares the most wonderful memories of her dad. At first I thought she came off a bit snooty, however, as I continued to read the book I realized that this is a woman who truly adored, loved and appreciated her father. She doesn't read any biographies about him. Before he passed away, Cary Grant warned his daughter that after his death people would say things about him. And to keep in mind what she knows about him now and what he's told her. He wanted her to remember him as he was, not as others will portray him to be. And that's exactly what she did in this book. While she does address some of the controversial topics of his life, including his sexuality (this surprised me!), she does stay true to her real memory of her dad.

The book is wider than your normal biography or memoir. It was purposefully made to look like a photo album or scrapbook. The pages are rough front which gives the book a sort of homemade feel. There are delightful pictures of father and daughter as well as other images that are so personal and intimate it feels like we are getting a peek into the Grant family's treasure trove. Jennifer Grant also included telegrams, typed notes, hand-written scribbles, drawings and written transcripts of audio recordings. She recounts conversations, events, explains some of the pictures.

What really touched me about this book is how much Cary Grant loved his daughter. He was so happy to have a child, he treasured every moment with her and kept a huge amount of mementos which he stored in a vault. The love, his love, is what will move you to tears when you read this book. And I implore that you do.

Full Disclosure: I purchased a copy of this book through Random House.

Here is an interview (she doesn't do many of these) with Jennifer Grant and ABC.

Beyond a Reasonable Doubt (1956) at the Paramount

My name is on the ticket!!!

I was recently invited by ArtsEmerson to attend one of the Noir Nights screenings being shown at the Paramount Theatre. While I wish I could have seen them all, but I only had time to catch Beyond a Reasonable Doubt (1956). Although it is the only film in the series that was available on DVD (through Warner Archive), they did show a rare print and it was great to watch it on the big(gish) screen.

The film was shown in the Bright Family Screening room which is part of the Paramount Theater building . While I was hoping to see a film in the grand 1,700 seat theater, I realize that the screening rare noir won't fill up a space that large. In fact, about 35-40 people attending this particular screening. However, I was very, very happy for any excuse to be inside the great Paramount Theater!

Now most currently active classic film bloggers are too new to the blogosphere to remember Ginger (of Asleep in New York) and her scathing and spoiler-ridden review of Beyond a Reasonable Doubt (1956). I remembered it though. At least I remembered it was scathing. That's pretty much all I remembered because when I went to the screening of the film I had absolutely no idea what it was about. Just that Ginger didn't like it. And you know what, coming to a film almost completely ignorant makes for a very interesting experience. Carlos, who came with me to the screening, had seen the 2009 remake of the same name and knew the plot and most importantly the major twist. So he was expecting what I wasn't.

Beyond a Reasonable Doubt  is Fritz Lang's last American film and stars Dana Andrews and some chick named Joan Fontaine. Dana Andrews is Tom Garrett, a writer who just had a lot of success with his first published book and is struggling to write the second. He's in a relationship with Susan Spencer (Joan Fontaine), the daughter of newspaper magnate Austin Spencer (Sidney Blackmer). Austin Spencer is against capital punishment and is out to prove to District Attorney Roy Thompson (Phillip Bourneuf) that circumstantial evidence could bring an innocent man to the electric chair. When a burlesque dancer is murdered, Spencer recruits Garrett to pretend that Garrett is the murderer. They place fake evidence in various places all the while taking  pictures and records of the acts to prove later that Garrett is innocent and that the evidence led prosecutors to the wrong man. Garrett even ingratiates himself with the two burlesque dancers who were the last to see the murdered woman alive. Garrett goes on trial. Then, as I like to say, things get complicated.

1956 is pretty late for the film noir era. I believe by that point audiences were so used to film noir fare that they were hungry for something new and different. Well Fritz Lang gave them what they asked for with this noir. The film has two major twists. It's those twists that make you either love the film or hate it. Most folks hate it. While I didn't love it, I didn't hate it either. I'm somewhere in the middle. Without providing too many spoilers, I agree with Ginger that the twists make the whole plot implausible. The major flaw is that there is no indication in the beginning of the film about what is to happen at the end. If there were, it would have saved the film for sure. Rebecca Myers from ArtsEmerson introduced the film and read to us from a quote which asked people to watch the film twice (unfortunately I forget the exact quote). I'm curious enough to watch the film a second time in case I missed something the first. However, overall I enjoyed the film. It kept me on the edge of my seat the entire time wondering what was going to happen next. Joan Fontaine was just blah. This is not her film. This is Dana Andrews film. And don't you forget it!

Thank you to ArtsEmerson for giving me the opportunity to check out the Noir Nights program! I enjoyed this screening and hope to be back soon.