Raw Deal was Anthony Mann’s second film with John Alton as cinematographer. It was a cinematic marriage that produced some of the finest low budget film noirs in cinema. Both Mann and Alton did excellent work with others, but together their sensibilities were simpatico. It was like they each knew what the other wanted. A short film, only 79 minutes, it’s packed with action, characterization, stylish dramatic dark lighting and expressive camera angles that tell as much about the story as the dialogue and plot reveal. Continue reading
David Goodis is in the pantheon of pulp fiction’s great crime writers. Though not as well known, he’s up there right alongside Chandler, Cain and Hammett. For years Goodis’ work was serialized in magazines and published in book form. Serialized in The Saturday Evening Post, his novel, Dark Passage gave him his big break. Hollywood came a knocking and the result was a big time hit movie from Warner Brothers starring Humphrey Bogart and Lauren Bacall. That same year (1947), he co-wrote, with James Gunn, the screenplay for The Unfaithful, another WB production. Continue reading
Lawrence Tierney as John Dillinger is pure evil in this Poverty Row “epic” film from Monogram Pictures. From the opening moments right down to the expected final shoot out at Chicago’s Biograph theater there is not one second where you feel any sympathy for the infamous outlaw. It was a breakout role for the actor who would go on to play a series of criminal type roles in films like Badman’s Territory, Hoodlum and Born to Kill. With the latter film, you knew you were on solid ground after reading New York Times film critic Bosley Crowther’s, infamous for hating many crime films now considered classic in the genre, scalding review. He called it “not only morally disgusting but an offense to normal intellect.” Continue reading
While Billy Wilder is best known as a film director, he always considered himself a writer first and director second. He worked best with a partner, and though he had many over the years, there were two, Charles Brackett and I.A.L. Diamond, who were his most important associates. Though he was born in Europe, Wilder quickly picked up and mastered the American vernacular. While Wilder always had a co-writer, there is no way to misinterpret a Wilder screenplay. His footprints are clearly all over them. Continue reading
John Farrow’s “The Big Clock” is a taut thriller with a tightly wound clock ticking away as its protagonist becomes more and more isolated and desperate after he has been indirectly set up to take the fall for the murder of his tyrannical boss’ lover. The film is based on a novel by Kenneth Fearing with a screenplay by Jonathan Latimer. Adding nicely to the tension is John Seitz’s impressive cinematography. The theme of greed, the cut throat behavior and heartlessness that exists in the corporate world, makes this film relevant more today than ever. Continue reading
“Whiplash” is the kind of routine film Warner Brothers pumped out weekly back in the 1930’s and 1940’s, the days before a television was standard in everyone’s home. Not saying this is as a bad thing or that “Whiplash” is a bad movie. It’s like the old saying goes, “They just don’t make’em like this anymore.” Now, no one is going to make the argument this is a great film, but with that said, it does keep you interested despite its flaws, specifically a script that at times stretches the imagination in the believability department.
In John Ford’s 1962 late career masterpiece, “The Man Who Shot Liberty Valance” there’s a line quoted by the town’s newspaper editor, Maxwell Scott, “This is the West, sir. When the legend becomes fact, print the legend.” And that’s just what John Ford was best at, recording the west not as it was, but as more of a mystical fable of how we want the west to be best remembered. Ford and his screenwriters play loose with the facts, still it is one of the most visually stunning of westerns, a black and white canvas of the west as it never existed, but we all wish it had.
Earp’s career has been idolized, revised and sanitized many times over. He was only a lawman for about eight years, and in Tombstone, it was Wyatt’s brother Virgil who was the Marshal with Wyatt and Virgil his deputies.(1) Not to bore you dear reader with the facts, but neither Doc Holliday nor Pop Clanton died during the short thirty second battle. Wyatt actually met Doc Holliday in Dodge City back in 1876 five years before the O.K. Corral shootings. When they left for Tombstone, John “Doc” Holliday followed. If you want a somewhat more realistic, though still not totally accurate, version of what happened back in 1881 at the O.K. Corral and its aftermath, check out John Sturges “Hour of the Gun.” Oh yeah, a couple of other things, when Wyatt visits the grave of the youngest Earp, James who was killed by the Clanton’s early in the film, his tombstone reads he died in 1882 instead of ’81 when the shootout occurred. And as for Clementine Carter, well she is a purely fictional character. Continue reading