Barbara Stanwyck was always at her best when her character came from the wrong side of the tracks. She seemed to have a natural affinity for those whose lives have mostly been filled with hard times, scrapping by the best way they can. Maybe, it had to do with her sad Brooklyn upbringing, her mother dying when she was four, pushed from a streetcar by a drunk, and her father leaving only weeks later, never heard from again. That kind of pain has to leave an indelible mark on one for life. Yet, beneath the tough exterior would hide a gentle desirous heart longing for acceptance and love that would eventually show itself. This double side of Stanwyck’s persona is clearly on display many of her films including this 1940 holiday comedy/drama, Remember the Night.
MacMurray is prosecuting Assistant District Attorney, John Sargent. He arranges through a legal technicality, to have Lee Leander’s (Barbara Stanwyck) trial for shoplifting postponed until after the holidays. This results in Lee, unable to post bail, having to spend the long holiday week in a jail cell. Sargent, in a twinge of guilt, or holiday spirit, arranges through a shady bondsman to have Lee’s five thousand dollars bail paid for. When the bondsman delivers Lee to the ADA’s apartment, she is cynical enough to have no doubt, her payback to him will be in sexual favors. To her surprise, D.A. John Sargent expects nothing in return. He really just did not want her to spend Christmas in jail. The look of surprise in Lee’s eyes and face is priceless when this realization hits her. Continue reading →
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.