In a Lonely Place ( 1950) Nicholas Ray

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Nicholas Ray’s films were filled with anti-heroes. Characters who were disillusioned with life. Outsiders in a system they could not or would not fit into or accept. Protagonist Dix Steele fits the mole perfectly. For Humphrey Bogart, playing Dix, was a stretch. This was not the typical Bogart character we were used to seeing. Whether on the right or wrong side of the law, Bogart’s characters were generally calm, cool and in control (The Maltese Falcon, Casablanca). As Dix, we are watching the flip side. A man who is always on edge: cynical, moody and ready to explode at the slightest moment. As a screenwriter, like Joe Gillis in Sunset Blvd., he knew where on the Hollywood pecking order he stood…way down at the bottom. He despised the Hollywood machine, considering most in the industry hacks or as he says, “popcorn salesmen.” Continue reading

Key Largo (1948) John Huston

Key Largo

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Here’s the story of the hurricane….

   On September 2nd 1935, a category five, the highest level, storm slammed into the Florida Keys. The storm hit on Labor Day. Original predictions had it heading between the Lower Keys and Cuba. At first, it was thought to be a lessor storm. Then it blew up heading toward Upper Matcumbe Key, Plantation Key and Tavernier Key with wind speeds between 200 and 250 mph. It turned out to be the strongest hurricane to ever make landfall in the United States. Storm surges ranged from 18 to 25 feet. Towns like Tavernier and Marathon were left with no buildings standing. Over 400 hundred deaths were reported, many were World War I veterans who were working on the completion of the Overseas Highway the road that would connect the mainland to the keys. The veterans were part of the government’s Civilian Conservation Corps (CCC). Continue reading

Kid Galahad (1937) Michael Curtiz

Harry-Carey-Wayne-Morris-and-Edward-G_-Robinson-in-Kid-Galahad-1937Kid Galahad is a solid entertaining Warner Brothers film starring Edward G. Robinson, Bette Davis and Humphrey Bogart, so you can hardly go wrong. The film was directed by Micheal Curtiz who just a few years later would direct Bogie in one of cinema’s greatest classics, Casablanca. Here Bogie is still a second string player in one of his typical, for the time, gangster punk roles he was being typecast to play. He had the unlikely name of Turkey Morgan. Like what tough guy has a nickname of Turkey? Continue reading

Short Takes: Bogart, Bacall and Widmark Times Two

This week’s short takes are not a particularly great bunch. Like most bloggers I tend to write about the films I love, or at least like. I decided that’s not fair; makes every film that is considered “classic” sound great. They are not. This group is not necessarily horrible, except for one; another is mediocre and another is just decent. Now mediocrity can be enjoyable on some levels, recently I have been watching some low budget Boston Blackie films from Columbia Pictures which have been on TCM every weekend. They are light hearted, a bit corny, but enjoyable pieces of detective fluff. Blackie, as played by Chester Morris, is the only one with any brains, and in every film has to prove his innocence to the two dumb and dumber detectives who see him as a one man crime wave. You see, Blackie was a former jewel thief, now gone straight. At best, these films are fair, lightweight entertainment. Classic? Well, I guess it all goes down to your definition of classic, which by the way, has been discussed recently by some members of CMBA and there is a particularly good posting on the subject by Gilby of  Random Ramblings of a Broadway, Film and TV Fan.  Anyway below are this week’s short takes. classics or not. Continue reading

Short Takes – Bogie, McQueen, Cassavetes and More…

My next full length review with be up on Monday morning. The change in schedule is due to my participation in the Michael Powell/Emeric Pressburger blogathon hosted by the Classic Film and TV Cafe .  I will be contributing a piece on the 1960 film, “Peeping Tom.” In the meantime, I thought I would post seven short takes on some other films that I have recently watched.

The Sand Peebles (1966) Directed by Robert Wise

When “The Sand Peebles” premiered in December 1966, the U.S. was already deep into its “quagmire” in Vietnam, a foreign policy disaster fueled by false fears that if one domino (Vietnam) fell, all the others in Southeast Asia would surely all fall too. Though set in 1926 in China, the analogy to Vietnam and the depiction of racism, prevalent at the time as well as the colonialism is all too clear.  “The Sand Peebles” is a three hour anti-war epic about the effects of wrong-headed foreign policy. Steve McQueen gives what is arguably his finest performance as a rebellious ship engineer. Richard Crenna is superb as the ships’ self-righteous Captain, as is Richard Attenborough as one of McQueen’s shipmates who falls for a local Chinese girl.  Visually, the film is epic and stunningly photographed. Only weak spot is Candice Bergen’s non-existent performance as a missionary. Continue reading

Black Legion (1937) Archie Mayo

Only Warner Brothers, who ripped the stories from the day’s headlines, would have the guts to have put out a gutsy uncompromising perceptive film like “Black Legion.”  Released in 1937, the film traces the story of Frank Taylor (Humphrey Bogart), a machinist who gets passed over for a promotion in favor for a more qualified “foreigner,” Polish-American co-worker, Joe Dombrowski (Henry Brandon).  Frank, prior to being passed over, was a swell guy, a good family man, liked by everyone at work for his eagerness to do a good job. That all changes after the studious Dombrowski is anointed with the Supervisor position Frank thought he had in the bag. After all, he had many years of service and he was a real American. 

Director Archie Mayo paints a brutally ugly picture of bigotry, cowardice and senseless brutality hiding behind a mob mentality of flag waving patriotism. The film’s screenplay, written by Abem Finkel and William Wister Haines, was based on a story by Robert Lord, who wrote a fictionalized version of the secret society known as the Black Legion, a group based in the nation’s heartland who modeled themselves on the Klu Klux Klan. Like the fictional organization in the film, the real Black Legion had a common purpose, keeping America pure for “real” Americans.  During their reign there were daily news reports of kidnappings, floggings, hangings, and were responsible for at least two murders, including the death of Workers Progress Administration organizer, Charles Poole. The Black Legion swore to fight against the Catholic Church, Judaism, Communism, “and all the ism’s our forefathers came to this country to avoid.” That is except for racism which they embraced. Continue reading

The Desperate Hours (1955) William Wyler

May Contain Spoilers!

What I have always liked about this film is its sense of unrelenting fear and randomness that it could happen to anyone. That is what still makes this film work well. Wyler is an archetypal style Hollywood filmmaker in the best sense of the word. He never lets the camera intrude on the story.
Three convicts escape from prison and take cover in the home of the Hilliard’s, a “typical” American family of four living in a middle class neighborhood. Holding the family hostage the escaped cons are waiting for the girlfriend of Glenn Griffin (Bogart) to deliver a money package to help with their escape.


This was Bogart’s final role as a gangster and his next to last film before succumbing to cancer two years after the film was made. Bogart once said, his role here was Duke Mantee, referring to his star making part in “The Petrified Forest”, all grown up. It is a good point, in both films the Bogart character and his cronies are holding a group of innocent hostages. Griffin is a sneering, arrogant menace easily willing to lie, cheat and kill to get what he wants just like Mantee. Bogart growls with a viciousness in a perfect career ending role for the man who created some of the most memorable sleaze ball gangsters in cinema history.


As Dan Hilliard the head of the invaded household Fredric March is steadfast, determined to protect his family, capable of battling Griffin in a psychological battle to save his home. He not only has to stand up to the three convicts on the run but later toward the climatic end has to fend off the various law enforcement agencies including a local sheriff who wants to rush in with guns blazing taking down anyone in their path mostly because it would not be good for his career if these criminals got away.
The remainder of the cast does a capable job with Arthur Kennedy as Deputy Sheriff, Martha Scott as Ellie Hilliard, the wife, Dewey Martin as Hal, the younger of the Griffin brothers and Robert Middleton as Kobish the bear like uncontrollable third convict. Mary Murphy as the older of the two Griffin kids is somewhat overshadowed by the rest of the cast. You may remember her as the nice local town girl in “The Wild One.” The one cast member I found wanting was Gig Young who plays Murphy’s much older lawyer boyfriend, older by about twenty years. Except for his performance in “They Shoot Horses, Don’t They?” I have always found Young a rather bland actor. He does nothing to alter those feelings here.


The source story began as a bestselling novel in 1954 written by Joseph Hayes. The following year Hayes adapted the novel into a play that made its way to Broadway in 1955 (winning a Tony Award) with Paul Newman as Glenn Griffin and Karl Malden as the head of the Hilliard family. The story was inspired by several real life incidents. The film was actually completed before the play even opened on Broadway, subsequently it was held back from release until the play unexpectedly closed after Karl Malden left the production after 212 performances.
The change in casting from a young and still relative newcomer like Paul Newman to the iconic Bogart caused an obvious age difference between the convict Glen Griffin and his young brother Hal portrayed by Dewey Martin. Hayes willingly changed the script to accommodate the age difference in the actors. That said it does in no way distract from the story.
Wyler originally wanted Gary Cooper or Henry Fonda for the role of the father with Marlon Brando or James Dean in the role of Glenn Griffin. Later he sought Spencer Tracy as the family head but no agreement could be reached between Bogart and Tracy on who would receive top billing, subsequently Tracy bowed out. Also look for two well known “B” actors in small roles, science fiction favorite Beverly Garland and Joe Flynn of “McHale’s Navy” fame, who plays a motorist whose car is hijacked by Kobish.
As previously mentioned the novel is based on an actual incident which took place in Pennsylvania in 1952 when James and Elizabeth Hill were held hostage in their home by escaped federal convicts. In 1955 to coincide with the opening of the play, Life Magazine ran an article and photographs with the original stage stars (Newman and Malden) recreating some scenes in the actual home where the Hill’s lived (they had since moved away). The Hill’s sued the author, Paramount Pictures and Random House the publisher for $300,000 claiming invasion of privacy. The case was eventually dismissed.


As a director Wyler was well known for being relentless in pursuing the performances he wanted from his actors, many times by intimidation. There was one time he made Bogart work overtime (he and Bogart had an agreement that the actor would quit every day at five). By the time it got to six o’clock Bogart was pissed and put all his frustration and anger into the scene which was just what Wyler wanted. Another time, there was a simple scene where March was to kiss Martha Scott and leave for work. After more than thirty takes Scott asked Wyler what it was she was doing wrong. Wyler said, “It’s not you, I want March to look tired.” He was “acting” too much, his character was supposed to be worn out and upset. The scene took over a day to shoot but Wyler got his shot.


The film received mostly good reviews, one exception was from the ever odd Bosley Crowther of The New York Times who called it “a mere exercise in melodramatic hocus pocus.” Surprisingly the film did not do well at the box office. Part of the reason may have to do with the hold up in releasing the film until after the play closed. “The Desperate Hours” opened in October however, in July a film with a similar theme called “The Night Holds Terror” opened. It is possible the public did not want to see another family held hostage drama and opted out .
A 1990 remake by Michael Cimino with Mickey Roarke is best just left on the video shelf.

The Movie Projector presents the William Wyler blogathon running through June 29th. Click here for more great reviews.