A dark Los Angeles night. A reckless speeding car is seen racing through the streets running a red light. When it comes to a screeching stop, a hunched over man gets out and enters the Pacific All Risk Insurance Co. Building. After looking at row after row of desk after repetitive desk, he goes into his private office. The man is hurt badly. Hunched over, perspiration running down his face, he begins to tell his tale into a dictaphone. His name is Walter Neff, and he is about to make a confession. Continue reading →
My love for movies began after my parents and I, moved from Manhattan to Brooklyn. I was just a few days shy of my eleventh birthday and was, and still am, an only child. I was on the shy side in those days making it hard at times to make new friends. There were plenty of kids around my age in the apartment building we moved to; still, it was not an entirely smooth transition. Movies became my outlet. Nearby was the Loew’s Oriental, a large majestic theater within walking distance. My other movie outlet was TV. New York City television during those early years, long before home video, was a treasure trove, a repertory theater filled with old films…only with commercials. There was The Early Show, The Late Show, The Big Preview, The 4 O’clock Movie, The 4:30 Movie, The Late Movie, Five Star Movie, Chiller Theater, and the best of all, Million Dollar Movie.
Sam Fuller’s background as a newspaper reporter is always evident in his films visual style. They always jump off the screen like the morning headlines. Fuller’s 1957 western begins exactly in that same fashion sucking you in right from its opening shot. A buckboard with three men, Griff Bonnell (Barry Sullivan) and his two brothers, suddenly hear the sound of a thundering herd of horses. Before they know it they are surrounded by the film title’s forty guns, led by Barbara Stanwyck’s Jessica Drummond, all dressed in blackm riding a white stallion. One of Fuller’s visually unique shots puts the camera’s POV under the buckboard as the horses thundering hooves pound on by. 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 →
Based on Lucille Fletcher’s highly popular radio play, “Sorry, Wrong Number” was brought to the screen in 1948 by producer Hal B. Wallis and Paramount. The film was directed by Anatole Litvak and stars Barbara Stanwyck and Burt Lancaster. The original radio show featured Agnes Moorehead and was primarily a tense one woman dialogue for the complete twenty-two minute show. The program was so popular, Moorehead reprised her role several times over the years, but when Wallis and Paramount purchased the property, they decided Moorehead was not a big enough star for the lead role in the film. So here came Stanwyck who had just signed a contract with Wallis making this her first film under the new agreement.
To expand the original short radio script into a feature film, Lucille Fletcher “opened” up her original story which she accomplished by adding a series of flashbacks and even some flashbacks within flashbacks, expanding the role of the husband, played by Lancaster. Fletcher would also turn the screenplay into a novel the same year the movie was released.
Stanwyck is Leona Stevenson, the bed ridden wealthy invalid, neurotic to the core, with more pills on her end table than Pfizer Inc. produces in a month of Sundays. She is confined to her lavish bedroom apartment, overlooking the New York City skyline. One evening Leona, attempting to call her boy toy husband Henry, accidently due to crossed telephone lines, overhears two men discussing a murder plot. She calls the police, then her father and finally her doctor, but no one believes her. Continue reading →
Steely eyed and sexy, that’s Barbara Stanwyck at her best. No one conveyed the tough dame, determined yet alluring look that can arouse a man’s loins any better. With a screenplay by Robert Rossen (Force of Evil) based on a story by John Patrick, “The Strange Love of Martha Ivers” is a hybrid twisting mix of film noir and 1940’s women’s melodrama with Stanwyck’s dangerous female right in the middle.
It’s the late 1920’s when Martha Ivers, a young orphaned teen, living with her rich aunt (Judith Anderson) strikes the older woman with a cane causing her to fall down a flight and stairs and die. Witnessed by her friend, Walter O’Neil, the boy backs up her story to his father, a hungry and ambitious lawyer, that the older woman did in fact “fall” with no help from Martha. The father suspects that’s not what really happened but realizes Martha, as her aunt’s only living relative stands to inherit a fortune and will make for a perfect wife for his awkward son. Continue reading →
“Illicit” was only Barbara Stanwyck’s fifth film and she was already a star. Having just appeared in Frank Capra’s “Ladies of Leisure” as a prostitute, or as they would call it, a ‘party girl’ for Columbia, Babs, who had arranged for non-exclusive contracts with both Columbia and Warner Brothers, starred in her next film for Brothers Warner as a free thinking woman, a post feminist long before the term was even conceived.
Stanwyck is Anne Vincent and her lover, James Rennie, is wealthy Richard “Dick” Ives II. They have been happily living out of wedlock, going away together for weekends, enjoying life, but she refuses to marry Dick who wants to marry her. Anne explains her theories on marriage, how married couples become complacent, have kids and begin to take each other for granted leaving the fun and romance behind. Anne wants none of that. Eventually though pressure from friends and family force the couple to marry. Once married, egos get hurt, misunderstandings come out of the closet as well as former lovers. From Anne’s past comes Price Baines, played smoothly by Ricardo Cortez, who keeps popping up to complicate the situation. Late in the film Dick is about to run off with a former girlfriend (Natalie Moorhead) when the couple come to the realization they only want each other. Continue reading →