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
Directed as if he were holding a sharp knife to the gut, “Scandal Sheet” was the first in a series of noirish crime films made by Phil Karlson in the 1950’s. Based on a novel (The Dark Page) by filmmaker Sam Fuller with a screenplay by Ted Shedeman, Eugene Ling and James Poe, “Scandal Sheet” moves along at a speedy pace throughout its 88 minute running time. Karlson’s dark world is aided nicely by cinematographer Burnett Guffey who manages to make the studio bound sets feel like the dirty grit of the big city.
Once a respectable New York City newspaper, but with a falling circulation, relentless editor Mark Chapman (Broderick Crawford) was brought in to turn the paper into a tabloid seeking sensationalistic rag exploiting the helpless victims of crimes. In return, he has more than doubled the papers’ circulation satisfying the majority of the newspaper’s board members. Crawford is intensely uncompromising as Chapman, a cynical man who has escaped from a previously secret life some twenty years earlier. Like many noir anti-heroes though, his past comes back to haunt him. In this case, it’s his wife. Continue reading
James Stewart’s dark side is on full display in this upper north western. As usual with an Anthony Mann western the landscape plays an important part, the Canadian Rockies are majestic, though here the landscape is a combination of the natural beauty and artificial backlots whereas Mann’s other westerns were filmed entirely on location. This gives “The Far Country” a more ethereal tone that fits in with Stewart’s character, Jeff Webster, a man who isolates himself from all others in the film except for Ben Tatum, Walter Brennan’s old timer, whose death will trigger him into action.
Stewart’s Jeff Webster is a loner by choice, anti-social, he lives by his own code and depends on no one. “I don’t need help, I take care of me,” he tells Ben, the only person in the film he lets in anyway get close to him. They have been good friends for many years and Ben is very fond of Jeff. Yet, like the Canadian landscape, where much of the film takes place, Stewart remains cold and isolated from everyone else. Continue reading