My Darling Clementine (1946) John Ford


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

Hangover Square (1945) John Brahm

This review contains spoilers

Director John Brahm waste no time getting the suspense moving, as the film opens we see an older man fighting off an unseen attacker. From the camera’s POV a knife soon appears plunging into the chest of the man and then a quick shot of the killer tossing a gas lit lamp on to the floor, a deadly fire begins to rage. It is a powerful opening to a visually stunning film worthy of Hitchcock. Laird Cregar stars as George Harvey Bone a turn of the century classical composer inflicted with increasingly frequent blackouts that result in a murdering rampage. When Bone meets dance hall singer Netta (Linda Darnell) who plays up to him, manipulating him to write a few popular type songs she can include in her act, the old boy is hooked. Netta uses Bone, flirting yet continually resisting his affection. Of course, Bone eventually realizes he is being used by the cheap floozy and seeks his revenge by killing Netta and dumping her lifeless body on to the top of a barn fire set during a celebration on Guy Fawkes Night.

Fire plays an important part in this film occurring in at least in three significant points including the finale as Bone meets his own demise in a concert hall, where his piano concerto is being performed. The madman sets the theater on fire as the police attempt to surround him. The final image is one of Bone at the piano regally performing his work as he is engulfed in ever growing flames.

“Hangover Square” was a follow up reuniting in fog bound Victorian London director John Brahm, screenwriter Barre Lyndon (whose screenplay is based on the Patrick Hamilton novel), two of the three films stars Laird Cregar and George Sanders all who collaborated in the successful 1944 version of “The Lodger” just one year earlier. The setting of the original source novel was just prior to England’s entry into the war with Germany. For the film the creators changed the setting to turn of the century London to more closely resemble the mood and atmosphere of the prior year’s hit film.

 Brahm use of a subjective camera and low-angles united with Joseph LaShelle’s noir cinematography make for a first-rate entertaining piece of filmmaking.  The other major highlight in this film is the music of Bernard Herrmann who not only composed the incidental music but also the major concert pieces performed.  The film is a major vehicle for Herrmann’s work and one of his best scores. Both Herrmann (Psycho, North by Northwest, Marnie, Vertigo) and LaShelle (Alfred Hitchcock Presents) worked with Hitchcock, which this film could have easily been directed by. Brahm does an inspired job and like Herrmann and LaShelle would work for Hitchcock himself later in his career directing many episodes of “Alfred Hitchcock Presents” and “The Alfred Hitchcock Hour.”    Brahm also did some very good episodes of “The Twilight Zone”, “Thriller”, “The Outer Limits” and “The Man from UNCLE” among many others.  

Sadly, this was Laird Creager’s final film in a life that was way too short.