These thieves will probably steal the entire film festival.
This poster for the 1957 film noir The Burglar looks pretty low rent, doesn't it? The movie is modestly budgeted too, but money isn't everything when it comes to making art. The film, which plays at Noir City tonight, opens with a nocturnal suburban heist that leaves a trio of break-in artists headed by Dan Duryea with a gaudy piece of $150,000 jewelry they can't hope to fence until the heat goes down. That means they have to wait, and with this mismatched group that means the pressure goes up. There's a fourth person in the mix. Jayne Mansfield, star of the promo poster, is the crew's eyes and ears, casing places they want to rob.
The Burglar is an early role for Mansfield, coming three years into her career, but it also arrived in cinemas a year after the big Twentieth Century Fox musical comedy The Girl Can't Help It, which featured her in full sex kitten mode, with the corset-crunched hourglass figure and helium voice. The irony is The Burglar was actually filmed before The Girl Can't Help It, but Mansfield's milieu had been set in stone by Fox's expensive hit. The Burglar challengingly asks her to be by turns innocent, tough, frustrated, terrified, and vulnerable. Basically, it asks too much this early in her career. But she gets by far the best line, when asked by Duryea at one point why she's being so fickle and difficult:
“You don't know? You really don't know? Well look at me! I'm a woman! I'm flesh and blood and I've got feelings!”
That one might bring the house down. A better actress might have nailed this dialogue, which was written by David Goodis working from his own novel, but as delivered by Mansfield the bit is funny, and actually goes on to hit other comedic notes. Though The Burglar demanded too much of the inexperienced Mansfield, she hurts the final product little, because the movie comes across like a sneaky parody anyway. With one partner in Mickey Shaughnessy who's creepy and rapey, and another in Peter Capell who's as highly strung as a banjo, head crook Duryea has assembled by far the worst gang in film noir history. There's no thought—not even for a second—that these three are going to achieve their goals.
But the movie is 190 proof noir—a knock-you-on-your-ass cocktail of nearly everything cool about the form. You get voiceover, flashback, nightmares, a loyal good girl led astray plus a femme fatale played by Martha Vickers, outrageous shadows, angular framing, hard-boiled dialogue, one crooked-as-fuck cop, a brassy, jazzy score, and beautiful night-for-night location work from director Paul Wendkos and cinematographer Don Malkames. And as bonuses you get a funhouse scene that's pure genius, and a high diving horse. The Burglar is sure to please all fans of old movies, but for noir lovers and lucky Noir City attendees in particular, it's nothing less than a landmark. You can learn a bit more about the film in the post below.
Lizbeth Scott finds herself floating on an ocean of tears.
Playwright John Guare once compared money to life preservers. People are just as desperate for money as someone in the ocean is for a way to float. They may be swimming fine, but without that life preserver they could go down in rough water and disappear without a trace. In Too Late for Tears a married couple that are swimming fine suddenly find themselves with an excess of life preservers when a bag of money lands in their car. We mean it literally—it comes out of the night and plops into the back seat of their convertible. It's a lot of money—$100,000, which would be more than a million bucks today. The couple don't really need this cash but they can't make themselves give it up. Which leads to serious problems when the crook who accidentally threw the bag into their car comes looking for it.
The promo poster is interesting. It shows bad guy Dan Duryea trying to make Lizbeth Scott tell him where the money went. But Scott's tough. She'll endure anything to keep the hundred grand. As an allegory about greed Too Late for Tears runs on a couple of tracks, but the way it suggests that the craving for money can make a woman forgive—or perhaps pretend to forgive—the unforgivable is a pretty potent commentary. Some viewers may find the very suggestion offensive, which is where thinking of the money as life preservers helps. What price wouldn't a rational person swimming in the ocean pay to guarantee that they would never drown? Too Late for Tears asks the question and the answer isn't pretty. It premiered in the U.S. today in 1949.
Bank heist goes every which way except the right way.
This year's Noir City Film Festival opens with the 1949 heist drama Criss Cross. Based on a bestselling novel of the same name by Don Tracy, it's the story of man played by Burt Lancaster who returns to Los Angeles after some years away to find that his ex-wife Yvonne De Carlo has hooked up with a local gangster. The exes rekindle their flame, but when it looks as if the gangster has caught them in the act Lancaster spontaneously cooks up a story about how he was putting together a plan to rob the armored car service for which he works.
Lancaster's robbery idea is not only designed to deflect the gangster's suspicion away from the affair, but to also fund the future he envisions with De Carlo when she and him run away. This scheme, which strains credulity, is probably one of the most obviously terrible ideas in the long, celebrated history of doomed ideas in film noir, but with good direction by Robert Siodmak, who had worked with Lancaster on The Killers, and good acting by all involved, the film concludes on the positive side of the effectiveness ledger. Numerous excellent Los Angeles exteriors, including at Union Station and on now mostly leveled Bunker Hill, make this noir an important time capsule as well, an aspect that increases its appeal. And an excellent musical number by Esy Morales & His Rhumba Band gives the proceedings a further boost. All in all, Criss Cross is a winner.
Nice guys finish last—until they're pushed too far.
The 1945 film noir Scarlet Street is one of the bleaker offerings from a generally bleak genre. Edward G. Robinson plays an aspiring painter in a loveless marriage whose need makes him a perfect mark for a pair of hustlers, played by Joan Bennett and Dan Duryea, who shake him down for money, a free apartment, and even his recognition as an artist. The main treat here is seeing tough guy Robinson play a mild-mannered everyman, the sort of terminal pushover he also portrayed to great effect in the noir The Woman in the Window. The thing is, some people can only take so much abuse. |
The headlines that mattered yesteryear.
1936—First Helicopter Flight
In Berlin, Germany, in a sports stadium, Ewald Rohlfs takes the Focke-Wulf Fw 61 on its first flight. It is the first fully-controllable helicopter, featuring two counter rotating rotors mounted on the chassis of a training aircraft. Only two are ever produced, and neither survive today.
1963—John F. Kennedy Visits Berlin
22 months after East Germany erects the Berlin Wall as a barrier to prevent movement between East and West Berlin, John F. Kennedy visits West Berlin and speaks the famous words "Ich bin ein Berliner." Suggestions that Kennedy misspoke and in reality called himself a jelly donut are untrue.
2009—Farrah Fawcett Dies
American actress Farrah Fawcett, who started as a model but became famous after one season playing detective Jill Munroe on the television show Charlie's Angels
after a long battle with cancer.
1938—Chicora Meteor Lands
In the U.S., above Chicora, Pennsylvania, a meteor estimated to have weighed 450 metric tons explodes in the upper atmosphere and scatters fragments across the sky. Only four small pieces are ever discovered, but scientists estimate that the meteor, with an explosive power of about three kilotons of TNT, would have killed everyone for miles around if it had detonated in the city.
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