|Femmes Fatales||Jul 24 2018|
I always appreciate attention from a handsome lifeguard, but I think someone's drowning over there.
Above, U.S. born actress Ella Raines lounges in her bathing suit in this summery image from around 1945. Raines appeared in such films as Phantom Lady, Impact, and Brute Force, before transitioning to television in the 1950s. We talked about her 1947 film noir The Web a few years ago and you can read about that here.
|Vintage Pulp||May 25 2015|
Was it self-defense or murder? That’s always the question.
Do embezzlers even exist anymore, or is all that legal now? That’s the first question we had about The Web. The second was whether it’s believable for a lawyer to accept a gig moonlighting as a bodyguard for a wealthy and arrogant businessman. Well, maybe, if he wants mainly to get close to his new employer’s hot secretary Ella Raines. And his plan seems to be working, too, but just when things are heating up between them he has to shift into bodyguard mode and ends up killing an intruder bent on ventilating the businessman. But was the shooting legit or was it all a set-up to eliminate a rival? The lawyer starts to have suspicions when the dead man’s daughter appears and accuses him of being a hired murderer. From her perspective, what else could he appear to be? Raines, Edmund O’Brien, William Bendix, Vincent Price, John Abbott, and Maria Palmer do tolerable work here, but director Michael Gordon hits a few snags. For example, he shoots a restaurant scene between O’Brien and Bendix on two different sets and splices the halves together. Did one set burn down? Did the budget not include provisions for continuity? You can spot that gaffe at about 45:00. There are others. If you don’t mind such details there’s enjoyment to be had here, but if you like technical proficiency in your cinema, perhaps steer clear. The Web premiered in the U.S. today in 1947.
Universal International PicturesThe WebElla RainesEdmund O’BrienWilliam BendixJohn AbbottMaria PalmerVincent PriceMichael Gordonposter artcinemafilm noirmovie review