It's Ho Chi Minh City (not Saigon). Why they changed it we can't say. People just liked it better that way.
This is a beautiful Spanish poster for the 1947 adventure Saigon, which opened in Madrid today in 1948. The film is one of innumerable mid-century thrillers set in foreign cities. At a time when the rest of the world was so distant and hard to reach, Hollywood fetishized it, romanticized it, and set stories wholly or partly in Mexico, Argentina, Morocco, China, Hong Kong, Martinique, and an entire atlas of other places. But today, with the rest of the world so easy to reach, Hollywood mostly tells audiences they'll be kidnapped or dismembered if they leave home. Saigon is old school. It makes viewers wish they could fly to mystical East Asia. Of course, the film's Saigon doesn't exist anymore, but the fact that Hollywood set a movie there tells you it must have been quite a place. But they say that about all the former colonial cities, don't they? Rangoon, Bombay, and Constantinople, as brilliantly eulogized in the satirical song by The Four Lads, “Istanbul (Not Constantinople).”
Saigon deals with two recently discharged military buddies played by Alan Ladd and Wally Cassell who decide to stay in Asia to show their terminally ill third pal a good time before he dies in a few months. The third man doesn't know he's ticketed for oblivion, which leads to problems when Veronica Lake takes a liking to him. No mater how romantic old Saigon was, only so many tropical nights and platters of French-Vietnamese fusion cuisine can distract you from the fact that the love-hate relationship between Ladd and Lake is unpalatable. To us, slapping, insults, and over-the-top meanness feels like hate-hate. But put on your retro filter and you'll find a lot of comedy in this film, thanks to motormouth quipster Cassell. Some of his lines are truly clever. It wouldn't be exaggerating to say he makes the first sixty minutes of running time watchable.
When Lake inevitably falls for Ladd even though he's been treating her like a disease for hundreds of nautical miles, you'll accept it because it's a motif in old movies—though usually managed with a lot more charm and finesse. Overall we consider Saigon recommendable, but just barely. You know what we really took away from this movie, though? What you needed to do back then was open a shop and sell white suits. You'd have made a fortune. There are more white suits here than you can count. Far more than in Casablanca or Our Man in Havana. This film will make you wonder whether you can pull off the white suit. But even if you looked okay in it where would you wear it these days? Like old Saigon, that city is gone.
And you think America is polarized today.
The iconic polar bear rug. What can you say about them? Well, it's not a good look nowadays, but back then people thought these sorts of decorations were quite chic. When did that end? Possibly shortly after the three-hundredth Playboy model posed on one, or when many people began to see trophy hunting as the obsession of vain and unsavory millionaires. One of those two. Personally, we blame Hefner. In the shot above Jayne Mansfield and Mickey Hargitay take polar bear style to its pinnacle. Just look at that room. Besides the bear they have a copper ceiling, satin curtains, and a white shag rug. It's a pimp's wet dream and all of it must have cost a fortune. We like to imagine what the look on Jayne's face would have been if anyone walked in with a brimming glass of red wine. We bet she'd have turned whiter than the bear.
We have more photos in the same vein below. If you need help identifying the stars, their names are in our keywords in order of appearance. Looking at the entire collection, we tend to wonder if there were three or four bears that ended up in all the photos. You know, like bears owned by certain photography studios or prop departments. Just saying, a couple of them look suspiciously similar. But on the other hand, how different from each other do bears really look? You'll notice that the poor creatures were generally posed to look fierce. But by contrast Inger Stevens' bear, just below, strikes us as a bit reflective and melancholy, which is understandable. Elizabeth Montgomery, meanwhile, gets extra points for wearing her bear. We have twenty-plus images below, including another shot of Mansfield, sans Hargitay.
The Lake is lovely, dark, and mysterious.
She was born Constance Frances Marie Ockelman but became known to the world as Veronica Lake. She played dozens of movie characters built around her screen trademark of low key coolness, but in real life she indulged in too much drink and drugs, was arrested several times for public drunkenness and disorderly conduct, and suffered through three failed marriages. Eventually she died of complications from cirrhosis of the liver. This photo shows her in classic, illusory mode—beautiful and just a bit detached—around 1945.
Los Angeles homecoming goes awry for Alan Ladd.
The Blue Dahlia is often cited as a top film noir, but it really isn't. That didn't matter to the Hollywood movers and shakers who nominated Raymond Chandler's screenplay for an Oscar, but we suspect the nod was for stringing together hard boiled dialogue, since it certainly wasn't for stringing together a coherent plot. The movie tells the story of a vet who returns home to find his wife cheating with the shady owner of a Hollywood nightclub. When she's murdered, the husband is sought by police, but he goes fugitive and attempts to find the real killer. With pretty boy Alan Ladd in the lead, plus support from Veronica Lake, William Bendix, and the beautiful Doris Dowling, The Blue Dahlia has a lot going for it, including a cool nocturnal vibe, but a script too reliant on improbable occurrences and Lake's flat performance in a basically ornamental role keep it from being upper echelon. It's worth a watch just to see Bendix go bathouse crazy every time he hears what he calls “monkey music,” but go into it knowing there are at least twenty better films in the genre.
The city that helped inspire film noir hosts a celebration of the genre.
Above is a very nice promotional poster for the 19th Noir City Film Festival in Los Angeles, which starts this evening at Grauman's Egyptian Theatre in Hollywood. Some of the featured films include The Accused, Lady on a Train, and Chicago Deadline, and film noir buffs will have noticed that the promo art features Veronica Lake and Alan Ladd from 1942's This Gun for Hire, which is also on the slate. In fact that one opens the festival tonight as part of a double bill with Quiet Please, Murder.
Seeing the movies in the Egyptian, which opened in 1922, just adds to the authenticity of the experience. And of course film noir wouldn't be the same without Los Angeles, a city that is almost itself a character in many films. Mainly, though, we were drawn to the promo art and had to share it. It mimics the original This Gun for Hire poster, which is one of the nicer efforts from the time period and a collectible that runs upwards of $20,000 for original prints. We tried to determine who painted it and had no luck. Below we also have a couple of shots of the Egyptian, which is a place we recommend visiting if you're ever in Hollywood. You can learn more about Noir City Los Angeles at this link.
It may be the second version but it’s first rate.
Above is French poster art for La Clé de verre, aka The Glass Key, the second Hollywood adaptation of Dashiell Hammet’s 1931 novel. We’ve shared other Glass Key materials, but never talked about the film. Suffice to say this Alan Ladd/Veronica Lake vehicle is excellent—much better than This Gun for Hire, which starred the same beautiful pair (Ladd and Lake appeared together in seven movies). Complicated, engrossing, and liberally spiced with excellent action and Hammett’s wit—“My first wife was a second cook at a third rate joint on Fourth Street”—The Glass Key is mandatory viewing. It’s also interesting for its cynical look at American politics, portrayed as corrupt, built on lies, and fueled by legalized bribery. That much hasn’t changed. The first Glass Key was made in 1935 with George Raft in the lead, but this remake from 1942 is the one to watch. Its French premiere, delayed for years due to World War II and its aftermath, was today in 1948.
Glass Key paperback art is tops thanks to another Italian master.
Brian Donlevy and Veronica Lake’s film noir The Glass Key, which was Hollywood’s second try at Dashiell Hammett’s novel, premiered this month in 1942. To be exact, it opened yesterday in New York City and throughout the U.S. on October 23. The poster most often seen online is the theatrical release version we showed you several years ago, but alternates were produced and two of them appear below. What we really wanted to share, though, is this great paperback cover from UK-based Digit Books. It’s from 1961 and features the art of Italian illustrator Enrico de Seta, who we’ve mentioned before. If you haven’t watched The Glass Key we recommend it, and if you haven’t read the book, just know that it was Hammett’s personal favorite.
This Gun for Hire is a celebrated proto-noir—but is it good?
We checked the movie rating website Rotten Tomatoes for its assessment of the thriller This Gun for Hire and learned that the film scored over 92% among its stable of professional critics. Ninety-two percent? Then surely this must be one of the greatest films ever made, a near flawless work of art. But when you read the reviews more closely, many note the film’s unbelievable plot, reliance upon coincidence, cheesy musical interludes, and less-than-stellar dialogue. So then what’s with the high rating? Well, let’s just say professional critics sometimes rate with their sense of film history rather than their heads. This Gun for Hire helped establish tropes that would be used again and again as the film noir genre developed and flourished, so that’s a big reason film experts like the movie. But is it good? Well…
Now, don’t get us wrong—we aren’t out to slam the flick. Who’d listen to us anyway? We’re just a couple of heavy drinkers who slapped together a website out of sheer boredom. But we’re also fairly bright, and fairly well-versed in film, and we feel confident in saying that any honest assessment of This Gun for Hire would stress the bothersome structural improbabilities. Example A: Veronica Lake plays a San Francisco nightclub performer/magician who happens to catch the eye of a big-timeclub owner, who invites her to perform in L.A., resulting in a train ride that not only coincides with his, but with that of a hired killer he has betrayed, leading directly to an eye-roller in which that very same killer sits in the only empty seat in the carriage—right next to our singer Ms. Lake. Anything that puts Alan Ladd and Veronica Lake together is justified, to an extent, so you’ll probably let that pass. Example B: Lake is engaged to a cop who happens to be part of an investigation into two murders committed by the very same killer sitting next to Lake on the SF/LA night express. Hmm. There’s more, much more, but you get the point.
So what about that 92% rating? Well, Alan Ladd is magnetic and brutally handsome as the ice-cold killer Philip Raven. Veronica Lake is less good as the chanteuse Ellen Graham, but still manages a game performance in a role that could be better written. Robert Preston is note-perfect as the boyfriend detective. So there’s all that. The film looks good, is well-directed by Frank Tuttle, moves quickly and builds a nice atmosphere ofmenace. So there are those things too. And again, the film is a building block in the genre that would later become known as film noir. But if, hypothetically, you’ve never seen a film noir or classic melodrama and This Gun for Hire were to be your first, it would not convert you into a fan. On the other hand, if you already enjoy mid-century cinema, this one will fit snugly in your comfort zone. All in all, we very much appreciate the movie, but a film that rates 92% among professional critics should not be so chock-full of coincidences that even a fourteen-year-old would be incredulous.
At top you see one of the movie’s three French-language posters. The other two are below. This Gun for Hire, which opened Stateside in 1942 but went unseen in Europe due to the inconvenience of World War II, finally premiered in Paris as Tueur à gages or “Hired Killer” today in 1947.
Down Argentine way.
Above, a cover of Cine-Mundial, published in Argentina in January 1942, with an illustration of Veronica Lake by Morr Kusnet. Lake was just twenty years old at the time, on the cusp of a big year that would see her star with Alan Ladd in two of her best films—This Gun for Hire and The Glass Key.
The headlines that mattered yesteryear.
1942—Ted Williams Enlists
Baseball player Ted Williams of the Boston Red Sox enlists in the United States Marine Corps, where he undergoes flight training and eventually serves as a flight instructor in Pensacola, Florida. The years he lost to World War II (and later another year to the Korean War) considerably diminished his career baseball statistics, but even so, he is indisputably one of greatest players in the history of the sport.
1924—Leopold and Loeb Murder Bobby Franks
Two wealthy University of Chicago students named Richard Loeb and Nathan Leopold, Jr. murder 14-year-old Bobby Franks, motivated by no other reason than to prove their intellectual superiority by committing a perfect crime. But the duo are caught and sentenced to life in prison. Their crime becomes known as a "thrill killing", and their story later inspires various works of art, including the 1929 play Rope by Patrick Hamilton, and Alfred Hitchcock's 1948 film of the same name.
1916—Rockwell's First Post Cover Appears
The Saturday Evening Post publishes Norman Rockwell's painting "Boy with Baby Carriage", marking the first time his work appears on the cover of that magazine. Rockwell would go to paint many covers for the Post, becoming indelibly linked with the publication. During his long career Rockwell would eventually paint more than four thousand pieces, the vast majority of which are not on public display due to private ownership and destruction by fire.
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