Please help me. My husband is on death row and I need to save him so I can kill his cheating ass myself.
These two posters were made to promote the film noir Black Angel, which starred June Vincent, Dan Duryea, Doris Dowling, and Peter Lorre in a story credited to high concept author Cornell Woolrich. But we gather nothing survived from Woolrich except the ending. When a man is convicted of his mistress's murder, the jailed man's cheated upon but noble wife tries to prove her husband innocent with the help of the murdered woman's ex-husband, who, though cuckolded, agrees that the wrong person is ticketed for Old Sparky. They set their sights on shady nightclub owner Peter Lorre and decide to infiltrate his operation in order to find proof he was the real killer. Naturally, as this heartbroken and mismatched pair dig up clues and investigate shady characters, feelings get confused. As in many noirs, there's a final act twist, and the one used here is pretty good, helping to elevate an average thriller to something a bit more memorable. Within the genre it's a significant film, and reasonably enjoyable to watch. Black Angel premiered in the U.S. today in 1946.
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.
1940—Trotsky Iced in Mexico
In Mexico City exiled Russian revolutionary Leon Trotsky is fatally wounded with an ice axe
(not an ice pick) by Soviet agent Ramon Mercader. Trotsky dies the next day.
1968—Prague Spring Ends
200,000 Warsaw Pact troops backed by 5,000 tanks invade Czechoslovakia to end the Prague Spring political liberalization movement.
1986—Sherrill Goes Postal
In Edmond, Oklahoma, United States postal employee Patrick Sherrill shoots and kills fourteen of his co-workers and then commits suicide.
1953—Mohammed Mossadegh Overthrown in Iran
At the instigation of the CIA, Prime Minster of Iran Mohammed Mossadegh is overthrown and the Shah Mohammad Reza Pahlavi is installed as leader of the country.
1920—U.S. Women Gain Right To Vote
The Nineteenth Amendment to the United States Constitution is ratified despite heavy conservative opposition. It states that no U.S. citizen can be denied the right to vote because of their gender.
1958—Lolita is Published in the U.S.
Vladimir Nabokov's controversial novel Lolita, about a man's sexual obsession with a pre-pubescent girl, is published in the United States. It had been originally published in Paris three years earlier.
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