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.
There's no amount of loot that can fill an empty soul.
Yes, we read the novel The Burglar right after watching the movie. We could have done it the other way around, but this seemed to make more sense. We went into the book wondering if the movie's merits were due to director Paul Wendkos or author David Goodis. Turns out it was both. Goodis wrote the screenplay, and his adaptation reshapes several crucial elements. Primarily, the movie has police procedural elements the book doesn't, and a take on the problem of sexual harassment that feels very 2019. On the other hand, an aspect of the novel we're surprised survived is the relationship between Gladden (Jayne Mansfield in the film) and Harbin (Dan Duryea). In both book and film Harbin takes over parenting Gladden when her father is killed, making them father figure and quasi daughter. In the film Mansfield even calls Duryea her foster father. That's pretty provocative, considering she wants to make the eight-limbed mattress monster™ with him.
Overall, it's no surprise the novel became a movie—it's great. The emotional desperation of Harbin, Gladden, and the other woman Della (played by Martha Vickers in the film) verges on painful to endure as a reader. They latch onto each other with a ferocity that's only matched by a fourth character's deadly lust for the stolen jewels. All this intensity comes in addition to a brilliant plot set-up for the entire exercise. We don't know if we'll ever again pair movie watching with immediately reading the source material, but it was interesting this time. Did it take the fun out of the book, knowing what would happen? Not at all. Goodis's novel is different enough that we weren't sure what would happen, actually. We owe this enjoyable read entirely to the Noirfest. We might have stumbled across the book randomly at some point, but without the movie to take us there, probably not.
Edit: Okay, we'll quit with the eight-limbed mattress monster™ bit. It was funny at first. You had to be there.
My life has gone horribly wrong, but at least I still have my digni— Oh, great. My fly was open this whole time, wasn't it?
In David Goodis' 1954 thriller Street of No Return, a down-on-his luck nobody named Whitey, who had been a great singer years ago only to lose his voice, career, and sobriety—thanks to a dame, of course—finds that even for a man at rock bottom things can get worse. And it involves something more serious than discovering his fly is open, though that would be funny. What happens is an impulsive act of compassion drags him into a pit of murder and corruption, set against the backdrop of Puerto Ricans-vs-cops race riots in Philadelphia. There are plenty of reviews of this online, so for details just look around. This one caught our eye because of the intricate and gritty cover art, yet another top effort from Barye Phillips.
What's in the box? Uh, you know, lipstick, gum, cigarettes, the souls of men I consume. The usual.
Above, really nice front and rear cover art for The Blonde on the Street Corner by David Goodis, which was published by Lion Books as a paperback original in 1954. Set in Philadelphia during 1936, the book examines a bunch of guys who have big dreams but no money, no motivation, and no ideas how to escape dead-end Philly. The narrative is basically plotless, like the characters' lives. Talk about a great depression. The cover art, by Robert Maguire, is beautiful but the blonde depicted is nothing like the blonde Goodis writes about. Goodis's blonde is overweight, married, and in her mid-thirties. She does have a sexual aura, though, and certainly fits the mold of a femme fatale. This is considered lesser Goodis, but it's still good enough.
I don’t know what you think you’re doing out there, but supper better be on the table in three minutes or you’re in big trouble.
For some reason when we first saw this cover it just screamed fed-up homemaker to us. Probably because we have this thing about guys in suits. We just know they’re always up to no good. But the art, which is by Ray App, actually depicts a woman who thinks a detective has failed to properly investigate the death of her husband. The moment is basically: “Re-open the case or I’ll jump.” We prefer our interpretation.
The headlines that mattered yesteryear.
1934—Arrest Made in Lindbergh Baby Case
Bruno Hauptmann is arrested for the kidnap and murder of Charles Lindbergh Jr., son of the famous American aviator. The infant child had been abducted from the Lindbergh home in March 1932, and found decomposed two months later in the woods nearby. He had suffered a fatal skull fracture. Hauptmann was tried, convicted, sentenced to death, and finally executed by electric chair in April 1936. He proclaimed his innocence to the end
1919—Pollard Breaks the Color Barrier
Fritz Pollard becomes the first African-American to play professional football for a major team, the Akron Pros. Though Pollard is forgotten today, famed sportswriter Walter Camp ranked him as "one of the greatest runners these eyes have ever seen." In another barrier-breaking historical achievement, Pollard later became the co-head coach of the Pros, while still maintaining his roster position as running back.
1932—Entwistle Leaps from Hollywood Sign
Actress Peg Entwistle
commits suicide by jumping from the letter "H" in the Hollywood sign. Her body lay in the ravine below for two days, until it was found by a detective and two radio car officers. She remained unidentified until her uncle connected the description and the initials "P.E." on the suicide note in the newspapers with his niece's two-day absence.
1908—First Airplane Fatality Occurs
The plane built by Wilbur and Orville Wright, The Wright Flyer, crashes with Lieutenant Thomas Selfridge aboard as a passenger. The accident kills Selfridge, and he becomes the first airplane fatality in history.
1983—First Black Miss America Crowned
Vanessa Williams becomes the first African American Miss America. She later loses her crown when lesbian-themed nude photographs of her are published by Penthouse magazine.
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