Noir Watch: The Killers (1946)

Watched:  03/10/2023

Format:  Amazon Watch Party

Viewing:  Fourth?

Director:  Robert Siodmak

Way back sometime in high school I read the short story The Killers by Hemingway, and like most 17 year olds reading Hemingway, it hit me over the head like a sledgehammer.*  It's a taught bit about the nature of the inevitable - by those who dole it out, those on the receiving end, and those caught up in its wake.  

About twenty years after publication of Hemingway's story, it was adapted into a film starring a fresh-faced actor by the name of Burt Lancaster.  Lancaster hadn't really acted before, but he walked into movies with a natural talent, charisma and muscley torso that kept him working long enough that I knew him as one of the retirement age gangsters in Tough Guys released 4 decades later.   

The movie also introduced Ava Gardner to mass audiences, and broke her as a major star for decades to come.  Bonus: If you need to get an idea of what to put next to "femme fatale" in the dictionary, Gardner's Kitty Collins is a phenomenal example (then put Jane Greer next to her).  

But the movie opens on an empty small-town street with two men in the forms of William Conrad and Charles McGraw entering a cafe and - for the next ten minutes the movie mostly re-creates the scene from the short story, nearly word-for-word, minus some racial slurs and some logistical stuff.  And, if you were a 17-year-old once who read Hemingway, its wild to see Nick Adams as a minor supporting character in a movie.

It's a hell of a scene.  Taught stuff that movies have been trying to recreate now for almost 80 years - almost 100 if you count back to the release of the short story.

The rest of the film has the tough chore of going back and starting at the beginning and working its way back to the opening sequence.  Eventually, it earns the sequence, but the tone never quite matches the first ten minute again.  Using the flashback-via-investigator framing made famous by Citizen Kane (released 5 years earlier) the movie relies on Edmond O'Brien to play an insurance investigator trying to find out why a man set up a woman he met once as his life-insurance beneficiary.  But I'll be dipped if I can say what he's actually investigating and why.  It seems like he answers work-related questions by the film's halfway point.  I don't know if he was looking to deny the payout or recover the money the Swede took.

What the film does do is create a good detective story infused with what would become hallmarks of noir.  Femme fatales.  Flashbacks.  Disposable hoods.  Character actors being characters.  A scramble for money.  Low-level gang bosses with more hair tonic than brains.  And all the secrets to come spilling out in the final reel as no one escapes their fate.  The only thing it's missing is Elisha Cook Jr. 

Anyway, I very much enjoyed a rewatch.  It's a kick of a movie.

*my understanding from social media is that Hemingway is no longer fashionable with the kids because (gestures at everything about Hemingway).  

Watch Party Watch: Strangers on a Train (1951)

this tagline is wildly misleading

Watched:  03/03/2023

Format:  Amazon

Viewing:  Second

Director:  Hitchcock

Well, that was certainly a good way to get to watch a second Ruth Roman movie in a week.  

I'd been mentally abusing the watch party participants recently via my choice of movies, so it seemed like time to watch an actually good movie with the team.  And my memory of Strangers on a Train (1951) was that it was a strong film, but I couldn't remember anything after the initial train sequence but a sense of how utterly @#$%ed the guy was who was not Farley Granger (Robert Walker*).  

Hitch is the most discussed director in Western cinema, and this movie gets no small amount of ink, so I don't feel terribly compelled to weigh in.  But I will say:

1. this movie and Shadow of a Doubt certainly share a lot in common, and I'd want to dig more into that, and how he gets from here to Psycho by 1960
2. The cops are directly responsible for manslaughter as well as considerable chaos and danger to the public through ineptitude in the final scenes
3. Farley Granger's character never really has a compelling reason to not tell the cops what is happening, all things considered
4. Robert Walker is phenomenal
5. No one much mentions the dead ex-wife other than as a plot point.  Granger doesn't head home to the funeral, he doesn't mourn her in any way.  That's maybe the most suspicious bit of all, really.  
6. I appreciate that Ruth Roman's character is given reason to believe Granger but wasn't entirely unsure he didn't kill his wife.  
7. Pat Hitchcock co-stars in the film, and she's actually really good.  If your career is going to be the product of nepotism, might as well shoot for the moon

Anyway, this is what thrillers are for.  If you've never seen it, recommended.

*Walker passed shortly after the making of the film, while working on a new film. His biography on imdb is grimly fascinating

Noir Watch: Hunt the Man Down (1950)

Watched:  03/02/2023

Format:  TCM

Viewing:  First

Director:  George Archainbaud

For good or ill, there's more movie packed into the 70 minutes of Hunt the Man Down (1950) than in your average 3-hour Oscar Bait prestige film.  And, I'll argue, this movie is actually entertaining while carrying a message about how things *should* work that seems wildly progressive and cutting edge against decades of cynicism and trying to feel wise by having the lowest of expectations of humanity.

The set up is less than simple.  A guy tries to stick up a bar at closing, and the dishwasher stops him and saves the day.  The press puts the hero's picture in the paper (against his will), and it turns out he's a guy who was about to be convicted of murder 12 years prior, but he escaped his guard and fled the day before he was sentenced.  The cops pick him up and he's set to be retried using the original testimony of the witnesses.

Hearing the story of what transpired the night in question, the public defender (Gig Young) has to go back and find the original witnesses with the assistance of his father, a former cop who is reluctant to help spring a guy.  

And, hoo boy, has history happened in the past dozen years.  Alcoholism, madness, suspicious coupling, war heroes, puppetry, mysterious deaths and murder.  It's just slapping the noir-centric fates button for the witnesses as Gig Young locates each one and determines how their futures hinged on that night.

But what's remarkable is the unshakeable belief the movie has in every man's right to a day in court with vigorous defense.  Gig Young isn't even sure his guy didn't do it - but he's going to make sure he does the leg work that didn't happen in the years prior.  It's positively wild to see a movie that's not about people with crafty defense lawyers who can bamboozle a juror's box full of rubes and get their guy off and the poor prosecutor who must see justice done.  There's a real everyman quality to both Young and his client (and especially Young's dad) that appeals to what everyone should expect, and a recognition that not everyone who winds up behind bars is actually guilty.  There's a reason we have a system that's supposed to give you a shot.  And even if that system does fail, maybe it's because we bring a lot of baggage in with us as jurors - including the media we watch.

This movie is no 12 Angry Men, but I was shocked how *good* it was for what it was.  It uses every moment to push the story forward, it contains almost a dozen characters and you know who all of them are and how they function despite minimal screentime, and manages to get it's point across while being way less soap boxy than I got in the paragraph above.  But, hey, that post WWII idealism was not the worst thing in the world.

You can expect a certain level of film - this was the B movie to help fill a double-bill.  Not everyone here is star material, but it's not distracting.  And we do get Cleo Moore as a brunette, which is not a complaint.

There are plot holes.  Why would you stay in the same town where you could run into any number of people who could recognize you?  Why - when you were in the paper - wouldn't you sprint out of town? But.

Anyway - worth a watch some time.

If I have a beef - it's that:  despite the title, no man is hunted down.  The defendant is found by accident.  The witnesses just turn up one by one.  Like, I get that maybe it's about not treating defendants as prey, but.  Sometimes it feels like they just slap a name on these movies.

Noir Watch: Lightning Strikes Twice (1951)

Watched:  02/23/2023

Format:  TCM

Viewing:  First

Director:  King Vidor

The thing that might leap out at you watching Lightning Strikes Twice (1951) is that the film was written by a woman, based on a novel by a woman.  So while it's absolutely a grimy, desert noir, it's also not focused on a Dana Andrews floating into town and getting in over his head - it's Ruth Roman.  And the male characters of the film are certainly important, but they're not the show that you're here to see.*  This movie has terrific - I mean great - female characters who don't feel like they got knocked out of the "mother", "housewife", "nightclub girl" mold you may realize you've gotten too used to.

Noir Watch: Kiss The Blood Off My Hands (1948)

Watched:  02/15/2023

Format:  TCM

Viewing:  First

Director:  Norman Foster

Boy, they really used to know how to name a movie, didn't they?  

Kiss the Blood Off My Hands (1948) is post-war noir, filmed in Hollywood doing it's darndest to look like post-War London, and populated by British ex-pats and Burt Lancaster.  You get Joan Fontaine!  How can that be wrong?

This film is the darkest of noir, and an interesting example of the movement.  Normally I think of noir as including either a person who is in a morally corrupt world because of their choice of job as a detective, but much more often as a person who is corrupted by a compulsion (here's where you get your femme fatales leading morally shaky fellows astray) and their world turns upside down.  But this movie has a flawed protagonist who is also the victim of what we'd now call PTSD - a veteran of the war who saw no point in going back to the U.S. and is adrift in London.  

Period Noir Watch: Hangover Square (1945)

Watched:  02/08/2023

Format:  TCM

Viewing:  First

Director:  John Brahm

Really dug this film.  What could have been a hokey set-up is carried off without a hitch, all pistons firing on this one.  From performances of a great cast, to a score that's woven in and far more than incidental, there's astounding camera work and lighting, amazing sets, etc...  and a story that has nuance, but a clear through-line.

Honestly, I prioritized the film because it starred Linda Darnell and Laird Cregar, who I appreciate for every different reasons.  But even with the strong assemblage of parts, the film felt like it 

Laird Cregar and Linda Darnell get cozy in a cab

 

The basic story is: 

Amazon Watch Party Watch: Gorilla at Large (1954)

Watched:  02/03/2023

Format:  Amazon Watch Party

Viewing:  First

Director:  Harmon Jones

So, to my complete surprise, I liked this movie semi-unironically.  

I found it weird that this movie starred fairly big names for the time.  Not huge stars, but knowable names and more than one of them.  It has Raymond Burr, Lee J. Cobb, a young Lee Marvin, Cameron Mitchell (before he spiraled into camp), and Anne Bancroft here to remind you she is, indeed, a very good idea.  I was not familiar with Charlotte Austin, who plays the virginal character, but who could scream like crazy and had great hair (and was in another gorilla movie in 1958 called The Bride and the Beast, penned by Ed Wood Jr.).

At around the 70% mark of the movie, I think it was Jenifer who pointed out "this is gorilla noir", and she was not wrong.  This is absolutely murder mystery noir, set against the backdrop of a carnival, with a gorilla as a character, and plenty of intrigue to go around.  The movie is knowing enough that it constantly plays with expectations, and I had no idea how this thing would wrap up until the end.  

It's also, visually, very interesting.  Shot at Nu Pike Amusement Park in Long Beach.  I thought it was the same location as Woman on the Run/ Gun Crazy and others, and was very wrong.  My takeaway is that California had some great amusement options in the 20th century.  (The Burglar was filmed in New Jersey, so I was way off there.)  But as something shot originally for 3D presentation, and in bright technicolor, it's a fascinating bit of visual cotton candy, including a dynamic scene with a mirror maze (that I'm not clear on how it was shot without showing the crew standing behind the camera, tbh).

It's not challenging the AFI Top 100 as an underserved, underseen classic, but it's *interesting*.  Including the bizarre decisions that led to the finale.  

  

Watch Party Watch: The Amazing Mr. X (1948)

Watched:  01/27/2023

Format:  Amazon Watch Party

Viewing:  First

Director:  Bernard Vorhaus (sp?)

This is "moral relativism, the movie".  Not often do you see a movie where you're straight up unclear why you should care about anyone in the film, but this is it.  If you believe women should be helpless dummies, I guess you can pick the two rich, guileless sisters who are shown to mostly be cotton-brained marks through 90 minutes of film, and who discuss their long history of what easy targets they've been, but when your hero of the third reel is the guy who has been outmaneuvered by the even shittier guy in the movie... woof.

These characters kind of all deserve each other.  

I dunno.  The version we watched for free on Amazon Prime was a very, very rough, dark print that hadn't been touched since being put away probably in 1949.  John Alton was the DP, and there's some gorgeous John Alton stuff in this movie that was unfortunately dimmed by time.  I will pay to see this again in a restored version just for the photography.

I was willing to see this movie immediately because it co-starred Cathy O'Donnell, who is fantastic in They Live By Night, Side Street and The Best Years of Our Lives, but here she's mostly asked to be a simp and whine a lot, and...  it's fine, but it's thankless.  Playing a gullible dummy isn't a good look for anyone.

I know Lynn Bari less.  She's in Nocturne, which is a fine film, but that's the only place I've seen her.  And while the picture was blurry and dark, she's, how does one say?  fun to watch.  

The plot is that two rich sisters live in a Manderlay like mansion on an ocean cliff.  Two years prior, Lynn Bari's husband died in a fiery car crash.  She's both mourning him and about to be engaged to a too-practical attorney.  Her sister, O'Donnell, is a character type we'd start seeing a lot in this era- the teen or young woman who is certain in her belief she's smarter and wiser than everyone around them.  

Well, Lynn is being set up by her housekeeper (who is playing a Swedish maid) and her partner, the shady Alexis (the titular Mr. X, I guess), and they basically do the spiritualism bit on her, convincing her he's magic and there are ghosts.  

The movie goes to great pains to show us how the shenanigans of a seance work, and do the job of showing us how a complex spook show convinces both sisters (O'Donnell's character predictably wants to be on Mr. X).  But, lo, and behold, the dead husband shows up as NOT dead, and begins blackmailing our scammer into partnering.  

And, honestly, the pragmatic attorney does kind of blow.  Mr. X is played by character actor Turhan Bey, who was a wildly prolific talent, but who didn't really star in much other than this movie and The Mummy's Tomb.  The film's third-reel decision to have him grow a conscience seems... iffy.  He's dedicated his whole life to scamming.  And I think there's probably a good movie in that idea, but this isn't it.

Anyway, I actually enjoyed watching the film in part due to Alton, the two female leads, and because it's completely bonkers.  Is it a good movie?  Not particularly.  But it's a great late-late-show kind of movie that deserves a better print than what we saw.

Marilyn-Noir Watch: Don't Bother To Knock (1952)

Watched: 01/10/2023

Format:  TCM

Viewing:  First

Director:  Roy Ward Baker

Huh.  This was not at all what I was expecting.  

Essentially a movie about post-war trauma, wrapped up in a taught 76 minute, thriller-like package, it's maybe more *real* than the well-rehearsed, twitter-friendly approaches to mental illness we'd see in a film now.  It's a thriller without a villain, even though that doesn't feel like the set-up - and the movie absolutely has empathy in spades and as a reflection of a nation on the other side of the war, doesn't really have time for your finger-wagging.

Marilyn Monroe plays a woman new to New York City, whose uncle (Elijah Cook Jr.!) - an elevator operator in a hotel - has landed her a one-night job as a babysitter for a rich couple, the husband there to collect an award for his editorials.  While they're at the ceremony, they'll have Monroe watch over their daughter.

Anne Bancroft (in one of her first roles) is the lounge singer in the hotel, and while she's tried to break up with her sometimes boyfriend in the shape of Richard Widmark playing a cocksure airline pilot, he's shown up at the hotel and is looking to ignore her plans for a split.  

Neo-Noir Watch: The Driver (1978)

Watched:  01/01/2023

Format:  DVD

Viewing:  First

Director:  Walter Hill

I'm doing some prep work as SGH and I are in talks to do a podcast on Drive from about a decade ago.  At the time Drive came out, a lot of folks said "oh, this is influenced by The Driver from 1978."  And I'd always meant to go check that movie out.  

I think it's a definitive "well, maybe kinda sorta".  They are absolutely both movies about career criminal getaway drivers in LA.  Both are neo-noir.  But this is like seeing a movie about an assassin and seeing the next movie about an assassin and saying "well, clearly these two movies are same".  

Arguably, The Driver (1978) borrows from some of those assassin movies like Le Samourai or This Gun for Hire.  Rather than a hit-man, we have a guy with no past we'll ever learn about, who has locked up his life to protect himself and perfect his chosen profession - with the mechanisms he's used to protect himself actually creating a lockbox when things go sideways.  He has no friends, no family, no name.  He simply exists to do the job. 

The movie is clever about this - no characters have names.  Everyone is a role.  The Driver (Ryan O'Neal).  The Detective (Bruce Dern at his Bruce Derniest).  The Player (Isabella Adjani).  The Connection (Ronee Blakley).  And - and this is where this film deviates wildly from Drive - the film is about the game everyone is playing, openly acknowledged.  It's the world's greatest ARG.  There's no real stakes for the cops - win or lose, it's just spending tax dollars.  But for the folks playing on the high stakes criminal side, it's jail, death or being flat broke.  

Anyway - I enjoyed it.  I'd watch it again.  It's interesting in that it's both a bit more abstracted from a straight crime film, but also has nothing in particular that it's trying to say.  It's much more about how it's presenting a concept, and I'm down with that, too.  I suspect that when this came out, that approach was saying something, in itself.  But we've got a lot of water between 2023 and 1978.

Christmas Noir: Blast of Silence (1961)

Watched:  12/24/2022

Format:  TCM

Viewing:  First

Director (Writer, Starring):  Allen Baron

SPOILERS

There are a lot of movies about lone assassins being lonesome and weird and (spoilers) meeting their end.  It's frankly shocking how well this formula works.  Honestly, once you see "oh, this is about an assassin and it's not a major studio release?" you can swiftly follow that with  "Well, he'll die at the end."  Because there's something inevitable and inexorable about the very set-up.  If someone is selling you "noir" and it's about a hitman and the hitman isn't dead at the end, you can ring the shame bell.

So it becomes less about "what are they doing?" and more of "how are they doing it?" and - if I can ask - "what are they saying?"  

VidCast - PodCast 226: "The Thin Man" (1934) - a Day-Drinking the Holidays PodCast with JAL and Ryan

Watched:  12/18/2022

Format:  BluRay

Viewing:  Unknown

Director:  W.S. Van Dyke 

For more ways to listen, click here

Join JAL and Ryan as we get into the gin, watch a bona fide cinema classic, ponder what makes it great, and toast the hell out of each other. It's a festive good time as we talk classic mystery, the fading of memory around even the best of stars, and Ryan probably overplays his hand discussing Myrna Loy.

Video PodCast

Audio Streaming PodCast

The Signal Watch PodCast · 226: "The Thin Man" (1934) - A Holiday Day Drinking the Movies w/ JAL and Ryan

Playlist Holidays 2022

The Signal Watch PodCast · Holidays 2022

Noir Playlist

The Signal Watch PodCast · Noir Watch

Annual Holiday-Noir Watch: Lady in the Lake (1947)

Watched:  12/18/2022

Format:  Amazon

Viewing:  Unknown

Director:  Robert Montgomery

I've now made it an annual tradition to at least put on Lady in the Lake (1947), the incredibly bizarre adaptation of a Raymond Chandler-penned Philip Marlowe private detective classic.

Parts of this movie have a chill that you only get when you're not in the warm embrace of home and hearth on Christmas.  Some parts are very badly conceived, pushing the conceit of the 1st Person POV to the breaking point of usefulness, and no one who worked on the movie seems to care much about the actual plot of the novel -  they reduce major scenes from the book to minor exchanges of expository dialog, and it's incredibly confusing unless you're aware of the book or listen super hard.  The idea is that the characters are so great, you want to spend time with them, and it's not an entirely misplaced notion.

But, holy cats, for being the director, Montgomery has no idea how hardboiled dialog is delivered.  I understand not wanting to imitate Bogart or Powell, but he adds a weird, wry laugh to lines that don't make any sense at times.  It's... not great.  Especially since you only hear and don't see him.

Anyway - you have to spend some time with Audrey Totter every holiday (her 105th birthday anniversary is the 20th), and this is a pretty good way to do it.

A while back, Jamie and I podcasted the film.  Give it a listen!

we should all look so good woken up at 3:00 AM

Noir Watch: City of Fear (1959)

Watched:  11/19/2022

Format:  TCM Noir Alley

Viewing:  First

Director:  Irving Lerner

A low-budget crime thriller noir for the nuclear age!  Now this would be stretched into eight episodes of prestige TV, but this taught 81 minute film uses short-hand and focuses on the minute-by-minute crisis that unfolds when a pair of prisoners use a riot as cover to escape, believing they've smuggled out a canister of heroin that they think was being used to experiment on prisoners (there's your exciting B-plot as a brave journalist blows the lid off this story!  But not in this movie.).  

But that ain't heroin.  Vince Edwards - our POV character and an all-around-heel - has accidentally grabbed a sealed container of the highly radioactive Cobalt-60.  

Vince Edwards was a pusher before he got popped, and now he's looking to unload what he things is a fortune in horse and make good his escape, and maybe have his frankly foxy and loyal-to-a-fault girlfriend (Patricia Blair) catch up with him.  

Meanwhile, the cops, FBI and various other federal agencies are on the hunt as Edwards has no idea what he has, or that if he manages to open the sealed container, he's going to wipe out LA (see that title, City of Fear).  

In general, the movie is better than a lot of poverty row pictures, and while it feels cheap for a movie, if this were TV in 1959, it'd look and sound swell.  It has a soundtrack by a young Jerry Goldsmith, and it is definitely Jerry Goldsmith, so it feels oddly highbrow if you've been trained to enjoy his scores.  

I don't know if this is a recommended film, but it's a great curiosity of a picture.  Kiss Me Deadly does the nuclear bit perhaps better, but this one gets the threat in front of you minute one and stays focused, making you cringe every time Edwards tries to crack the canister.  And you fully get why the cops agonize over what to tell the public as a public alarm seems necessary, but may also f'-up their search and cause undue calamity if they can find that canister first.

Anyway - not all bad!  

Noir Watch: This Gun For Hire (1942)

Watched:  11/18/2022

Format:  Amazon Watch Party

Viewing:  Unknown

Director:  Frank Tuttle

It's probably the only Noir-vember watch party screening we were going to work in this year, but I'm glad we did this one for Veronica Lake on the week of her 100th birthday.  

Anyway, I'm positive we've written this one up before.  Go watch it.  It's ground zero for a lot of the "assassin who seems that way because he's detached from humanity" stuff you see in everything from Le Samurai to any number of American films where an assassin comes to grips with the fact they might be human.

Curiously, not many more movies where they decide "Gorton's Fisherman" is a hot look for a lady.

Friday Watch Party: This Gun For Hire (a Noirvember/ Veronica Lake 100th B-Day Celebration 2-fer)

POSTPONED TO Friday 11/18/2022

Noirvember is underway!  We'll have our first Noirvember screening by pairing it with a celebration of Veronica Lake, who would have turned 100 on November 14th of this year.  

This is sort of proto-noir, but plays with a lot of the ideas that would inform characters and movies after the war.  It also has so many great talents, from Lake to Ladd to Cregar.  Also, a cat.  You'll be glad, I tell you.  GLAD!

So join us for some WWII-era moralizing, bare witness to the first pairing of Lake and Ladd, and see what the fuss was about Lake.*  And what a hundred movies and pulp novels would borrow when it comes to loner hit-man types in the years to come.

Day:  Friday 11/18/2022

Time:  8:30 Central/ 6:30 PM Pacific

Service:  Amazon

Price:  $4

CLICK HERE TO SEE SOME VERONICA LAKE MUSICAL MAGIC

(link live 10 minutes before showtime)

*she is very, very, very good looking

Noir Watch: Tension (1949)

Watched:  11/15/2022

Format:  TCM Noir Alley

Viewing:  4th?

Director:  John Berry

I've already seen this and written it up a few times, including in 2021.  

So here's several pictures of Audrey Totter in the film.

Noir Watch: Call Northside 777 (1948)

Watched:  11/08/2022

Format:  Criterion Channel

Viewing:  First

Director:  Henry Hathaway

Criterion Channel is currently featuring a load of films they're calling "Film Noir" from 20th Century Fox, and I wanted to finally give Call Northside 777 a whirl.  

As much as I enjoy a film noir from a poverty row studio, Tuesday we made the conscious decision to see something a bit more prestige, and which had been on my punchlist for a while - a noir that starred Jimmy Stewart, who I usually associate with noirish-thrillers later in his career when he shows up in Vertigo, etc... under Hitch.  

The thing, though, is that despite the fact that I've seen Call Northside 777 (1948) referred to as film noir for two decades, much like The Damned Don't Cry, I don't think this movie actually qualifies as film noir.   It certainly *looks* like noir.  Cinematographer Joseph MacDonald, who also shot one of the noir-iest noirs - Pickup on South Street - gives John Alton and James Wong Howe a run for their money (My Darling Clementine similarly has some noir-ish stuff for a western).  But...  there's no femme or homme fatale.  There's no one in over their head because they followed an ill-advised path/ chased a skirt.  There's no one who has crossed paths with the wrong person and is now in an existential crisis.  

Noir Watch: Gilda (1946)

Watched:  09/24/2022

Format:  BluRay - Criterion

Viewing:  Unknown (3rd?)

Director:  Charles Vidor

I don't talk to many people about Gilda (1946), but I know it's considered one of the greats of the film noir movement.  And I knew that on previous viewings, but it's been a while and we finally cracked open my Criterion BluRay to give the film a spin.  

It's astounding how *modern* some films from almost 80 years ago can feel (see: Touch of Evil)  Specifically in the case of Gilda, I believe it's in part because Gilda has been so often imitated, borrowed and stolen from, and so infrequently matched and perhaps never surpassed.  So, we've all seen movies, television and whatnot that echoes Gilda, but because it holds its place as a very specific story and, with now practically archetypal characters, to see how well the movie works with intricacy of plot, it becomes a film that is both absolutely of 1946 and timeless.  

Credit to the behind-the-lens talent, starting with director Charles Vidor and the handful of talent listed as writers.  And cinematographer Rudolph Mate.  

There's endless ink spilled on Gilda but there's a reason it's Hayworth's most enduring film in a career of amazing pictures.  The movie is adult and sexy and noir-as-hell in all the best ways.  Hayworth and Ford are both bringing their top game, and both play stunningly nuanced characters for any era in cinema.  

Anyway - it was an absolute pleasure to watch.  I look forward to diving into the features on my Criterion disc.

Noir Watch: Hit and Run (1957)

Watched:  09/15/2022

Format:  TCM Noir Alley

Viewing:  First

Director:  Hugo Haas

Eddie Muller may or may not have programmed this flick for Noir Alley, but he did host it.  I don't really know how Noir Alley selections work, to be honest.

But he seemed delighted to show a poverty row-adjacent film and talk about Hugo Haas, the producer, director and star of Hit and Run (1957), a self-made man in cinema who only made a handful of films, but did it on his own terms, including casting himself alongside Cleo Moore, one of the lesser known blonde bombshells of the mid-50's.  And there's probably a fascinating movie or prestige TV show about the shadow world of these films and their distribution in an era where the studios were still running the show and for everyone else, it was the collision of art and commerce and doing what you could afford to do.

Hit and Run plays mostly like a local theater production of The Postman Always Rings Twice, but like the local community theater producer had some ideas for revisions to juice it up a bit.  But, similarly, it features Cleo Moore as the blonde girl who, down on her luck, marries the most stable and financially sound guy in her world, even if he's older and they make a weird pair.  Rather than John Garfield wandering into the gas station, Vince Edwards (whom I like a lot, generally), is already employed there, so it's Moore who's the interloper breaking up a happy home.

This version leans (a) first into the idea that the blonde is not a willing participant in her romance with Edwards or his murderous scheme to take out her husband.  And (b) there's a previously unseen twin who appears to take the husband's place and stir things up.  Y'all, this is how you just keep plussing an idea.

Weirdly, both Moore and Edwards seem like they didn't get enough takes or just weren't that into it, and the energy level in this film, aside from Haas, is weirdly flat from beginning to end.  Which, in contrast to 1946's Postman, is weirdly odd.  But part of that is the ambiguity about what is really happening with Edwards and Moore - she seems to loathe him but melt in his arms when he forces himself on her - so what is she playing?  And Edwards is laconic and then suddenly is not.  It's weird.

There's some curious touches like a society for people to make fun of superstitions and the people who believe them, which seems mostly to be about drinking and shit-talking people you don't know, which may make me an honorary member.

And Chekhov's goldfish enter in the first act but don't really achieve any significance.  

It wasn't great, but I like all of the players - Cleo Moore has really grown on me - and was so weird as a parallax version of a well known film, I couldn't really look away.  But at film's end, I was probably more interested in the movie someone should make about Hugo Haas and Cleo Moore.