Gilda

Tags

1940's, Charles Vidor, Film Noir, George Macready, Gilda, Glenn Ford, Rita Hayworth

Film Title

Gilda

Director

Charles Vidor

Starring

• Rita Hayworth as Gilda
• Glenn Ford as Johnny Farrell
• George Macready as Ballin Mundson

A seductive film noir that boasts a star-making, iconic turn from Rita Hayworth, Gilda is a dark movie to be treasured for how it spins a pretty sinister story into something classic and watchable.

In Buenos Aires, Argentina, newly arrived thug Johnny Farrell is going about his cheating ways of getting money through trickery and underhand tactics. After being accosted and almost killed by a disgruntled crabs player, Johnny is saved by the elegant Ballin Mundson. This strange man warns Johnny that he must up his game if he wants to make a living. Johnny eventually finds his way to a casino where he continues his dirty tricks. He is caught and put before the owner, who turns out to be Mundson himself. Johnny being something of a con man, talks his way into a job with Mundson. Gradually, he gains his confidence and makes his way up the ranks and into a lavish lifestyle that he’s aspired for. While retaining a friendship with his boss, there is something controlling about Mundson, as he seems to consider Johnny something he owns. Regardless of this, things go well for the two of them in their relationship, trust and business. Things take a definite turn when Mundson returns after some time away with a gorgeous and playful wife named Gilda. The thing is Johnny and Gilda are very familiar with each other, stemming from an old love affair that ended badly. Being loyal to his boss, Johnny tries to avoid his definite attraction to the seductive Gilda, who delights in putting on a show and seemingly tormenting him with her wiles. Mundson is also involved in some scheme that proves life threatening, just as the heat between Johnny and Gilda comes into view. Though both attempt to keep the lid on their feelings, it proves very difficult. Yet with the love-hate relationship between Johnny and mysterious Gilda intensifying, it’s just a matter of time before things get out of hand and much darkness arrives for all of them.

Charles Vidor infuses a stylish direction into this all-consuming tale, lending something of a voyeuristic approach to how we observe the gradually twisted triangle set up among Gilda, Johnny and Mundson. His control over pacing is marvellous, never wasting a second and pulling us into this seedy world populated by equally immoral people. The black and white cinematography is gorgeously smoky and shimmering, finding a glamour, danger and tension in the main setting of the casino. Shadowy deals paired with the overall feeling of everyone using each other is noir at its grandest and finest. Gilda brims with a darkness and sexual underbelly that go hand in hand. It is a playful yet dark hearted film noir that has a lot of things going on under the curtain. Of course, with the film being from the 40’s, you couldn’t explicitly showcase anything too graphic or racy. And yet through its sizzling dialogue( much of which has many meanings depending on how you look at it), a real perverse angle covers the film in a surprisingly stylish way. The trio of main characters are all nasty, vindictive and rotten ,yet you can’t tear your eyes away from them as their machinations and web-spinning gets out of control. They all appear to enjoy toying with each other for whatever pleasure they can get, even if it ultimately leads to their undoing. This is significantly highlighted by the back and forth of the script that knows exactly how to avert the censors with witty words and subtle hints. Control and power play heavily into the narrative, with the troika of characters all using it in some ways; essays it over both Johnny and Gilda, while the eponymous siren wields it in abundance over the two men in the picture . Dominance is thematically featured, most notably in homoerotic undertones between Johnny and Mundson , thanks to the suggestive and ambiguous dialogue. If some of it gets overly complex, it is quickly forgotten because of the tension and heat of the piece, with everything fit to boil at any minute. Being a classic movie, there are oodles of memorable moments from Gilda to cherish, but two stand out. The first is the entrance of Gilda herself; tossing her hair back in wild abandon, before realising that someone from her past is now very much a part of her present. And the most iconic moment is the sensational performance of ‘Put the Blame on Mame’. Gilda, clad in that memorable dress and slowly removing a satin glove, teases playfully with this song of how men blame women for their downfall. While being a sexy scene(showing that you can be seductive without revealing a lot), a pointed darkness is also apparent in further enhancing the perverse nature of this noir.

By far the thing you’ll remember the most in Gilda is the presence of the luscious Rita Hayworth in the title part. Conveying a devastating gorgeousness that is truly spellbinding and a mysterious personality that is hard to place, Hayworth commands the screen and cemented herself as a Love Goddess of the screen. For all the sexiness brought to it, Hayworth’s fine acting also adds a distinct melancholy that punctuates in between the scheming and alluring appeal. This is a role that will forever be remembered, largely down to Rita Hayworth’s impact and charms in it. Glenn Ford is ideal casting for the no-good small time Johnny, whose want for something comfortable and rich is compromised by his desire for Gilda that leaves him falling down. Ford gets the sneaky, wastrel like areas just right, coupling it with a ruthless need to succeed in things, until his anger and lust can’t take it. And his scenes with Hayworth are loaded with simmering tension. George Macready rounds out this twisted trio with a courtly yet menacing display of cunning and trickery, constantly testing everyone around him to see what the results will be.

A dazzlingly dark and twisted noir covered in a gorgeously photographed sheen, Gilda is not to be missed by movie fans.

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Sorry, Wrong Number

Tags

1940's, Anatole Litvak, Ann Richards, Barbara Stanwyck, Burt Lancaster, Ed Begley, Film Noir, Harold Vermilyea, Sorry Wrong Number, Thriller, Wendell Corey, William Conrad

Film Title

Sorry, Wrong Number

Director

Anatole Litvak

Starring

• Barbara Stanwyck as Leona Stevenson
• Burt Lancaster as Henry Stevenson
• Ann Richards as Sally Hunt Lord
• Wendell Corey as Dr. Alexander
• Harold Vermilyea as Waldo Evans
• Ed Begley as James Cotterell
• William Conrad as Morano

A well paced and inventively structured film noir thriller, Sorry, Wrong Number makes fantastic use of its setting and unfolding of dark mystery to form a tight and tense movie. Expanding on a famous radio play yet keeping a certain flair for drama in a limited setting, plus a fine cast headed by Barbara Stanwyck and Burt Lancaster, Sorry, Wrong Number is recommended viewing for noir and thriller fans who will no doubt find it very satisfying.

Leona Stevenson is a demanding, selfish heiress who is largely bed-ridden and when we meet her, alone in her Manhattan apartment. She gets more than she bargained for when she accidentally overhears a phone conversation(thanks to a telephone glitch) between two men, plotting and arranging a woman’s murder that very night. Leona has been trying to reach her husband Henry, who works for her father’s pharmaceutical chain, but hasn’t been able to locate. Panicking over the horrible plot she overhears, she becomes desperate to stop it happening. The fact that she only caught little bits of the conversation doesn’t help when she calls the police, due to a lack of clear evidence. Calling whoever she can think of for attempted help or news on Henry, through various flashbacks, revealing events and machinations fall into place regarding everyone it covers. We see Sally Hunt Lord, who was once romantically linked with Henry, Leona’s Doctor Alexander who holds important information about her, her controlling father James, a chemist named Waldo Evans, a mysterious gangster Morano and of course Henry himself, who we glimpse as feeling emasculated and weak thanks to his overbearing spouse. An underhand and malevolent scheme is also found here, but just how does it link to Leona and the planned murder? Growing more anxious and distressed as pieces slowly come into fruition but still remain confusing, Leona is left to decipher them before it is too late.

Anatole Litvak dials up the suspense with skill, letting the film play out largely in real-time and lets us discover many alarming things without spoon-feeding them to us. His control over ambience is also evident in how the mystery is gradually evinced and how it turns out differently than one might have wondered. Often times in some movies, flashbacks can often feel more than a bit redundant and overused. The same can’t be said of Sorry, Wrong Number, as the dips into the past are crucial to our understanding of the characters and their reasons for actions that may come back in some dark form. Sorry, Wrong Number provides a great exercise in visual style with panoramic and gliding camera shots that take in important details that tell parts of the story in a teasing but imperative way. The characters have a sense of change in them from the flashbacks to present, further giving a level of both distrust and curiosity. There is a heightened paranoia and isolation as Leona is prone to overreacting but thus time is telling the truth and all alone in her apartment. The home is often somewhere we consider safe which is reversed here. Then again, the nefarious and murky atmosphere of outside as the various facets of the puzzle come together is equally as dark. There is no real place of safety, which plays beautifully into the sinister heart of film noir and allows the film to have the feelings of a pitch-black noir. The twists are complex and unexpected, yet only sometimes confusing, thankfully the shocking nature of it all is intact and on display. Drama and genuine menace can be heard in the fine score by the amazing Franz Waxman, who really knew how to ramp up tension and suspense with his music.

Barbara Stanwyck impressively heads the cast as the pampered heiress Leona, whose night is turned into waking hours of terror once she hears the murder plot. Stanwyck strongly gets across the various mood swings and changes from past to present of the character, that are very intriguing to watch. Moving from self-absorbed and entitled to terrified and near mental collapse as everything unravels, Stanwyck covers it all with the assurance of the great pro she was. Her biggest achievement is that she telegraphs that Leona is not just some innocent victim in all of this, but a manipulative and petulant woman who we still feel some form of sympathy for in her time of horror. Burt Lancaster plays with his somewhat tough guy image to find something spineless and tired within husband Henry. While there is darkness to him, we aren’t quite sure to what extent it will emerge, mainly due to the excellence of Lancaster in the part. He may just be misunderstood or possibly to easily lead into something fishy , Lancaster suggests a mixture of both. There is a good ensemble of supporting characters played by great actors, who somehow or another slot into this mystery. Ann Richards is quietly convincing as a former flame of Henry’s, while Wendell Corey supplies us with much knowledge as the doctor. Probably the most sympathetic character is the chemist who is somehow sucked into the dark web of dealings, and played with understated gravitas by Harold Vermilyea. Ed Begley and William Conrad flesh out the other two people who have bearing on the complex story.

A tense and efficient noir, Sorry, Wrong Number is just the ticket for when you want some murky thriller of complex motives, nice performances and atmosphere to watch.

It’s a Wonderful Life

Tags

1940's, Christmas, Donna Reed, Drama, Fantasy, Frank Capra, Henry Travers, It's a Wonderful Life, James Stewart, Lionel Barrymore, Thomas Mitchell

Film Title

It’s a Wonderful Life

Director

Frank Capra

Starring

• James Stewart as George Bailey
• Donna Reed as Mary Hatch Bailey
• Lionel Barrymore as Henry Potter
• Thomas Mitchell as Uncle Billy
• Henry Travers as Clarence

A movie that practically defines the term life affirming, It’s a Wonderful Life is a beautiful hymn to the spirit of community and the difference of one person on so many others. A perennial Christmas movie, it earns all of that adulation through the story, moving direction of Frank Capra and the lead performance from the iconic James Stewart.

George Bailey is a dreaming young man who has always wanted to travel and explore. Unfortunately, fate has had different plans for him which leaves him forever in his hometown of Bedford Falls. As he is a kind-hearted man, over the years he has had to make multiple sacrifices to help others. The biggest one was foregoing an education after his father’s death,  so he could take over the building and loan business. This is largely due to him not wanting the sly and crafty banker Henry Potter to take advantage of the small town, as he is known for trampling all over anyone who gets in his way. George gets some respite from his troubles thanks to his lovely wife Mary and their young children, but even then George starts to feel like he hasn’t achieved anything and has constantly put his life on hold. Events come to a head on Christmas Eve when his Uncle Billy, who works with his nephew, loses a large sum of business money that secretly falls into the hands of the wicked Potter. Terrified of the potential scandal on his business and how it will affect all of those closest to him, George is beset by suicidal thoughts. While George is contemplating killing himself, prayers from many have reached the heavens and a bumbling angel by the name of Clarence appears to George. Clarence is there to persuade George that he should continue with life(in return he will receive his wings), even though George dismisses his ideas. Seeing no other option and throw his powers, Clarence shows George what life would have been like if he hadn’t existed, hoping it will bring him back from the brink and notice how valuable he is.

Frank Capra’s direction is one that touches the soul deeply and never rings false with any of the emotion displayed. With gentle humour and careful insight, he conjures up the importance of being there for others and while life can be unfair to us, we can be rewarded for our good deeds with the respect of others. While It’s a Wonderful Life is known for its sentiments and uplifting story, it also manages to temper this with the possibility of what if, as a despairing George comes to see how much he has influenced everyone and the deeply felt love they have for him. Even when there are melancholy moments, the glimpses of hope are never very far and this film balances both joy and bittersweetness in peerless fashion. It’s a Wonderful Life splendidly poses the notions that even when it is a dark time, there is always something out there to pull you back up again. I particularly love the framing device used in the film. We begin with two angels(represented by flickering lights in the sky) explaining about George and what he plans to do. Clarence joins and is given his task to help poor George see that life is worth living and then we get the vignettes from George’s life to explain just why he is contemplating ending it all. In the second half of the picture, the narrative catches up with the present and the mystical and divine intervention takes the film to soaring heights of finely felt emotion and morality. I don’t know why the structure of the film appealed to me, but I think it had something to do with how it fleshed out George as a character and made us all see the doubt that was creeping into him. A suitably twinkling score, laced with the festive cheers bubbling underneath it, evocatively brings forth the observation of how one person can have a big impact in the grand design of things, without actually realising just how cared for they are. Simply stated, you can’t help but be pulled into this lovely film in all its moving and specially magic glory.

James Stewart is what truly makes It’s a Wonderful Life such a favourite of many. His intrinsic ordinariness and relatability are ideally found in the part of George Bailey, along with the nagging self-doubt that plagues him. Stewart excels at making the part one of humility and altruism, yet never falls into soapy melodrama because of how grounded he makes the role. We can all relate to someone like George, who has worked hard and had to sacrifice to help others, and Stewart’s heartfelt delivery is the winning key to it. Donna Reed stunningly supports him as the caring and giving wife, who sticks with him through thick and thin. For this kind of story of the individual making the difference against something, you need a good villain and Lionel Barrymore more than fits that bill. His part of Potter is a nasty piece of work in the boo/hiss variety and the presence of Barrymore infuses him with the villainy needed. Thomas Mitchell and Henry Travers practically light up the supporting characters; Travers in particular is ideally cast as the guiding angel sent to help George in his time of need.

A film that will warm the heart and soul, as well as make you laugh, cry and be happy, It’s a Wonderful Life encompasses such a range of feelings and messages that it can’t be forgotten because of its care and deep soul. And who doesn’t love breaking this movie out for Christmas time?

The Big Sleep

Tags

1940's, Charles Waldron, Crime, Dorothy Malone, Elisha Cook Jr, Film Noir, Howard Hawks, Humphrey Bogart, John Ridgely, Lauren Bacall, Martha Vickers, The Big Sleep, Thriller

Film Title

The Big Sleep

Director

Howard Hawks

Starring

• Humphrey Bogart as Philip Marlowe
• Lauren Bacall as Vivian Rutledge
• John Ridgely as Eddie Mars
• Martha Vickers as Carmen Sternwood
• Charles Waldron as General Sternwood
• Dorothy Malone as Book Shop Girl
• Elisha Cook Jr. as Harry Jones

A film noir thriller at its most complex and convoluted, The Big Sleep is cryptic but endlessly entertaining stuff. With a real feel for the dark material shown by director Howard Hawks and the sultry chemistry between Humphrey Bogart and Lauren Bacall, The Big Sleep keeps you glued.

World weary and intelligent private detective Philip Marlowe is summoned to the home of the old General Sternwood. The elderly and frail man is concerned about his youngest daughter Carmen, who has a reputation for being loose. She has had compromising photos taken of herself and someone is using the sordid images to blackmail Sternwood. The person that appears to be behind the blackmailing is a man named Geiger, whose book store doubles as a crime racket. The General also wants Marlowe to locate Shawn Regan, a confidante close to the family who has disappeared strangely. While at the house, Marlowe also encounters older sister Vivian, a more cool and collected lady who knows how to flirt with him, yet keep something of a distance. Investigating further into muddy waters, he finds that the blackmailing crime racket ties with the missing Shawn Regan, though Marlowe is bewildered by how they could possibly do so. Just as he gets close, Geiger is murdered, complicating matters even more. Yet it also transpires that Vivian may also have some involvement in the sinister activities as nearby shady casino owner Eddie Mars appears to have a strange hold on her that she desperately attempts to remain hidden. Quickly, Marlowe is sucked into a seedy world of corruption and double crosses where he is desperate to find answers, as everything is spun in a web of underhand tricks and cloak and dagger activities.

Howard Hawks majestically gets the hard-boiled aura of this Raymond Chandler adaptation, coating everything in a shadowy and seedy vibe as Marlowe journeys into a corrupt underworld of suspicion and classic noir. The black and white cinematography is employed in a pretty amazing way with chiaroscuro taking precedent here and making the atmosphere tangible to the audience from the smoky opening titles. Now I must talk about the plot of The Big Sleep, as it is one mystifying and at times very confusing puzzle. This is actually far from a criticism of this film noir thriller, because it grasps the attention, gets you to pay attention and often moves at such a blistering pace, you won’t realise certain things that don’t add up. Sure everything is pretty cryptic and has you scratching your head, but oh what fun there is to be gained from this movie because of its pace and sexual tension, that are kept on high from start to end. What really brings a film like The Big Sleep to life is the scintillating screenplay, that practically bursts with repartee and innuendo that is some of the most sexual dialogue to be found in a movie from the 40’s, when the censors where usually on full patrol to eliminate anything suggestive . The script takes full advantage of the Bogart/Bacall relationship on and off-screen and serves up some double entendre laden exchanges that push the boat out on risqué (be sure to check the scene between Marlowe and Vivian in which she uses horse-riding and saddles as a reference to another physical activity.) As dark and mysterious as the film is, heck it brings new meaning to the word confounding, there is a playful spirit tone gleaned among all the dodgy dealings, blackmail and sleazy events that are usually hinted at rather than shown. Max Steiner is on score duties and transfers every ounce of tension and stunning sexiness to the viewer, matching the dark yet enticing underbelly The Big Sleep has to offer.

Humphrey Bogart heads up things with a fine performance as the iconic detective Philip Marlowe. Bogart impressively injects the part with cynicism, a quick talking attitude and weariness from all the years on the job. You couldn’t have asked for anyone better than Bogart to essay this part, which he plays with charm, dashes of dry humour and smarts that tell him to keep looking for the outcome of a most baffling case. He is simply on point during the whole run of this movie and makes it look effortless. Lauren Bacall practically oozes confidence and enigmatic sexuality as Vivian, whose feisty encounters and suspicious behaviour form a lot of the proceedings, particularly as Marlowe finds himself falling for her. Bacall was only in her early 20’s in this film, yet she has the innate ability to project the impression of a young woman who has seen a lot, seems to be in control and is adept at being secretive. Having already showed their undeniable chemistry in To Have and Have Not, Bogart and Bacall pretty much set the screen ablaze here, as they once more trade innuendos and tantalizing dialogue that flows from their lips like vintage whiskey. You simply couldn’t have asked for a better pairing than Bogart and Bacall, as they where exceptional together, both on film and in reality. John Ridgely has enough slimy energy and enigmatic ways to keep the shady Eddie Mars memorable in the long run. Martha Vickers features as the childlike and coy sister whose extracurricular activities are the start of Marlowe’s investigation into the unknown. A stately presence is to be found in the work of Charles Waldron as the old General calling upon the skills of Marlowe to eliminate the scandal surrounding his daughter. Popping up in small but still memorable parts, there is Dorothy Malone as a coquettish book shop worker and Elisha Cook Jr. as a very tragic fall guy who comes off badly within the darkness in doomed fashion.

As mystifying and mysterious as it all is, The Big Sleep earns its status as a classic noir due to the hard-boiled style and the iconic partnership of Humphrey Bogart and Lauren Bacall.

Gaslight

Tags

1940's, Angela Lansbury, Charles Boyer, Gaslight, George Cukor, Ingrid Bergman, Joseph Cotten, May Whitty, Mystery, Thriller

Film Title

Gaslight

Director

George Cukor

Starring

• Ingrid Bergman as Paula Alquist Anton
• Charles Boyer as Gregory Anton
• Joseph Cotten as Brian Cameron
• Angela Lansbury as Nancy Oliver
• May Whitty as Miss Thwaites

A mystery thriller from Hollywood’s Golden Age, Gaslight holds up thanks to strikingly eerie direction, outstanding sets and superb acting, that add up to a film of chills.

It is Victorian times in London and a renowned opera singer Alice Alquist has just been found strangled in her home. Her young niece Paula, who found her body, is sent away to recover from the shock. Years later in Italy, Paula is a vibrant lady who has been training in music, but doesn’t quite have the passion for it. Her thoughts are elsewhere as the suave composer Gregory Anton has taken a shine to her and they have begun a relationship. Before too long, the couple are married and contemplating where to live. Gregory insists on going back to London and while Paula is obviously apprehensive of returning to the house where the horrific events unfolded, she agrees. Once back in the house is when strange happenings begin to happen, especially for Paula. Gregory informs her that she is forgetful and implies that she has been stealing things, of which Paula has no memory of. The new maid Nancy is impertinent and saucy around Gregory, while seemingly holding disdain for the mistress of the house. At night, the gaslights in her room dim mysteriously and she hears noises coming from the locked up attic. It is here that we learn that Gregory is the one orchestrating these events in order to drive Paula over the edge, while he searches for something that remains in secrecy. Little by little, Paula becomes withdrawn, paranoid and terrified of what she will become as her frail hold on events withers away and Gregory’s cruel plan begins to have results. But she may just have an ally in Brian Cameron, an Inspector for Scotland Yard begins to take an interest in Paula, as he smells a rat and isn’t convinced that Paula is going insane. It all boils down to whether or not he can help Paula or she can deduce the sinister plot afoot.

Meticulous craftsmanship is employed in every sense of the word by the great George Cukor, who wrings out the suspense in teasing suggestion as well as getting to the female heart of the story of manipulation. His hand is most definitely sure in his painterly brush strokes to suggest the menace that will engulf Paula slowly and cruelly after a deceptively sunny opening. Cukor’s biggest success is his hold on the tension and threatening shadows of the story, as Paula is slowly slipping into paranoia in accordance to the nefarious plans of Gregory, which he cloaks in significant mystery. All of it leads to a very satisfying conclusion that bubbles with menace and reversal of fortunes. There are a few little foibles in the film, like some dates stretches and leaky plot points, but in the long run, these skirmishes are of the minuscule variety that can be easily forgotten when considering the taut effectiveness of the overall movie. Gaslight is also a splendid evocation of Victorian London with rolling banks of fog and billowing candles is strikingly rendered, plus there are the expressive and well-designed sets to admire. This is the kind of movie where the visuals and story are largely of a stellar standard, in the tradition of MGM, who at the point of this film where churning out pictures of splendor and excellent, of which Gaslight qualifies easily. The cinematography is simply a marvel of spooky atmosphere, with certain shots bringing a flickering and shimmering malice and creepiness to the film in reference to the title. A supremely grand score begins with quiet and haunting notes of encroaching terror and then switches things up to heighten the spiraling descent of Paula.

The great Ingrid Bergman is the star attraction of Gaslight, contributing a thoroughly sensitive and strong portrayal of a woman being driven to near madness by her husband’s schemes. Bergman’s role is an emotional one that she plays wonderfully and that immediately gets you to sympathise with her. Bergman gets across a clarity, radiance and wrenching vulnerability that fit the part admirably, it really isn’t a surprise that she won an Oscar for her tortured and exquisite role here. It has to be one of her finest parts in an illustrious career of greatness. Charles Boyer is nastiness and insidious charm personified, emerging as an oily wolf in sheep’s clothing that is doing everything in his power to convince both his wife and everyone else that she is mad. There is something just very eerie about Boyer and his work here, which is perfectly employed within the character as the niceness of his personality slips into a more cruel being of malevolence and subterfuge. In what is probably what you’d call the hero role, Joseph Cotten makes for a very moral and good-hearted presence as the inspector who could be Paula’s saviour in all of this underhandedness. Angela Lansbury made her debut here at the age of 17 and boy does she have fun with the role of the sassy and rude maid, who sneers and flirts her way through the house with a glint of mystery in her eyes. May Whitty is on delightfully dotty form as the nosy next door neighbour who is always after a bit of scandal or gossip.

Some elements aren’t what they once where, but these are minor things that are papered over in the creeping mystery and excellence of Gaslight. An old-fashioned chiller, it’s a rewarding exercise in tension and ambience.

To Have and Have Not

Tags

1940's, Adventure, Hoagy Carmichael, Howard Hawks, Humphrey Bogart, Lauren Bacall, Marcel Dalio, Romance, Thriller, To Have and Have Not, Walter Brennan

Film Title

To Have and Have Not

Director

Howard Hawks

Starring

• Humphrey Bogart as Harry Morgan
• Lauren Bacall as Marie ‘Slim’ Browning
• Walter Brennan as Eddie
• Hoagy Carmichael as Cricket
• Marcel Dalio as Gerard

An exciting romantic adventure thriller from the Golden Age of Hollywood and loosely based on(but heavily rewritten here) the novel by Ernest Hemingway, To Have and Have Not still has a whole lot to enjoy within it. Chief among these is the excellent direction from the legendary Howard Hawks and the sizzling chemistry between Humphrey Bogart and a debuting Lauren Bacall, that would lead to sparks flying off the screen as well as on.

The year is 1940 and it is wartime. In the island of Martinique, which is now controlled by Vichy, cynical Harry Morgan is the owner of a fishing boat which he charters to tourists in return for money. Along with his right-hand man Eddie, a bumbling, alcohol-guzzling but genial man, Harry has no interest in politics or the tense situation that is occurring around him. That is until he is approached by Gerard who is one of the Free French and comes to him with a proposition. He asks that Harry help secretly transport two members of the French Resistance onto the island. In the beginning and thinking more of his own neck, Harry refuses to help because of the implications it could have. Yet while mulling it over, he encounters the sultry Marie Browning, who he refers to as Slim. An attractive traveler and pickpocket, Slim wants to return to America but doesn’t have the sufficient funds. Quickly attracted to the sensual young woman, tired of seeing people pushed around and in need of money himself after being owed a large sum, Harry accepts the offer of Gerard in helping the Resistance members get on the island. What follows is a dangerous adventure, tinged with romance and thrills as Harry knows that him being caught could end in very dire circumstances as the authorities on the island are investigating everywhere.

Iconic director Howard Hawks is at the peak of his powers here, directing To Have and Have Not with brilliant flourishes of excitement and tense adventure. The movie itself crosses genres, but with Hawks behind the camera, all the elements slip together nicely and compliment each other. He keeps your attention and there may be the odd lull here and there, but due to his sterling handling of the film, and in particular the undeniably sexy romance, To Have and Have Not is nothing short of a success. Which brings me on to the script that emphasizes the growing attraction between Slim and Harry and peppers it with memorable moments of sparky dialogue. Double entendres and sly innuendo form the core of their courtship and the chemistry between Bogart and Bacall is palpable from the very first moment they meet and Slim inquires “Anybody got a match?” It’s such a classy but sensual side that it adds to the film and not forgetting probably the most iconic scene in the movie. In it Slim seductively tells Harry( who she playfully refers to as Steve), that if he needs anything he just needs to whistle. This is followed by the classic line “You know how to whistle, don’t you Steve? You just put your lips together and blow”. And it’s not hard to see why the line has become so iconic, because of its playful sexual undertones and husky delivery. Even today with more sexually explicit movies about, the sizzling chemistry and passion between both the characters and the actors is still hot stuff. A suitably jazzy score has the right amount of adventure to it and features some wonderful songs too, sung with charm and deep-voiced sensuality by Lauren Bacall.

The talented cast is what really brings life and character to this already exceptional movie. Humphrey Bogart is excellent with his portrayal of the initially reluctant Harry, who is more concerned about himself in the beginning, but eventually joins the fight. Bogart invests Harry with a wise guy charm, tough strength and resourcefulness that you can’t imagine anyone else in the part. And in her movie debut, a 19-year-old Lauren Bacall announces herself as a major talent. With her large eyes, curled hair and husky voice, Bacall is a marvel to watch. Playing Slim with a smart but sensual core, she exudes star quality and threatens to set the screen a flame with her stunning presence. As previously mentioned, she has genuine sparks with Bogart that really add to the experience of the movie. Walter Brennan exhibits kind-hearted but none too bright antics as the character of frequent drinking partner Eddie, who is the main sidekick of Harry. Singer Hoagy Carmichael shows of his immense talent as the main man in the band of the hotel that Harry and Slim frequent. Marcel Dalio does a good job as a member of the Resistance who asks the cynical Harry for help thus drawing him into a dangerous plot.

Brimming with wit, romance and adventure of the highest, To Have and Have Not is a classic picture that is iconic for a lot of many excellent reasons.

 

 

The Letter

Tags

1940's, Bette Davis, Film Noir, Gale Sondergaard, Herbert Marshall, James Stephenson, Melodrama, Sen Yung, The Letter, William Wyler

Film Title

The Letter

Director

William Wyler

Starring

• Bette Davis as Leslie Crosbie
• Herbert Marshall as Robert Crosbie
• James Stephenson as Howard Joyce
• Gale Sondergaard as Mrs. Hammond
• Sen Yung as Ong Chi Seng

A tautly directed melodrama, with the shadows of Film Noir covering it, The Letter boasts atmosphere and a terrific performance by Bette Davis.

In Malaya, the calm of a moonlit night on a plantation is disturbed by the sound of a gun. Out of the main house stumbles a wounded man, followed by a woman with a pistol in hand. She unloads the rest of the chambers into his body and calmly watches him die. The woman is Leslie Crosbie, the wife of the plantation owner Robert. The man she shot dead was Geoff Hammond, a respected friend of Robert’s with whom she was having an affair. Robert returns to his wife, who begins to formulate a story to save herself. Playing the act of demure and vulnerable wife( when the reality is that she’s a master manipulator), she tells her attorney Howard Joyce that Hammond made repeated advances on her and she shot him in self-defence. While Robert believes his wife’s alibi, Joyce is more suspicious, even though he is the one representing her in the inevitable trial. Matters become complicated when Joyce’s clerk Ong Chi Seng comes to him with information that could change the outcome of the trial. It seems that Leslie wrote a letter to Hammond on the night she killed him asking him to come and see her as Robert would be away. This evidence could alter the case and imprison the conniving Leslie. The letter has fell into the hands of Hammond’s exotic widow, who demands money for it or she will turn it over to the court. Building tension and sweltering atmosphere combine as Leslie’s lies continue and the intense drama reaches its heights.

William Wyler masterfully directs with deft skill, creating a stifling ambience of lies, murder and the manipulative mind of one woman. Although the story can be seen as melodrama, it does have a certain edge that doesn’t let it slip into tosh, this is mainly down to the excellence of Wyler’s direction and the way he crafts this deceptive tale of murder and lies. The striking use of black and white highlights the Film Noir aspects of the story, with shadows and strange camera angles capturing the rising suspicion and inevitable drama. The score provided is a valuable asset to The Letter, cloaking it in an exotic and menacing aura that rises and falls along with the heated emotions and dark deception at play. The costume design is simply exemplary, especially in the gowns worn by the sly and cold-hearted Leslie. Most of them are white which makes her appear angelic to those around her, but the audience knows that there is a dark heart that lies beneath this masquerade.

Bette Davis is one fine form portraying Leslie, clearly relishing the sly, ruthless and calculating nature of the character. This is a character that Davis plays so well and always in control, but she also lets us see the panic that begins to appear when the existence of the eponymous letter comes to light. The film is Davis’ and she brings her all to the part. Herbert Marshall is suitably naive as Leslie’s husband, who sees her as a virtuous angel. James Stephenson excellently plays Howard, the attorney who is the first to see through the deception of Leslie, but is bound by law to remain silent of his knowledge of this. Gale Sondergaard brings silent, feline menace to the role of Hammond’s exotic and unsmiling widow, whose stare alone gives new meaning to the term ‘if looks could kill’. Sen Yung is used well as Joyce’s informative clerk, who becomes the first to discover the letter and what it could do to the case.

William Wyler’s The Letter brings drama to Film Noir and succeeds with aplomb, thanks to stylish direction, excellent score and central performance from Bette Davis.

 

 

 

Suspicion

Tags

1940's, Alfred Hitchcock, Cary Grant, Cedric Hardwicke, Joan Fontaine, May Whitty, Nigel Bruce, Suspicion, Thriller

Film Title

Suspicion

Director

Alfred Hitchcock

Starring

• Joan Fontaine as Lina McLaidlaw Aysgarth
• Cary Grant as Johnnie Aysgarth
• Cedric Hardwicke as General McLaidlaw
• Nigel Bruce as Beaky
• May Whitty as Martha McLaidlaw

A suspense laden thriller from the master Alfred Hitchcock, Suspicion is only slightly let down by a studio imposed ending. Despite this, the picture has much to praise in the way of some superb acting from Cary Grant and an Oscar-winning Joan Fontaine, spine tingling music and an air of encroaching menace.

Lina McLaidlaw is the shy and sheltered daughter of a general and his wife. She lives in the English countryside and has been brought to behave like a lady. One day she meets Johnny Aysgarth, a handsome irresponsible gambler who she immediately falls in love with. Lina is desperate to escape her controlled existence and Johnnie proves to be just that. Despite the warnings of others surrounding Johnnie’s behaviour, the two of them marry after a brief courtship. After a luxurious honeymoon, Lina and Johnnie move into a lovely home. Yet this idyllic way of living starts to become clouded by Johnnie’s gambling and his various lies. After a series of strange events, a panic-stricken Lina slowly comes to believe that Johnnie plans to murder her for her money. Yet she can’t prove this, but as the tension mounts will she discover that she is right or wrong regarding Johnnie? Suspense and uncertainty abound as Hitchcock plunges Lina into a waking nightmare, slowly seeing that Johnnie may not be the ideal man that she met and may in fact be something much more sinister.

As I mentioned earlier in my review, the studio producing Suspicion changed the ending to fit in with the conventions of the time. The imposed ending does detract from the overall impact of the movie, but there’s still more than enough to enjoy in Hitchcock’s thriller. After all, any movie by Hitchcock at least at some time shows the amazing techniques and sense of unnerving tension that he brought to the movies. The camerawork is marvellous in its close-ups of the characters, especially Lina’s slowly terrified face as she wrestles with the notion that her husband has sinister designs for her. The tension filled script boasts some interesting dark humour that boosts the narrative along nicely. The score makes for a chilling listen as it echoes Lina’s mounting fears surrounding her doubt. As always, Hitchcock crafts scenes dripping with suspense that make the hairs on the back of your neck shiver. One great example is Johnnie bringing Lina a drink of milk at night, the glass seems to glow with malicious intention and Lina’s quivering face as it rests on her table transfers to the viewers mounting suspicions.

Joan Fontaine is marvellous in the role that won her an Oscar. She subtly portrays Lina’s girlish and sheltered innocence that soon gives way to mounting terror at the thought of her husband’s plans. Fontaine conveys so much emotion through her eyes that is a really a marvel to behold, we see her uncertainty, love and suspicion as events take on a mysterious air around her. Cary Grant is suave and sophisticated, yet also hints at the possible darkness that may lurk within Johnnie. Cedric Hardwicke is great as Lina’s stern father as well as May Whitty as her observant mother. Nigel Bruce portrays the likable Beaky, Johnnie’s hapless and humorous best friend with ease and charm.

Suspense, romance and skill combine to craft this marvellous thriller. Suspicion may be let down by the ending but the film is far from unwatchable. It may not be Hitchcock’s best work, but it is far from his worst with its splendid performances and tension filled suspense.

Black Narcissus

Tags

1940's, Black Narcissus, David Farrar, Deborah Kerr, Emeric Pressburger, Flora Robson, Jean Simmons, Kathleen Byron, Michael Powell, Powell and Pressburger, Sabu

Film Title

Black Narcissus

Directors

Michael Powell and Emeric Pressburger

Cast

• Deborah Kerr as Sister Clodagh
• David Farrar as Mr.Dean
• Kathleen Byron as Sister Ruth
• Flora Robson as Sister Phillipa
• Sabu as the Young General
• Jean Simmons as Kanchi
• Jenny Laird as Sister Honey
• Judith Furse as Sister Briony
• May Hallatt as Angu Ayah

A psychological study of an order of nuns set in the Himalayas, Black Narcissus is a bold, daring and at times deeply unsettling look at religious turmoil and the effects a place can have on the mind and senses. If you are looking for a film that is a feast for the eyes but also for the brain, Black Narcissus is the film that I would advise you to watch.

Sister Clodagh struggles to cope with her newly appointed duty

The story centres on five nuns who are invited to a palace high up in the Himalayas. Their duty is to open a convent, which will also double as a hospital and school. Heading this mission is young Sister Clodagh who has recently been promoted to Sister Superior, although she is unsure of whether she is the one to fulfil and uphold this difficult job. The palace  was once a harem and the debauched shadows of this time linger on as the Sisters attempt to convert it into a place of purity and worship. Although the Sisters try to remain true to the vows they have taken, temptation takes many forms causing doubt amongst the quintet. Another story is that of the Young General who comes to the convent to learn and falls for the beautiful dancing girl Kanchi, despite the differences in class and morals. It is from the General that the film takes its title, as he wears a perfume scented with it. The strange atmosphere and remote surroundings causes a crisis of faith to sweep the place like a fever, as each of the nuns begins to experience feelings of deep uncertainty. The most frightening example of this is the pathological jealousy of the unstable Sister Ruth as she falls for the handsome Mr.Dean but becomes convinced that Sister Clodagh also has a soft spot for him. This leads to a terrifying and utterly intense final act.

Jealous Sister Ruth begins to crumble because of her desire.

From the opening scenes of the Himalayas to the hysteria caused by the exotic former harem, the film is an enchanting viewing, mainly because of its rich cinematography. A prime example of this is the scenes in which Sister Clodagh has flashbacks to her time before she became a servant of God. The use of colour accentuates the freedom she had before this and lets us into the mindset of this inexperienced young woman trying to keep things in order. As well as this, the set design is outstanding, making the palace an unnerving place with drafty corridors and murals that reveal the debauchery that occurred years before. The presence of an elderly ayah who is prone to shrieks of manic laughter and remarks about how the nuns will succumb to the atmosphere, also adds to the creepiness that is felt throughout the picture. Powell once said that this was one of the most erotic films he ever made, and after viewing it I would agree with his statement. But when I say erotic I don’t mean it in the sense of what we see in the cinema today. It is all done with subtle instances and non explicit references. Sister Ruth unveiled without her habit, clad in a crimson dress applying lipstick, Mr.Dean’s many advances and remarks towards Sister Clodagh, the first sight of Kanchi slowly but seductively eating a papaya and many other instances.

The ringing of the morning bell.

As I’ve mentioned earlier, the cinematography and set design should be praised, but the performances of the cast should also be justly given notice. Deborah Kerr exudes emotional turmoil and regret as Sister Clodagh, all of this is done by her expressive eyes that tell the whole story of this woman out of her depth in the exotica of the former harem. Kathleen Byron as the unstable Sister Ruth is splendidly sinister and cunning, her snake-like smile sending shivers down the spine and her eyes being used to scary effect in the climatic scenes. The supporting players, no matter how big or small the role, each add something to this strange and utterly bewitching tale of faith, repressed emotions and the frailties of the psyche when confronted with a challenge.

This is a drama film that asks deep questions yet never gives the easy answer. Powell and Pressburger have created a film of heightened emotions in the most unlikely of places and circumstances. Prepare to be left chewing the cud after the movie has finished. If you haven’t seen it, please give it a watch as I’m sure you will find something to engage your interest.  Black Narcissus is a must see, both for its visual flourishes and its intensely dramatic story of conflict and faith.

Mildred Pierce

Tags

1940's, Ann Blyth, Drama, Eve Arden, Film Noir, Joan Crawford, Melodrama, Michael Curtiz, Mildred Pierce

Film Title

Mildred Pierce

Director

Michael Curtiz

Cast

• Joan Crawford as Mildred Pierce
• Jack Carson as Wally Fay
• Zachary Scott as Monte Beragon
• Ann Blyth as Veda Pierce
• Eve Arden as Ida Corwin
• Bruce Bennett as Bert Pierce

This film will always be remembered as the film that helped relaunch Joan Crawford’s stalling career, but there is more to this film that at first meets the eye. It is one of the quintessential women’s pictures of the 1940’s that effortlessly blends moments of film noir to heighten its dramatic tale of a mothers self-sacrificing journey to provide for her spoiled daughter. Strikingly photographed, superbly acted and featuring an evocative and intensely dramatic score by Max Steiner, Mildred Pierce is an emotional soap opera that never falls into sentimentality but keeps you glued to the screen as you watch the great Joan Crawford in her excellent comeback role that earned her a Best Actress Oscar.

Mildred Pierce begins with a literal bang, in a classic noir influenced moment. Gun shots ring out as a man clutches his bleeding chest and falls to the floor. Before he dies he breathlessly utters one word “Mildred”. The scene then switches to show the eponymous Mildred, clad in a stunning mink coat and walking a pier, tears beginning to stream down her face. This scene is outstanding as we don’t know whether Mildred has killed the man or not? The audience is unsure of her character at this point as she appears to be the epitome of the femme fatale commonly featured in film noir. We are unsure whether to sympathise with her or loathe her. As the story continues and she is taken into questioning by the police, she begins to narrate her story in flashback up until this point. This is where the film switches gear and examines the dramatic existence of Mildred and how she has changed considerably. She tells of how she slaved away as a waitress before opening a successful chain of restaurants, her sheer determined personality aiding her. Along the way she met rich playboy Monte, who fell for her but used her when he had money trouble. All of the events leading up to Monte’s opening death are influenced by the conniving Veda whose insatiable need for the expensive things drives the story of her determined mother Mildred.

Among the things that drew me to the film was its combination of melodrama with noir, I think this makes for an interesting combination. The performances also drew me in particularly the ones portrayed by Crawford and Blyth. As the determined Mildred, Crawford is outstanding as she embodies this hard-working character who will do anything for her daughter and runs the whole gamut of emotions throughout the movie.Her character is made very believable because of Crawford’s connection with her, many critics have said that Crawford was outstanding in a role when she related to it. I agree with this, but whatever the case Crawford delivers a memorable performance that proved  to Hollywood that she was a force to be reckoned with.  Equally impressive is the young Ann Blyth as the sneering, materialistic and spoilt Veda Pierce. The whole plot is influenced by her expensive needs and desires as Mildred does everything in her power to provide for her. Blyth makes an impressive mark as Veda, imbuing her with an arrogant and snobbish quality that is a clear difference from her self-sacrificing mother. Crawford and Blyth have a natural chemistry that makes their relationship interesting, especially in the moments when Mildred realises how spoilt and down right nasty her daughter really is.

Many would think that with all this highly charged drama there would be no let up. This isn’t the case as there are two characters that lighten up the proceedings. The first is Wally, a man who used to be in business with Mildred’s first husband who also has a soft spot for the eponymous Mildred. He has the most laughs in the film as her romantically chases her.  Jack Carson clearly has a laugh as Wally and his numerous unsuccessful attempts to woo Mildred. The other character is Ida Corwin, the wise cracking friend of Mildred who helped her when she was staring out. Her scenes with customers and lawyers in the restaurant are particularly funny as her dry sense of humour is often mistaken by others. Eve Arden creates a wise-cracking and charming chum that runs parallel with the determined and driven character of  Mildred.

Mildred Pierce can be viewed today as a melodrama that is very believable but also a story of a mother’s love and determination no matter what the cost. Even if old movies aren’t your thing, Mildred Pierce may change your mind with its stellar cast and outstanding production values.