Preminger provides hands-on direction in ‘Angel Face’

Angel Face/1952/RKO Radio Pictures/91 min.

Angel Face posterWho in his right mind would bitch-slap an angel? Well, in film-noir, no one is really in his right mind and in “Angel Face” Diane Tremayne (Jean Simmons) isn’t quite what you’d call a cherub.

No, her heavenly exterior (spoiled but stunningly gorgeous rich girl) masks a demonic core (cold-blooded killer). So when hysterical Diane takes a smack from her beloved Frank Jessup (Robert Mitchum) she hits him right back.

That’s cool for the characters, but I wonder what excuse director/producer Otto Preminger had? When filming the scene, Preminger insisted on repeated takes of Mitchum slapping Simmons.

Fed up, Mitchum slapped Preminger, asking, “Is that how you want it?”

Preminger retaliated by trying to fire Mitchum, but Howard Hughes, the real power behind the movie, refused. Hughes wanted Mitchum and Simmons. He wanted Simmons off-screen as well and made a pest of himself trying to seduce her, no matter that she was married to Stewart Granger.

With Preminger and Hughes harassing her, Simmons was lucky to have Mitchum around to stick up for her – you might even say he was her guardian angel. Maybe Preminger couldn’t handle the pressure; for contractual reasons, the whole film was shot in about 18 days.

The movie was knocked by critics upon its release, but was later ranked by the great French director Jean-Luc Godard as one of the 10 Best American Films of the Sound Era. It’s worth watching on that basis alone. Oh, and then there’s 90 minutes of looking at Mitchum. Mmmm. It’s worth watching on that basis alone.

Spoiled rich girl Diane (Jean Simmons) wants Frank (Robert Mitchum) all to herself. So there.

Spoiled rich girl Diane (Jean Simmons) wants Frank (Robert Mitchum) all to herself. So there.

Here’s the setup: Responding to a medical emergency at the Tremayne home, ambulance driver Frank meets a strange little family, with skeletons aplenty: Diane and her Daddy (Herbert Marshall) enjoy loafing around their roomy mansion and do their best to avoid Dad’s stick-in-the-mud second wife Catherine Tremayne (Barbara O’Neil, who was also Scarlett’s mom in “Gone With The Wind”).

Diane gloms onto Frank, even though he has a girlfriend, the virtuous, slightly bland and aptly named Mary Wilton (Mona Freeman). Frank’s basically a good guy but loyalty isn’t his strong suit. Learning that his dream is to open a garage, Diane convinces her folks to hire him as the family chauffeur; she tells Frank that her indulgent parents might just throw some start-up cash his way.

But when Mumsy suddenly starts getting stingy, Diane decides to arrange a tragic car “accident” for the stuffy Mrs. Moneybags. What could go wrong? Well, Daddy could also get in the car (he does). And Diane and Frank could wind up getting charged with murder (they do).

Diane and her Daddy (Herbert Marshall) enjoy loafing around their roomy mansion. Dad’s second wife Catherine (Barbara O’Neil) foots the bill.

Diane and her Daddy (Herbert Marshall) enjoy loafing around their roomy mansion. Dad’s second wife Catherine (Barbara O’Neil) foots the bill.

Diane doesn’t sweat it, though. She can afford a pricey, clever lawyer Fred Barrett (Leon Ames). Thanks to his legal maneuvering and the legal ineptitude of District Attorney Judson (Jim Backus, yep, that’s Thurston Howell III, aka Mr. Magoo), she and Frank are acquitted.

They’re free, but Frank’s not about to stick around, even though he knows firsthand that Diane has a knack for causing fatal accidents and that she has a way of getting all “If I can’t have him, nobody else can either” about things …

“Angel Face” is not a definitive noir. The camera work and lighting don’t contribute to a sense of doom or create a mood of suspense. There’s far too much sunshine and fresh air here. Dimitri Tiomkin’s romantic music lends lightness as well.

None of that should diminish its standing, however. This quirky flick – which owes a debt to “The Postman Always Rings Twice” (1946) as well as 1945’s “Leave Her to Heaven” and “Fallen Angel,” which Preminger also produced and directed – has flashes of original brilliance: a splendid cast; perfectly symmetrical story structure; an unhurried pace. Frank Nugent, Oscar Millard and an uncredited Ben Hecht wrote the script from a Chester Erskine story.

“Angel Face” shows how noir flexed and began to reinvent itself in the ’50s, reacting less to post-war malaise and more to the conformity and quiet corruption of the 1950s. Note all the references to the power, temptation and ultimate taint of money. Nearly everyone becomes a victim of greed.

The trial scenes, with Preminger’s trademark long takes, prefigure his courtroom drama masterwork, “Anatomy of a Murder” (1959) starring James Stewart, George C. Scott and Lee Remick.

Mitchum is, gloriously, Mitchum. And Simmons makes an unforgettable Eisenhower-era femme fatale: the dangerous, decadent diabolical rich girl. When Godard and Jean Seberg created the treacherous beauty Patricia in “Breathless,” they must have been thinking, at least a little, of Simmons’ Angel Face, the gorgeous girl who got slapped.

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Film noir Friday on TCM kicks off a new feature on FNB

By Mike Wilmington

A noir-lover’s schedule of film noirs on cable TV. First up: Friday, June 29, an all-noir day on Turner Classic Movies (TCM). Times: Eastern Standard and Pacific Standard.

Friday, June 29
6 a.m. (3 a.m.): “The Letter” (William Wyler, 1940) Bette Davis, in her Bad Bette mode, strings along Herbert Marshall and James Stephenson (but not Gale Sondergaard) in the ultimate movie version of W. Somerset Maugham’s dark colonial tale of adultery, murder and a revealing letter. Like most of Maugham’s stories, this one was based on fact. Script by Howard Koch.

Bogart and Ida Lupino play outlaw lovers in “High Sierra.”

7:45 a.m. (4:45 a.m.): “High Sierra” (Raoul Walsh, 1941) “The ‘Gotterdammerung’ of the gangster movie,” according to Andrew Sarris. Humphrey Bogart and Ida Lupino (both great) as outlaw lovers in Walsh’s classic noir from the W. R. Burnett novel. Script by Burnett and John Huston; with Arthur Kennedy, Cornel Wilde, Barton MacLane, Joan Leslie, Henry Hull and Henry Travers. If you’ve never seen this one, don’t miss it: the last shot is a killer.

9:30 a.m. (6:30 a.m.): “The Fallen Sparrow” (Richard Wallace, 1943) John Garfield, Maureen O’Hara and Walter Slezak in an anti-Fascist thriller, with a Spanish Civil War backdrop. From the novel by Dorothy B. Hughes (“In a Lonely Place”).

11:15 a.m. (8:15 a.m.): “Johnny Angel” (Edwin L. Marin, 1946) Night-life murder mystery with George Raft, Claire Trevor, Signe Hasso and Hoagy Carmichael. Too plain visually, but a nice script by Steve Fisher and Frank Gruber.

John Garfield, Hume Cronyn and Lana Turner share a tense moment in “The Postman Always Rings Twice,” directed by Tay Garnett.

12:45 p.m. (9:45 a.m.): “Deception” (Irving Rapper, 1946) Bette Davis, Claude Rains and Paul Henreid in a stormy classical music triangle. Script by John Collier (“Evening Primrose”), from Louis Verneuil’s play.

2:45 p.m. (11:45 a.m.): “The Postman Always Rings Twice” (Tay Garnett, 1946) John Garfield and Lana Turner make the screen blaze as the bloody, adulterous lovers in this hot-as-hell, cold-as-ice movie of the steamy James M. Cain classic noir sex-and-murder thriller. With Hume Cronyn, Cecil Kellaway and Leon Ames. Script by Niven Busch.

4:45 p.m. (1:45 p.m.): “Hollow Triumph” (aka “The Scar”) (Steve Sekely, 1948) Crime and psychology and doubles and scars, with two Paul Henreids, Joan Bennett and Eduard Franz. Script by first-rate Brooklyn novelist Daniel Fuchs (“Low Company”).

Ava Gardner tempts Charles Laughton in “The Bribe.”

6:15 p.m. (3:15 p.m.): “The Bribe” (Robert Z. Leonard, 1949) Ace femme fatale Ava Gardner tempts Robert Taylor and Charles Laughton. Script by Marguerite Roberts (“True Grit”), from a Frederick Nebel story.

8 p.m. (5 p.m.): “Woman in Hiding” (Michael Gordon, 1950) Marital tension with Ida Lupino, real-life hubby Howard Duff (as the wry love interest) and bad movie hubby Stephen McNally (the villain). Script by Oscar Saul (“The Helen Morgan Story”).

10 p.m. (7 p.m.): “Julie” (Andrew L. Stone, 1956) Doris Day is terrorized by hubby Louis Jourdan. With Barry Sullivan and Frank Lovejoy. Stone scripted.

12 a.m. (9 p.m.): “The Two Mrs. Carrolls” (Peter Godfrey, 1947) Humphrey Bogart, in Bad Bogie mode, has marriage problems with Barbara Stanwyck and Alexis Smith. Nigel Bruce co-stars; Thomas Job scripted.

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In ‘The Letter,’ Bette Davis captivates as a woman both elegant and evil

The Letter/1940/Warner Bros. Pictures/95 min.

“Strange that a man can live with a woman for 10 years and not know the first thing about her,” says Howard Joyce (James Stephenson) in 1940’s “The Letter,” directed by William Wyler. The woman in question is Leslie Crosbie (Bette Davis), vivacious, charming, self-assured and willful. The man is her husband Bob (Herbert Marshall), sweet, gentle, kind and trusting, and apparently not the sharpest tool in the shed. Or maybe he’s just too busy with work – he runs a rubber plantation in British Malaya. Leslie runs the house and occupies her free time with lace work, tennis parties and gin slings.

Bette Davis and Herbert Marshall play a married couple in "The Letter" from 1940 by director William Wyler.

Howard, a lawyer and friend of the couple, makes his comment in the course of defending Leslie after their tranquil existence suddenly becomes threatened. While Bob is away on business, Leslie receives a late-night visit by an acquaintance, Geoff Hammond, who professes his love for her and tries to force himself on her. So, she shoots him dead; a clear case of self-defense to hear her tell the story. And who doesn’t believe Bette Davis when she’s holding court?

It’s an unpleasant matter, “horrible,” as she says, to be dispensed with as quickly and neatly as the British colonial justice system will allow. And that’s pretty quickly and neatly as these are white, upper-middle-class, upstanding citizens of the empire. It’s smooth sailing, until the appearance of a letter, in Leslie’s handwriting, demanding that Hammond come over the night of the murder and noting that Bob would be away all night.

The letter is in the possession of Hammond’s wife (Gale Sondergaard), a Eurasian native, and she’s willing to let it go for $10,000. But keeping it away from the prosecution and keeping it away from Bob are two different things.

While “The Letter” predates the most prolific period of classic American film noir and its femme fatale is a patrician, married Englishwoman, it is nevertheless a fine example of the form. Just look at the dark, moody, high-contrast lighting, courtesy of cinematographer Tony Gaudio. Nearly every interior scene contains shadowy black bars suggesting confinement. Exterior scenes of lush moonlit landscapes and close-ups of those Bette Davis eyes (the opening scene is particularly memorable) convey the surfacing of the wild, devilish impulses we all struggle to contain.

Then there’s the taut direction by Wyler and sterling acting all round. Wyler, one of Hollywood’s most admired directors, demanded subtlety from Davis, knowing that her strength would resonate on its own. As Leslie Crosbie, she’s an extremely complex femme fatale, equal parts supreme elegance and base evil, one minute winning our sympathy, the next minute making us feel like utter fools for liking her.

Known for being a perfectionist, the German-born Wyler earned the nicknames “90-take Willie” and “Once Again Wyler.” He and Davis had worked together on 1938’s “Jezebel” (for which she won her second Oscar; the first was for “Dangerous” from 1935, directed by Alfred E. Green). Wyler and Davis had an affair that lasted through the production of “Jezebel.” He remained one of her favorite directors. Wyler won three best director Oscars, for 1942’s “Mrs. Miniver, “The Best Years of Our Lives” from 1946 and 1959’s “Ben-Hur.” [Read more…]

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