On the radar: Hollywood Redux exhibition in Santa Monica, film noir faves, remembering the blonde goddess

Love this photo of a (smiling!) Bogart & Bacall. Shot by Murray Garrett and on display at the Robert Berman Gallery in Santa Monica.

Love this photo of a (smiling!) Bogart & Bacall. Shot by Murray Garrett and on display at the Robert Berman Gallery in Santa Monica.

Murray Garrett: Hollywood Redux, a selection of black-and-white photographs including never-before-seen silver-gelatin prints from the artist’s archive, runs through Aug. 23 at the Robert Berman Gallery in Santa Monica. The Brooklyn-born Garrett, who worked in the Golden Age, typically used medium-format cameras, such as the Speed Graphic and Rolleiflex, to capture iconic moments from the lives of the entertainment industry’s elite and other popular figures of American culture and high society.

Taschen has released a must-read tome: Film Noir: 100 All-Time Favorites. From “The Cabinet of Dr. Caligari” to “Drive,” editors Paul Duncan and Jürgen Müller present their top film-noirs and neo-noirs. Director, film noir scholar and “Taxi Driver screenwriter Paul Schrader provides the introduction.

Also, Tuesday, Aug. 5 marks the 52nd anniversary of Marilyn Monroe’s death. RIP, Marilyn. See more images and read more about her life here.

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The Film Noir File: Howard Hawks and Raymond Chandler, Bogie & Bacall: As good as noir gets

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK

It doesn't get any better than Bogie and Bacall in "The Big Sleep."

It doesn’t get any better than Bogie and Bacall in “The Big Sleep.”

The Big Sleep” (1946, Howard Hawks). Tuesday, May 20, 12:15 p.m. (9:15 a.m.) With Humphrey Bogart, Lauren Bacall, Dorothy Malone, and Elisha Cook, Jr. Click here to read the FNB review.

Thursday, May 15

6 p.m. (3 p.m.): “The Night of the Hunter” (1955, Charles Laughton). With Robert Mitchum, Shelley Winters, and Lillian Gish. Reviewed in FNB on Feb. 3, 2011.

Saturday, May 17

7 a.m. (4 a.m.): “Each Dawn I Die” (1939, William Keighley). With James Cagney, George Raft, Jane Bryan, George Bancroft and Victor Jory. Reviewed in FNB on March 10, 2012.

8:45 a.m. (5:45 a.m.): “Johnny Angel” (1945, Edwin L. Marin). With George Raft, Claire Trevor, and Signe Hasso. Reviewed in FNB on June 27, 2012.

8 p.m. (5 p.m.); “The Haunting” (1963, Robert Wise). With Julie Harris, Claire Bloom, Richard Johnson and Russ Tamblyn. Reviewed in FNB on Oct. 29, 2013. [Read more...]

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The Film Noir File: Bogie is at the top in ‘High Sierra’

By Film Noir Blonde and Mike Wilmington

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Cable TV. All movies below are from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Pick of the Week

High Sierra” (1941, Raoul Walsh). 4 p.m. (1 p.m.), Saturday, April 5.

Bogart and Ida Lupino star in "High Sierra."

Bogart and Ida Lupino star in “High Sierra.”

In 1941, the same year he played Sam Spade, private eye, one of the greatest of all movie detectives, in John Huston’s classic film noir “The Maltese Falcon,” Humphrey Bogart also played one of the greatest of all movie gangsters, Roy Earle, in Raoul Walsh‘s classic noir, “High Sierra.”

If Spade was one of the meanest, most realistic and most unsympathetic of all movie detectives (up until then), Earle was one of the roughest, least clichéd but most surprisingly sympathetic gangsters. He’s a hard guy with a soft streak, whose sentimentality (especially toward women and little dogs), may trip him up in the end.

Veteran thief Big Mac (Donald MacBride) and an ex-cop (Barton MacLane) engineer Earle’s release from prison so he can take over a very lucrative job: a high-end resort robbery near the Sierras. But Earle finds himself yoked to a young, inexperienced gang.

The tyro would-be crooks include Arthur Kennedy, Alan Curtis and inside man Cornel Wilde. The moll of one of the guys is Marie (Ida Lupino), a smart, bruised city doll who falls for Earle, but whom the old pro regards, like all dames, as “trouble.”

More to his taste, disastrously, is the beautiful, seemingly sweet club-footed girl Velma (Joan Leslie), whose family (including Henry Travers) he meets and helps on the road.

Roy sets up the robbery and tries to woo the crippled girl. But it’s his last job, and we know what that means in a movie. As the boss‘s outlaw doctor (Henry Hull) tells Roy: “Guys like you and Johnny Dillinger “are just rushing toward death.”

High Sierra posterAndrew Sarris once described “High Sierra” as “the Gotterdammerung of the gangster movie.” And perhaps Bogart connected so well with the part of the doom-haunted criminal Earle because he had a face that really could suggest a man rushing toward death. Bogie’s dark burning eyes, brusque been-there-shot-that manner, innate intelligence and his existential tough-guy persona were leagues away from the standard handsome male stars who tended to monopolize Hollywood’s leading man roles.

Screenwriting team John Huston and W. R. Burnett based their work on Burnett’s hard-boiled novel. Action-master director Raoul Walsh, a first-tier ‘20s silent moviemaker (he directed Douglas Fairbanks in the 1924 “The Thief of Baghdad“), had been languishing in the second tier for most of the ‘30s.

But Walsh came back with 1939’s “The Roaring Twenties” (in which James Cagney played a sympathetic gangster and Bogie was the villain), 1940‘s “They Drive by Night” (with truck-driver Bogie as the second lead after star George Raft) and “High Sierra,” in which Bogie finally got the lead. (Raft turned down both of the roles that took Bogart to the top: Sam Spade in “The Maltese Falcon” and Roy Earle in “High Sierra.”)

By the way, the last shot of “High Sierra,” with Ida Lupino walking toward the camera, framed by the mountains and the sky, is one of the great last moments in film noir and in all Hollywood movies.

Saturday, April 5

4 p.m. (1 p.m.): “High Sierra” (1941, Raoul Walsh). See Pick of the Week.

Sunday, April 6

8 a.m. (5 a.m.): “They Drive By Night” (1940, Raoul Walsh). With George Raft, Ida Lupino, Humphrey Bogart and Ann Sheridan. Reviewed in FNB on July 7, 2012. [Read more...]

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The Film Noir File: Huston helms, Bogarts stars in ‘Falcon’ et al

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Pick of the Week

Maltese-Falcon-poster[1]

The Maltese Falcon
(1941, John Huston). 8 p.m. (5 p.m.); Wednesday, March 12. With Humphrey Bogart, Mary Astor, Sydney Greenstreet, Peter Lorre and Elisha Cook, Jr. See previous post for the review.

Wednesday, March 12

8 p.m. (5 p.m.): “The Maltese Falcon” (1941, John Huston). See review in previous post.

10 p.m. (7 p.m.): “Across the Pacific” (1942, John Huston). With Bogart, Astor and Greenstreet. Reviewed in FNB on June 6, 2012.

Friday, March 14

10:45 a.m. (7:45 a.m.): “Beat the Devil” (1953, John Huston). Humphrey Bogart and John Huston’s last movie together was a commercial failure but a triumph of silliness, satire and pseudo-noir. Bogart stars as the sly, grinning kingpin of a group of uranium-mine swindlers that includes Robert Morley, Peter Lorre and Italian bombshell Gina Lollobrigida. Jennifer Jones and Edward Underdown are two naïve British vacationers who fall guilelessly into their hands.

Beat the Devil posterBased on a novel by Claud Cockburn, the film, a cult movie if there ever was one, was adapted with tongue completely in cheek, by Truman Capote, who wrote (or rewrote) it on location in Italy. Apparently, Capote got the script done each day with barely enough time for the actors to learn their lines. (They have fun with them anyway.) The settings on the Italian coast, in prime tourist territory, are gorgeous — as are bad girl Lollobrigida and good girl Jones. The cast look as if they‘re not quite sure what’s going on but are having an absolutely marvelous time. As will you.

4 a.m. (1 a.m.): “The Public Enemy” (1931, William Wellman). With James Cagney, Jean Harlow and Mae Clarke. Reviewed in FNB on Aug. 10, 2012.

Saturday, March 15

8 p.m. (5 p.m.): “The Sugarland Express” (1974, Steven Spielberg). With Goldie Hawn, Ben Johnson and William Atherton. Reviewed in FNB on Nov. 23, 2013.

Sunday, March 16

6 p.m. (3 p.m.): “After the Thin Man” (1936, W. S. Van Dyke). With William Powell, Myrna Loy and James Stewart. Reviewed in FNB on June 6, 2013.

Monday, March 17

8 p.m. (5 p.m.): “The Outfit” (1973, John Flynn). With Robert Duvall, Karen Black and Robert Ryan. Reviewed in FNB on May 22, 2013.

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There’s only one ‘Maltese Falcon’ and this is it

The Maltese Falcon/1941/Warner Bros./100 min.

Maltese Falcon poster“The Maltese Falcon,” a spectacularly entertaining and iconic crime film, holds the claim to many firsts.

It’s a remarkable directorial debut by John Huston, who also wrote the screenplay. It’s considered by many critics to be the first film noir. (Another contender is “Stranger on the Third Floor” see below.) It was the first vehicle in which screen legend Humphrey Bogart and character actor Elisha Cook Jr. appeared together – breathing life into archetypal roles that filled the noir landscape for decades to come.

It was veteran stage actor Sydney Greenstreet’s first time before a camera and the first time he worked with Peter Lorre. The pair would go on to make eight more movies together. Additionally, “Falcon,” an entry on many lists of the greatest movies ever made, was one of the first films admitted to the National Film Registry in its inaugural year, 1989.

Based on a novel by Dashiell Hammett, Huston’s “Falcon” is the third big-screen version of the story (others were in 1931 and 1936) and it’s by far the best. Huston follows Hammett’s work to the letter, preserving the novel’s crisp, quick dialogue. If a crime movie can be described as jaunty, this would be it. Huston’s mighty achievement earned Oscar noms for best adapted screenplay, best supporting actor (Greenstreet) and best picture.

According to former New York Times film critic Bosley Crowther: “The trick which Mr. Huston has pulled is a combination of American ruggedness with the suavity of the English crime school – a blend of mind and muscle – plus a slight touch of pathos.”

A few more of Huston’s tricks include striking compositions and camera movement, breathtaking chiaroscuro lighting, and a pins-and-needles atmosphere of excitement and danger. (Arthur Edeson was the cinematographer; Thomas Richards served as film editor.)

For the few who haven’t seen “Falcon,” it’s a tale of ruthless greed and relentless machismo centered around the perfect marriage of actor and character: Humphrey Bogart as private detective Sam Spade – the ultimate cynical, streetwise, I-did-it-my-way ’40s alpha-male. As famed noir author Raymond Chandler once put it: “All Bogart has to do to dominate a scene is to enter it.” Bogart appears in just about every scene in “Falcon.”

As Raymond Chandler  put it: “All Bogart has to do to dominate a scene is to enter it.”

As Raymond Chandler put it: “All Bogart has to do to dominate a scene is to enter it.”

As Spade, he sees through the malarkey, cuts to the chase and commands every situation, even when the odds are stacked against him. At one point he breaks free of a heavy, disarms him and points the guy’s own gun at him, all while toking on his cig. He’s equally adept at using wisecracks and one-liners to swat away the cops, who regularly show up at his door.

Mary Astor plays leading lady Brigid O’Shaughnessy to Bogart’s Sam Spade and it is she who sets the story in motion when she walks into Spade’s San Francisco office. Brigid asks Spade and his partner Miles Archer (Jerome Cowan) to trail a man named Thursby who, she says, is up to no good with her sister. They accept the job and Archer takes the first shift of following Thursby. Next morning, Archer’s dead. Turns out that Brigid doesn’t have a sister and Archer’s widow (Gladys George) has the hots for Spade.

Spade’s ultra-reliable and resourceful secretary, Effie (Lee Patrick) is the one gal he can trust and it’s clear she means the world to him. At one point he tells her, “you’re a good man, sister,” which in Spade-speak is a downright gushfest. He might like the look of Brigid and her little finger, but he won’t be wrapped around it anytime soon.

Humphrey Bogart owns the movie, but he has a stellar support cast. From left: Bogart, Peter Lorre, Mary Astor and Sydney Greenstreet.

Humphrey Bogart as Sam Spade owns the movie, but he has a stellar support cast. From left: Bogart, Peter Lorre, Mary Astor and Sydney Greenstreet.

Astor, a Hollywood wild child of her time, who left a long string of husbands and lovers in her wake and generated much fodder for the tabloids, was brilliant casting for the part of bad-girl Brigid O. True to form, Astor allegedly was having an affair with Huston during the making of the film.

There is no doubt that Bogart owns this guy’s-guy male-fantasy picture, but Astor and the stellar support cast are unforgettable in their roles. As a good-luck gesture to his son, John, actor Walter Huston plays the part of the old sea captain. Peter Lorre drips malevolence as the effeminate and whiny Joel Cairo, and he has a foreign accent, which in Hollywood is usually shorthand for: he’s a bad’un.

Making his film debut at 61, Greenstreet’s Kasper Gutman is both debauched and debonair, a refined reprobate with a jolly cackle and tubby physique (he was more than 350 pounds!). Warner Bros. had to make an entire wardrobe for Greenstreet; Bogart wore his own clothes to save the studio money. One more Bogart contribution was adding the line: “The stuff that dreams are made of” at the end of the film, paraphrasing a line in “The Tempest” by William Shakespeare.

Tough-guy Sam Spade (Bogart) and wimpy Wilmer Cook (Elisha Cook Jr.) are perfect foils.

Tough-guy Sam Spade (Bogart) and wimpy Wilmer Cook (Elisha Cook Jr.) are perfect foils.

And honing the sort of performance that would become his trademark, Elisha Cook Jr. stamps the character of warped thug Wilmer Cook with code for “psycho” (darting eyes, bubbling rage, edgy desperation) as if it were a neon light attached to his forehead.

Much has been written about the homosexual subtext of the Cairo, Gutman and Cook characters – I will just say they’re all part of the flock that covets and vies for possession the falcon, a jewel-laden statue of a bird that’s the treasure at the core of this tense and serpentine story. When it’s suggested that Wilmer Cook be sacrificed for the good of the gang, Greenstreet’s Kasper Gutman explains that, though Wilmer is like a son, “If you lose a son, it’s possible to get another. There’s only one Maltese Falcon.”

Though there were two other celluloid versions of Hammett’s story, in my view, there’s only one “Maltese Falcon” and this is it.

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Film noir greats ‘Shadow of a Doubt,’ In a Lonely Place,’ Double Indemnity’ and more on the big screen in LA

By Film Noir Blonde and Michael Wilmington

Shadow of a Doubt” (1943, Alfred Hitchcock) is the 1 p.m. matinee Tuesday, Feb. 4, at the Los Angeles County Museum of Art (LACMA).

A bright and beautiful small town girl named Charlotte “Charlie” Newton (Teresa Wright) is bored. Bored with her well-ordered home in her Norman Rockwellish little city of Santa Rosa, Calif., – where trees line the sunlit streets, everyone goes to church on Sunday and lots of them read murder mysteries at night. Charlie has more exotic dreams. She adores her globe-trotting, urbane Uncle Charlie Oakley (Joseph Cotten) – for whom she was nicknamed – and is deliriously happy when he shows up in Santa Rosa for a visit.

Joseph Cotten and Teresa Wright play kindred spirits, sort of, in “Shadow.”

Joseph Cotten and Teresa Wright play kindred spirits, sort of, in “Shadow.”

But Uncle Charlie has some secrets that no one in his circle would guess – not Uncle Charlie’s adoring sister (Patricia Collinge), nor his good-hearted brother-in-law (Henry Travers), nor their mystery-loving neighbor Herbie (Hume Cronyn), nor Charlie herself. Uncle Charlie, who conceals a darker personality and profession beneath his charming persona, is on the run, pursued by a dogged police detective (Macdonald Carey), who suspects him of being a notorious serial killer who seduces rich old widows and kills them for their money. As handsome, cold-blooded Uncle Charlie, Cotten, who also called “Shadow” his personal favorite film, is, with Robert Walker and Anthony Perkins, one of the three great Hitchcockian psychopaths.

“Shadow of a Doubt,” released in 1943, was Hitchcock’s sixth American movie and the one he often described as his favorite. As he explained to François Truffaut, this was because he felt that his critical enemies, the “plausibles,” could have nothing to quibble about with “Shadow.” It was written by two superb chroniclers of Americana, Thornton Wilder (“Our Town”) and Sally Benson (“Meet Me in St. Louis”), along with Hitch’s constant collaborator, wife Alma Reville. The result is one of the supreme examples of Hitchcockian counterpoint: with a sunny, tranquil background against which dark terror erupts.

Barbara Stanwyck book

On Thursday night at 7:30 p.m., the American Cinematheque presents a Nicholas Ray night at the Egyptian Theatre in Hollywood: “Johnny Guitar,” starring Joan Crawford and Sterling Hayden, and “In a Lonely Place,” starring Humphrey Bogart and Gloria Grahame. As Jean-Luc Godard said: “Nicholas Ray is the cinema.” And speaking of Godard, the AC’s Aero Theatre is hosting a Godard retrospective, starting Feb. 20.

Femmes fatales don’t particularly like birthdays, but here’s an exception:  “Double Indemnity” turns 70 this year! Did you know Raymond Chandler made a cameo in the film? Read the story here.

And be sure to attend on Sunday, Feb. 9, at the Aero Theatre in Santa Monica: Barbara Stanwyck biographer Victoria Wilson will sign her book and introduce a screening of “Double Indemnity” and “The Bitter Tea of General Yen.” The signing starts at 6:30 p.m. and the show starts at 7:30 p.m.

Wilson has two other signings coming up; for details, call Larry Edmunds Bookshop at 323-463-3273.

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Film noir stalwart Lizabeth Scott highlighted on TCM

Dead_Reckoning posterDead Reckoning/1947/Columbia Pictures/100 min.

It’s good to take fashion risks from time to time. But would I ever wear a polka-dot shower cap with matching bow-tie to take an ex-GI for a ride? Hmm, I think not. Sadly, Coral “Dusty” Chandler (Lizabeth Scott) makes this fashion choice in “Dead Reckoning” (1947). Honey, you’re trying to con Capt. Rip Murdock (Humphrey Bogart), the toughest tough-guy ever. You can’t afford a wardrobe slipup like that.

To put it mildly, Rip is slow to succumb to feminine wiles. As he tells his war buddy, earnest and Yale-educated Sgt. Johnny Drake (William Prince): “All females are the same with their faces washed.”

When Johnny mysteriously disappears on the way to pick up the Congressional Medal of Honor, Rip heads to Gulf City, Fla., to find him. Instead, he meets Johnny’s girlfriend Coral – pretty, poised and concerned for her beau – at the Sanctuary Club, a hangout run by Martinelli (Morris Carnovsky), a lowlife with a fancy vocabulary.

Rip’s next stop is the local morgue, where he learns that Johnny has died in a car crash. Convinced it was no accident, he determines to find out who’s responsible. Then a dead body shows up in Rip’s hotel room. As Rip and Coral join forces to figure out what gives in Gulf City, Rip allows her to get a little closer to his battle-scarred core. She reveals that Johnny didn’t really light her fire. But Rip’s another story, and a bumpy romance ensues.

At one point, Rip shares his ultimate female fantasy, that “women ought to come capsule-sized, about four inches high” and for the most part kept in a man’s pocket except for “that time of the evening when he wants her full-sized and beautiful.” Luckily that’s a no-brainer for lovely Coral. Other than that disastrous hat and bow, she looks impeccable.

Lizabeth Scott was born Emma Matzo in Scranton, Pa., one of six children. Her parents emigrated from the Ukraine.

Lizabeth Scott was born Emma Matzo on Sept. 29, 1922, in Scranton, Pa., one of six children. Her parents emigrated from the Ukraine.

“Dead Reckoning” joins top talent to create a solid example of the noir genre. John Cromwell provides fine direction; Steve Fisher’s crisp, funny script has Rip telling his story via flashback to a kindly priest, Father Logan (James Bell). Rip’s still-fresh memories of World War II intertwine with the neatly crafted plot.

Best of all we get to watch Bogart and Scott. Sculpted, slim and statuesque, fair-haired Scott (who looks a lot like Lauren Bacall) was a film noir stalwart and TCM is showing many of her movies Friday, including “Dead Reckoning,” “Pitfall” and “The Strange Love of Martha Ivers,” in which Scott holds her own with fellow cast members Barbara Stanwyck, Van Heflin and Kirk Douglas. Other notable ’40s flicks include: “Desert Fury,” “I Walk Alone” and “The Racket,” co-starring Robert Mitchum and also directed by Cromwell, who was blacklisted from 1951-1958. (“The Racket” is also part of Friday’s lineup.)

(In 1950, Cromwell directed the classic prison flick “Caged” starring Agnes Moorehead and Ellen Corby. Moorehead would later star as Endora on “Bewitched” and Corby would play Grandma on “The Waltons.”)

Scott tended to play tough girls who lived by their wits and worldly charms, having been born on the wrong side of the tracks. Alluring and mysterious, she was sometimes a bit too aloof, a bit stiff in her expression, body language and gesture. In other words, she lacked the sizzle of a full-on femme fatale. The role of Coral Chandler was originally intended for Rita Hayworth, but she was busy making “The Lady from Shanghai.”

Still, Scott was a trooper and accumulated many credits: “Too Late for Tears,” “Easy Living,” “Paid in Full,” “Dark City,” “The Company She Keeps,” “Two of a Kind,” “Red Mountain,” “A Stolen Face,” “Scared Stiff,” “Bad for Each Other” and “Silver Lode.”

Scott never married, rumors circulated about her sexual preferences and the murky publicity was enough to sour her career. A pretty raw deal, I’d say. Scott recently turned 91 and we at FNB would love to take her out for dinner and drinks, say Musso & Frank’s? That’s the least we can do. Well, that and watch her Friday on TCM.

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Film Noir File: Here’s looking at you, Bogie

By Film Noir Blonde and Mike Wilmington

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK: HUMPHREY BOGART DAY (Thursday, Aug. 1)

Bogart poses in his classic fedora and trenchcoat.

If there is a country of film noir, then Humphrey Bogart is its president, its first citizen, its uncrowned king – a man of one unforgettable face and of many standout roles. Bogie was Philip Marlowe and Sam Spade, two ace detectives. He was Roy Earle and Duke Mantee, outlaws on the run.

He played gang leaders (“The Roaring Twenties”) and their prosecutors (“Marked Woman,” “The Enforcer”), a treasure hunter (in “Sierra Madre”) and a bad-tempered screenwriter (“In a Lonely Place”). Outside the land of noir, he was sloppy steamboat Captain Charlie Allnut in “The African Queen” and mad Captain Queeg of “The Caine Mutiny.”

Perhaps most famously he was Rick Blaine of “Casablanca,” the melancholy, sexy night club owner, no stranger to secrets, cynicism and, ultimately, sacrifice for the greater good.

Bogart’s career was sluggish at the start; he owed his big break to Leslie Howard. They starred, with Bette Davis, in “The Petrified Forest.”

As he walked the dark, rainy streets of noir, he often wore a raincoat and fedora, with a cigarette curling smoke past his grimacing, partly paralyzed lip (the result of a fight when he was in the Navy) and likely carrying a gun. His eyes were dark and sad, his voice was low and hard-edged. There was usually a snarl in that voice.

Bogart was born into a comfortable Manhattan home, the son of a surgeon and an artist. In 1918, Bogart joined the Navy, after which he went into theater and film. One of his first movies was a prison baseball comedy called “Up the River,” directed by John Ford and starring, also in one of his first movie roles, Spencer Tracy. (Ford later called the picture “one of my mortal sins.”)

Bogart’s big break came in “The Petrified Forest” (1936, Archie Mayo). Co-star Leslie Howard insisted Bogie be cast as gangster Duke Mantee (they previously starred in the play’s Broadway run). Bogie quickly became a Warner Brothers contract player fixture. He started off as mostly a villain, then an anti-hero, then finally mostly a hero.

Bogart and Bacall were married from 1945 until Bogart’s death in 1957.

Howard Hawks once labeled Bogie as probably the most insolent guy in movies. Then Hawks told Bogart he was going to put him in a movie with a young actress even more insolent: Lauren Bacall. Hawks directed them in 1944’s “To Have and Have Not” and they fell in love. Like Tracy and Hepburn, Bogie and Bacall became one of the great Hollywood couples – and their marriage (her first, his fourth) was the stuff that dreams are made of.

At 57, Bogart died of throat cancer from too many of those signature cigarettes of his. Speaking at the funeral, John Huston, his favorite and most sympatico director, said: “We shall not look upon his like again.”

When Bogart won his Oscar for “The African Queen” – beating out Marlon Brando in “A Streetcar Named Desire” and Montgomery Clift in “A Place in the Sun,” two of the most influential movie performances of the ’50s – he explained, “I’ve been around for a long time. Maybe the people like me.”

Bogart and Bacall were introduced by director Howard Hawks.

They do like him, still. Nobody wore a raincoat, cracked wise to a crook or a cop, or walked down a mean noir street, like Bogie. Nobody ever will. Here’s looking at you, kid.

(Note: Most of the following titles have been reviewed on FNB. Use the search tool on the right to find them.)

6 a.m. (3 a.m.): “Bogart: The Untold Story” (1996). A documentary look at Bogie’s life in (and out) of movies, hosted by his son, Stephen Bogart.

7 a.m. (4 a.m.): “High Sierra” (1941, Raoul Walsh).

9 a.m. (6 a.m.): “The Maltese Falcon” (1941, John Huston).

10:45 a.m. (7:45 a.m.). “To Have and Have Not“ (1944, Howard Hawks).

12:30 p.m. (9:30 a.m.): “The Treasure of the Sierra Madre” (1948, John Huston).

2:45 p.m. (11:45 a.m.) “Tokyo Joe” (1949, Stuart Heisler).

4:15 p.m. (1:15 p.m.). “Beat the Devil” (1954, John Huston).

6 p.m. (3 p.m.): “In a Lonely Place” (1950, Nicholas Ray).

8 p.m. (5 p.m.). “The Big Sleep” (1946, Howard Hawks).

10 p.m. (7 p.m.): “Key Largo” (1948, John Huston).

4 a.m. (1 a.m.): “The Harder They Fall” (1956, Mark Robson). [Read more...]

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The Noir File: Bogie, Bacall shine in quirky ‘Dark Passage’

By Film Noir Blonde and Mike Wilmington

The Noir File is FNB’s guide to classic film noir, neo-noir and  pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICKS OF THE WEEK

“Dark Passage” was the third of four films Bogart and Bacall made together.

Dark Passage” (1947, Delmer Daves). Friday, June 14:  8 p.m. (5 p.m.)

I recently wrote about 1947’s “Lady in the Lake,” a Raymond Chandler/Philip Marlowe tale, starring and directed by Robert Montgomery. Its chief claim to fame is the experimental subjective camera – the story is told entirely from Marlowe’s point of view.

In that review, I noted that “Dark Passage,” starring Humphrey Bogart and Lauren Bacall, also from 1947, uses a subjective camera as well, though just for the first half-hour of the movie. The limited use of the technique in “Dark Passage” pays off much better than the full-on treatment in “Lady.” Though “Dark Passage” wasn’t a huge hit in its day – audiences weren’t crazy about being deprived of Bogart – it’s a film noir treasure that rarely gets its due.

You can read the full FNB review here.

NOIR WRITERS SERIES: DAVID GOODIS
All this month on its Friday Night Spotlight screenings,  TCM is presenting a series of classic film noirs, with each Friday night devoted to movies based on or written by (or both) one of  six top-notch noir authors: Dashiell Hammett, Raymond Chandler, James M. Cain, David Goodis, Jonathan Latimer and Cornell Woolrich.

Tonight the spotlight is on David Goodis, one of the strangest and most poignantly self-destructive of the great film noir novelists. Goodis, a well-educated  Philadelphian, and an outsider for most of his life, came to Hollywood when his best-selling novel, “Dark Passage” was sold to Warner Brothers as a vehicle for the red hot movie team of Humphrey Bogart and Lauren Bacall. “Dark Passage” allowed Bogie and Bacall to shine, and is now considered a classic.

“Dark Passage” uses a subjective camera for the first half-hour of the movie.

But Goodis, who liked to explore the lower depths,  proved too weird even for Movieland, and he soon returned East where he spent the rest of his relatively brief life (1917-1967) writing pulp novels for paperback publishers, which he occasionally sold to the movies. (See below.)

They were cheap, supposedly trashy books, churned out fast. Goodis filled them with a  keen insight into darkness, loneliness and the underworld, a flair for strong perverse characterization and a poetic command of language few writers in his genre could match. “Dark Passage” remains his most famous novel. The most personal and revealing  may be “The Burglar,” directed by his Philly friend Paul Wendkos. It’s a powerful film, but the book is better.

David Goodis was weird, even for Hollywood.

(The “Noir Writers” films, all of which show on Friday evening, June 14, were curated and will be introduced by film noir expert Eddie Muller.)

8 p.m. (5 p.m.): “Dark Passage” (See Above.)

10 p.m. (7 p.m.): “Nightfall” (1956, Jacques Tourneur). With Aldo Ray, Anne Bancroft and Brian Keith. Reviewed on FNB, May 29, 2012.

11:30 p.m. (8:30 p.m.): “The Burglar” (1957, Paul Wendkos). David Goodis’  eerie, haunting novel about a gang of burglars, inlcuding platonic lovers Dan Duryea and Jayne Mansfield, and how they come apart. The diretcor, Paul Wendkos (“The Mephisto Waltz”) was another Philadelphia guy and a friend of Goodis’, and he did very well by the book, which is one of the great pulp paperback novels of the ’50s. The movie isn’t on that level, but, in its way, it’s a neglected, if melancholy, gem.

Charles Aznavour and Michèle Mercier in François Truffaut’s “Shoot the Piano Player.”

1:15 a.m. (10:15 p.m.): “Shoot the Piano Player” (1960, François Truffaut). The greatest movie ever made from a David Goodis novel is also the ultimate fusion of film noir with the French New Wave. Noir-lover François Truffaut (“Jules and Jim”) takes one of Goodis’ best novels, “Down There,” resets it in a Paris dive, and comes up with melancholy black-and-white movie magic. Truffaut makes the material his own. He keeps the original  tale of a concert pianist (legendary torch singer Charles Aznavour) who, heartbroken at the loss of his love, goes down there to the depths of show biz – tinkling the keys in a neighborhood bar, until, despite his best efforts, he falls in love again and falls in with criminals. Like most Goodis stories, it’s a bluesy tale touched with terror.  But Truffaut opens it up with innovative filmmaking and breezy, saucy, seemingly off-the-cuff scenes that shoot vibrant life into a very dark subject. [Read more...]

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The Noir File: Wilder’s dark favorite is an American nightmare

By Mike Wilmington and Film Noir Blonde

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK

Ace in the Hole” (1951, Billy Wilder). Friday, May 17, 8 p.m. (5 p.m.).

Kirk Douglas plays Chuck Tatum, a star reporter exiled from his big-city paper.

In the Golden Age of Hollywood and film noir, no one was better than Kirk Douglas at playing anti heroes, heels and villains. In movies like “Champion,” “The Bad and the Beautiful,” “I Walk Alone” and “Out of the Past,” he channeled the amoral climber who knifes you with a smile, or steps on almost everyone on his way to the top. The best (or worst) of all Douglas’s movie heels is Chuck Tatum in Billy Wilder’s “Ace in the Hole” – a slick-operator star newspaper reporter who messes up, gets exiled from his big-city paper and is now stuck in Albuquerque, N.M., in a desert dead-end.

When Chuck learns of a local miner named Leo Mimosa trapped in a cave-in in a Native American holy area, he sees a chance to ratchet up the drama and revive his career. A master manipulator, Chuck talks Leo and his rescuers into taking a longer, more dangerous escape route, then plays the story to the hilt, planning to sell it to the big outlets back east. With Leo’s life on the line and the clock ticking, this master of hype and hoopla turns the story into a circus and the circus into a nightmare.

A master manipulator, Chuck ratchets up the drama in an effort to revive his career.

Chuck Tatum, brought to stinging life by Douglas, was the brainchild of Billy Wilder, who had just dissolved his decades-long writing partnership with Charles Brackett after their hit, “Sunset Blvd.” Walter Newman, who later wrote “The Man with the Golden Arm” and “Cat Ballou,” was one of Wilder’s new co-writers and, though they never collaborated again, Wilder must have liked some of what they did.

Many times, Wilder cited “Ace in the Hole” as one of his favorites among his films, “the runt of my litter” as he affectionately called it. The runt is one of the darkest of all Wilder’s films: a portrait of American society, culture and media, a ruthless exposé of Tatum and his fellow opportunists.

The more conservative Brackett (who had refused to work with Wilder on “Double Indemnity”) had been something of a brake on Billy’s cynicism, which is fully unleashed here. Perhaps Brackett had a point. Many critics and audiences in 1951 didn’t much care for the acrid darkness and lacerating social indictment of Wilder’s “Ace in the Hole,” which was such a flop that it had to be pulled and re-released as “The Big Carnival.”

It didn’t come to be regarded as a classic of American cinema and social criticism until years later. Maybe the picture was just too noir for ’50s moviegoers. But it’s not too noir for us.

Friday, May 17

3 p.m. (12 p.m.): “Where Danger Lives” (1953, John Farrow). Love on the run, with infatuated Bob Mitchum falling for dangerous Faith Domergue, and the two of them heading for Mexico. A standard but engrossing “femme fatale” noir, from the director of “The Big Clock.”

8 p.m. (5 p.m.): “Ace in the Hole” (1951, Billy Wilder). See PICK OF THE WEEK.

2 a.m. (11 p.m.): “Our Man in Havana” (1960, Carol Reed). The third of the three film thriller collaborations between writer Graham Greene and director Carol Reed. (The others are “The Third Man” and “The Fallen Idol.”) It’s also the least admired by critics, and the team’s only comedy, with Alec Guinness playing a British vacuum cleaner salesman in Cuba inexplicably involved in a batty spy intrigue. The crack cast also includes Maureen O’Hara, Ralph Richardson, Ernie Kovacs, Noel Coward and Burl Ives.

Joan Crawford and Cliff Robertson star in “Autumn Leaves.”

4 a.m. (1 a.m.): “Autumn Leaves” (1956, Robert Aldrich.) With Joan Crawford, Cliff Robertson and Vera Miles. Reviewed on FNB December 4, 2012.

Sunday, May 19

12 p.m. (9 p.m.): “Johnny O’Clock” (1947, Robert Rossen). Rossen’s directorial debut: a solid noir with a gambling backdrop and a vintage tough Dick Powell performance.

6 p.m. (3 p.m.): “Leave Her to Heaven” (1945, John M. Stahl). With Gene Tierney, Cornel Wilde, Jeanne Crain and Vincent Price. Reviewed on FNB April 18, 2013.

3 p.m. (12 p.m.): “Night Must Fall” (1937, Richard Thorpe). Emlyn Williams’ famed suspense play about a seductive young psycho (Robert Montgomery) and his rich lady target (Dame May Whitty) is given a plush MGM treatment. With Rosalind Russell. [Read more...]

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