Film Noir File: Classic so-good sleepers ‘The Narrow Margin,’ ‘The Locket’ and ‘Angel Face’

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously in Film Noir Blonde and can be searched in the FNB archives (at right).

Pick of the Week: TCM’s Summer of Darkness continues to delight

Friday, July 24

The next-to-last chapter of TCM’s deluxe film-noir binge-a-thon Summer of Darkness commences today. It’s another feast for film noir buffs. As we know by now, Turner Classic Movies has been sharing its great shadowy treasure trove of classic film noir on Friday nights.

Marie Windsor

Marie Windsor

This week’s dark list includes Richard Fleischer’s terrific low-budget death-rides-the-train sleeper, “The Narrow Margin,“ starring Charles McGraw and Marie Windsor — one of director Billy Friedkin’s faves. You’ll also see Hollywood expressionist John Brahm’s stylish triple-flashback thriller, “The Locket” with Robert Mitchum. And don’t even think about missing Otto Preminger’s French critical favorite “Angel Face“ (one of Jean-Luc Godard’s picks for his all-time Best American Talkies list). This time Mitchum is smitten with Jean Simmons. Bitch-slap trivia: “Angel Face” is the movie where Mitchum punched Preminger for being mean to Jean.

Also on Friday’s all-day bill of noir: highlights with ace actors like Ida Lupino, Robert Ryan, Mitchum, Barbara Stanwyck, Mickey Rooney, Evelyn Keyes, Jane Russell, Jeanne Moreau, Vincent Price, John Payne and Raymond Burr, and directors like Nick Ray, Josef von Sternberg (on the same show), Louis Malle, Phil Karlson and Fritz Lang.

Curated and hosted in the evening by the Czar of Noir himself, Eddie Muller of the Film Noir Foundation and the Noir City film festivals, TCM’s Summer of Darkness is a standout fest of classic killings, broken dreams and movie nightmares. All that and Marilyn Monroe (in “Clash by Night”) too.

We don’t want this summer to end!

6:45 a.m. (3:45 a.m.): “Roadblock” (1950, Harold Daniels). Charles McGraw and Joan Dixon in a poor man‘s “Double Indemnity.”

8 a.m. (5 a.m.): “The Strip” (1951, Leslie Kardos). Mickey Rooney is a luckless jazz drummer who gets in a bad fix trying to help Hollywood hopeful Sally Forrest. The great guest musical stars here include Louis Armstrong, and Satchmo’s longtime friends and sidemen Jack Teagarden and Earl Hines.

9:30 a.m. (6:30 a.m.): “Beware, My Lovely” (1952, Harry Horner). Ida Lupino and Robert Ryan strike sparks in an icy domestic suspenser.

Robert Ryan and Marilyn Monroe are bored with small-town life in “Clash by Night.”

Robert Ryan and Marilyn Monroe are bored with small-town life in “Clash by Night.”

11:15 a.m. (8:15 a.m.): “Clash by Night” (1953, Fritz Lang). Barbara Stanwyck is an independent woman in 1950s America. Trouble, here we come! She can’t keep a man, but then who’d want to when edgy Robert Ryan is around to get in trouble with? Marilyn Monroe is splendid as a small-town factory girl.

1:15 p.m. (10:15 a.m.): “Kansas City Confidential” (1952, Phi Karlson). A good crisp Karlson heist, pulled off by a mob that includes Preston Foster and Colleen Gray.

3 p.m. (12 p.m.): “Macao” (1952, Josef von Sternberg & Nicholas Ray).

4:45 p.m. (1:45 p.m.): “Talk About a Stranger” (1952, David Bradley). Gossipers wreak havoc in a talky small town. A look at U. S. Senator George Murphy and First Lady Nancy Davis (Reagan) in their movie days.

6:15 p.m. (3:15 p.m.): “Split Second” (1953, Dick Powell). In this nerve-racking thriller, outlaw Stephen McNally and hostages Alexis Smith, Jan Sterling and others are trapped together in a desert nuclear bomb testing site.

8 p.m. (5 p.m.): “The Narrow Margin” (1952, Richard Fleischer).

9:30 p.m. (6:30 p.m.): “His Kind of Woman” (1951, John Farrow).

11:45 p.m. (8:45 p.m.): “The Locket” (1946, John Brahm).

1:30 a.m. (10:30 p.m.): “Angel Face” (1953, Otto Preminger).

3:30 a.m. (12:30 p.m.): “Elevator to the Gallows” (1958, Louis Malle).

[Read more…]

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The Film Noir File: Orson Welles taps Kafka in ‘The Trial’

By Film Noir Blonde and Mike Wilmington

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

Pick of the Week

The Trial posterThe Trial” (1962, Orson Welles). 8 p.m. (5 p.m.). Friday, Aug. 8.

Director-writer-actor Orson Welles presents an extremely faithful film adaptation of novelist Franz Kafka’s darkly comic and ultimately terrifying tale set in the Byzantine legal system of a nameless European country. A jittery, bumptious, unlikable guy (Anthony Perkins as Joseph K, who may be Kafka’s surrogate and dream self) wakes up one morning to find that he has been plunged into a bad dream: two tough cops invading his bedroom and accusing him of crimes they refuse to detail or explain.

He is persecuted by poker-faced nameless agents and subject to totalitarian police tactics as well as the brutal whims of an utterly arbitrary court. Defended by a sybarite lawyer (played by Welles), who rarely gets out of bed, K seems caught in an inescapable trap, facing inevitable punishment. But K keeps arguing with his accusers, protesting his innocence (which is clearly irrelevant) and trying to make sense out of a situation that is defiantly senseless from first moment to last.

“The Trial” translates Kafka’s masterpiece into eloquent words and icy, shadowy images of dread, underscored by a melancholy Baroque dirge, the Adagio in G by Albinoni. The movie is hampered by its low budget, much of which evaporated during shooting, and by its lack of Welles’ usual brilliant sound. But it has great visuals – shot by cinematographer Edmond Richard (“The Red Balloon”) in wide-screen black and white on mostly real Parisian locations.

And the film boasts a great cast: Perkins, Welles, Jeanne Moreau, Romy Schneider, Akim Tamiroff, Elsa Martinelli, Madeleine Robinson, Katina Paxinou, Gert Frobe and Michael Lonsdale.

“The Trial” is sometimes dismissed as a Welles failure. But it’s actually one of his most underrated movies, one of the most faithful of all adaptations of great 20th century literature, and a classic tale that, as Welles says in the prologue, has “the logic of a nightmare.”

Friday, Aug. 8: Jeanne Moreau Day

Jeanne Moreau

Jeanne Moreau

10:15 p.m. (7:15 p.m.): “Elevator to the Gallows” (“Frantic!”) (1958, Louis Malle). Louis Malle’s mesmerizing thriller about a desperate couple (Moreau, Maurice Ronet), trying to murder her husband and cover their tracks in a nearly empty office building at night. It’s no “Double Indemnity,” but it’s close. With a score by jazz master Miles Davis. (In French, with subtitles.)

Saturday, Aug. 9: William Powell Day

8 p.m. (5 p.m.): “The Thin Man” (1934, W. S. Van Dyke). With William Powell, Myrna Loy, Maureen O’Sullivan and Cesar Romero. Reviewed in FNB on July 28, 2012.

9:45 p.m. (6:45 p.m.): “After the Thin Man” (1936, W. S. Van Dyke). With William Powell, Myrna Loy, James Stewart and Joseph Calleia. Reviewed in FNB on June 6, 2013.

Monday, Aug. 11: Marlon Brando Day

Marlon Brando redefined the art of acting.

Marlon Brando redefined the art of acting.

8 p.m. (5 p.m.): “A Streetcar Named Desire” (1951, Elia Kazan). Kazan’s peerless staging of Tennessee Williams’ play showcases Marlon Brando’s brilliant, massively influential lead performance as the brutal but charming Stanley Kowalski. Set in steamy New Orleans where Eros and death (“Flores para las muertos!”) dance their tango, this movie has one of the all-time great casts (three of whom, though not Brando, won Oscars).

Vivien Leigh plays Blanche DuBois, Stanley’s fragile, sensual, haunted prey. Kim Hunter is Stanley’s wife and Blanche’s sister, the screamed-over Stella. Karl Malden is Blanche’s kind and respectful suitor, mom-dominated Mitch. This is Kazan’s preferred cut, with the more downbeat ending, which gives full power to Blanche’s wrenchingly poignant last line “I have always depended on the kindness of strangers.” A masterpiece.

The Wild One poster10:15 p.m. (7:15 p.m.): “The Wild One” (1953, Laslo Benedek). With Brando, Lee Marvin and Mary Murphy. Reviewed in FNB on May 1, 2013.

11:45 p.m. (8:45 p.m.). “On the Waterfront” (1954, Elia Kazan). With Brando, Lee J. Cobb, Eva Marie Saint, Karl Malden and Rod Steiger. Reviewed in FNB on June 5, 2014.

Tuesday, Aug. 12: Alexis Smith Day

10:15 a.m. (7:15 a.m.): “Split Second” (1953, Dick Powell). With Stephen McNally, Alexis Smith and Jan Sterling. Reviewed in FNB on March 5, 2013.

2 a.m. (11 p.m.): “Conflict” (1945, Curtis Bernhardt). Marriage and murder, with Humphrey Bogart in one of his villain roles. Lesser Bogey; but still worth a look. With Sydney Greenstreet.

Wednesday, August 13: Cary Grant Day

9:30 a.m. (6:30 a.m.): “His Girl Friday” (1940, Howard Hawks). With Cary Grant, Rosalind Russell, Ralph Bellamy and Gene Lockhart. Reviewed in FNB on Jan. 22, 2013.

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The Noir File: French style from Jean Gabin in ‘Grisbi’

By Michael Wilmington and Film Noir Blonde

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). Lots of Robert Mitchum and Gloria Grahame this week!


Legendary, stylish Jean Gabin plays a legendary, stylish gangster named Max le Menteur.

Touchez pas au Grisbi” (1954, Jacques Becker). Friday, Nov. 30, 11:15 p.m. (8:15 p.m.): Film noir is a French term and the masters of the form include major French filmmakers as well as Americans. One of those masters is New Wave favorite Jacques Becker (“Casque d’Or“). And Becker’s noir masterpiece is “Touchez pas au Grisbi.” The film takes a wonderfully atmospheric and psychologically acute look at the Parisian underworld: at a legendary, stylish old gangster named Max le Menteur (played by the legendary, stylish Jean Gabin), at the spoils of Max’s last big job and at the unbreakable ties of friendship that entrap him. Adapted by Becker and Albert Simonin from Simonin’s novel, with two later noir mainstays in small roles: Jeanne Moreau and Lino Ventura. The title translates as “Don’t Touch the Loot.” (In French, with subtitles.)

Monday, Nov. 26

7 a.m. (4 a.m.): “The Narrow Margin” (1952, Richard Fleischer).

6:30 p.m. (3:30 p.m.): “The Steel Trap” (1952, Andrew L. Stone). In a neat twist from writer-director Stone, Joseph Cotten plays a bank employee/embezzler, desperately trying to return the loot he filched. With Teresa Wright. A favorite of noir expert Foster Hirsch.

Tuesday, Nov. 27

6 p.m. (3 p.m.): “Brighton Rock” (1947, John Boulting). From Graham Greene’s classic novel about a babyfaced killer on Brighton beach named Pinkie (Richard Attenborough), smartly co-scripted by Greene.

2:30 a.m. (11:30 p.m.): “The Unsuspected” (1947, Michael Curtiz). Lesser-known but strong noir about a radio true crime show, whose producer (Claude Rains) becomes a murderer. With Joan Caulfield, Constance Bennett, Hurd Hatfield and Audrey Totter.

4:30 a.m. (1:30 a.m.): “The Woman on the Beach” (1947, Jean Renoir). Renoir’s U.S. noir: A disturbed guy (Bob Ryan) gets involved with a blind painter (Charles Bickford) and his sexy wife (Joan Bennett).

Wednesday, Nov. 28

7:15 a.m. (4:15 a.m.): “Crossfire” (1947, Edward Dmytryk). The famous postwar thriller about an anti-Semitic murder, co-starring Robert Mitchum, Robert Ryan, Robert Young and Gloria Grahame.

1:15 p.m. (10:15 a.m.): “Macao” (1952, Josef von Sternberg & Nicholas Ray). Robert Mitchum and Jane Russell strike sultry sparks in this exotic thriller from Howard Hughes’ RKO. Directed by Josef Von Sternberg, with uncredited reshooting by Nick Ray. Co-starring Gloria Grahame, William Bendix and Thomas Gomez.

2:45 p.m. (11:45 a.m.): “The Big Heat” (1953, Fritz Lang).

Friday, Nov. 30

12:30 p.m. (9:30 a.m.): “White Heat” (1949, Raoul Walsh).

8 p.m. (5 p.m.): “The Locket” (1946, John Brahm). Flashbacks within flashbacks adorn this stylish psychological noir about a troubled seductress (Laraine Day). With Robert Mitchum and Brian Aherne.

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