Film Noir File: Postman rings twice for Garfield and Granger

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 Postman Always Rings Twice” (1946, Tay Garnett). Sunday, Dec. 14; 6 a.m. (3 a.m.). With Lana Turner, John Garfield, Cecil Kellaway and Hume Cronyn.

Lana Turner, John Garfield and Cecil Kellaway are the players in the “Postman” love triangle.

Lana Turner, John Garfield and Cecil Kellaway are the players in the “Postman” love triangle.

In the opening of “The Postman Always Rings Twice,” a sign reading “MAN WANTED” flashes at us twice. This man, John Garfield as it happens, is really wanted. But you wouldn’t know it from Lana Turner’s imperious entrance.

She drops a tube of lipstick, then deigns to let him pick it up and return it to her. He decides to let her get it herself. She’s unruffled and he’s hooked. In a way, these first few minutes of the film foreshadow the sexual power play between Garfield’s Frank and Turner’s Cora.

Read the full review here.

Friday, Dec. 12

4:15 p.m. (1:15 p.m.): “Kid Galahad” (1937, Michael Curtiz). In this archetypal boxing-gangsters crime drama, a bumpkin bellhop (Wayne Morris) with big natural prize-fighting talent, tangles with a wily promoter (Edward G. Robinson), a mean mobster (Humphrey Bogart) and a true-blue dame (Bette Davis). One of those ’30s movies that late-night TV audiences loved. Later remade by Phil Karlson as an Elvis Presley vehicle, “Kid Galahad” was a major prize winner at the 1937 Venice Film Festival.

Saturday, Dec. 13

12 p.m. (9 a.m.): “Gaslight” (1944, George Cukor). Set in foggy Victorian gas-lit London, this is the best of all the melodramas and noirs where a bad husband tries to drive his wife insane. With Ingrid Bergman, Charles Boyer, Joseph Cotten, Angela Lansbury and Dame May Whitty.

A distraught Tippi Hedren confronts a wary Sean Connery in “Marnie.”

A distraught Tippi Hedren confronts a wary Sean Connery in “Marnie.”

2 p.m. (11 a.m.): “Marnie” (1964, Alfred Hitchcock). With Sean Connery, Tippi Hedren, Diane Baker and Bruce Dern.

Sunday, Dec. 14

3:30 a.m. (12:30 a.m.): “Blowup” (1966, Michelangelo Antonioni). With David Hemmings, Vanessa Redgrave, Sarah Miles and The Yardbirds. Reviewed in FNB on June 19, 2014.

Tuesday, Dec. 16

4:15 a.m. (1:15 a.m.): “The Sea Wolf” (1941, Michael Curtiz). Jack London’s philosophical sea-going melodrama about vicious cargo-ship captain Wolf Larsen (Edward G. Robinson). Larsen is an egghead fascist and brutal autodidact who’s going blind and crazy as he toys with his crew and his passengers (John Garfield, Ida Lupino, Barry Fitzgerald and Alexander Knox).

With its noirish cast, writer (Robert Rossen) and director, this is probably the best of many film versions of London’s dark tale. The movie seethes with gangsterish menace and obvious parallels to then-contemporary WWII conflicts.

Wednesday, Dec. 17 

“Side Street” was the second noir to feature young lovers played by Farley Granger and Cathy O’Donnell.

“Side Street” was the second noir to feature young lovers played by Farley Granger and Cathy O’Donnell.

7:15 a.m. (4:15 a.m.): “Dial 1119” (1950, Gerald Mayer). Crisp little B-thriller about a barful of New York City types held captive by a maniac. With Marshall Thompson, Andrea King, Sam Levene and Keefe Brasselle.

1 p.m. (10 a.m.): “Mystery Street” (1950, John Sturges). A good, smart police procedural, set partly at Harvard University, with a homicide cop and forensic scientist (Ricardo Montalban and Bruce Bennett), trying to crack a murder with sexual overtones. Co-starring Elsa Lanchester, Sally Forrest, Jan Sterling and Marshall Thompson. Written by Sydney Boehm (“The Big Heat”).

4:15 p.m. (1:15 p.m.): “Side Street” (1950, Anthony Mann). The postman rings too often here too, as Farley Granger and Cathy O’Donnell, the two tenderly romantic, stunningly photogenic stars of Nick Ray’s love-on-the-run noir classic “They Live by Night,” are rematched for one of Anthony Mann’s best B-noirs. Granger is a financially strapped postal delivery guy who makes one slip and swipes money that turns out to be the property of some particularly murderous criminals. O’Donnell is his lovely and loyal wife. The stellar gallery of crooks, cops and bystanders lurking around them includes James Craig, Paul Kelly, Jean Hagen and Charles McGraw. The cast, Sydney Boehm’s taut script, the evocative New York City location photography (by Joseph Ruttenberg) and the full-throttle, exciting action set-pieces make this “B” special. (Also see our FNB Farley Granger piece on April 4, 2011.)

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Film noir fashion lives on with contemporary style-setters

Lana Turner, Ava Gardner, Veronica Lake, Lauren Bacall, Rita Hayworth and Joan Crawford.

Lana Turner, Ava Gardner, Veronica Lake, Lauren Bacall, Rita Hayworth and Joan Crawford.

“I saw ‘Rear Window’ and I swear I felt my brain chemistry change,” says film and fashion educator Kimberly Truhler, explaining how she acquired her love of movies and clothes. “I thought why doesn’t everyone  dress like that today?”

Kimberly Truhler

Kimberly Truhler

Gabriela Hernandez

Gabriela Hernandez

Truhler’s comment was part of a terrific talk she delivered Sunday at the Skirball Cultural Center in West Los Angeles. (Her lecture on the history of fashion in film noir was part of the Skirball’s ongoing “Light & Noir” exhibit.)

During World War II, film industry designers were affected by shortages of fashion materials, such as silk and rubber. Additionally, they had to work around the strict codes of the censors, ensuring that no navels were shown and that legs were properly covered. Carefully constructed two-piece ensembles and thigh-high slits were a few of the ways to circumvent the wardrobe strictures set down by the Hays Office.

Vera West

Vera West

And, of course, designers had to disguise any figure flaws of their leading ladies and men. For example, in “This Gun for Hire” (1942, Frank Tuttle) Edith Head found subtle ways to elongate Veronica Lake’s diminutive (4’ 11”) frame.

Truhler dissected several other classic offerings: “Casablanca” (1942, Michael Curtiz, costume design by Orry-Kelly), “To Have and Have Not” (1944, Howard Hawks, costume design by Milo Anderson), “Mildred Pierce” (1945, Michael Curtiz, costume design by Milo Anderson), “Gilda” (1946, Charles Vidor, costume design by Jean Louis), “The Killers” (1946, Robert Siodmak, costume design by Vera West), “The Postman Always Rings Twice” (1946, Tay Garnett, costume design by Irene Lentz) and “Sunset Blvd.” (1950, Billy Wilder, costume design by Edith Head).

Surprising, given the importance of clothes in establishing character and mood, the Academy did not award an Oscar for costume design until 1948.

Irene Lentz

Irene Lentz

Truhler, who sees 1946 as a stand-out year for film noir, discussed the iconic look of each movie and showed how the designer’s influence is still keenly felt on contemporary runways and with today’s style-setters. She also elaborated on the challenges and pressures costume designers face, pointing out that the legendary Ms. Head “borrowed” work from other people to snag her job at Paramount.

On a sad note, three great talents of the costume-design business (West, Lentz and Robert Kalloch) committed suicide.

We at FNB are looking forward to Truhler’s books – one on the history of film and fashion and another on Jean Louis, who was married to Loretta Young from 1993-1997.

Following Truhler’s talk, Gabriela Hernandez, founder of Bésame Cosmetics, gave a great lecture on the evolution of makeup in the movies (it all started with Max Factor) and how cosmetics were used in the 1920s, ’30s and ’40s to create the look of a siren. A raffle winner got a demonstration on how to amp up her film noir allure with Bésame products.

Event photos by Roxanne Brown

Ginger Pauley is known as the Vintage Girl.

Ginger Pauley is known as the Vintage Girl.

Margot Gerber and a fellow retro enthusiast at the Skirball Cultural Center.

Margot Gerber and a fellow retro enthusiast at the Skirball Cultural Center.

Erin Cherry perfectly pulls off a film noir look.

Erin Cherry perfectly pulls off a film noir look.

Redheads rule!

Redheads rule!

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The Film Noir File: The Postman rings twice for Turner, Garfield

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

Cecil Kellaway, John Garfield and Lana Turner play the members of the love triangle in "Postman."

Cecil Kellaway, John Garfield and Lana Turner play the members of the love triangle in “The Postman Always Rings Twice.”

The Postman Always Rings Twice” (1946, Tay Garnett). Monday, Jan. 6. 1 p.m. (10 a.m.). With Lana Turner, John Garfield and Hume Cronyn. Read the full review here.

Monday, Jan. 6

9 a.m. (6 a.m.): “To Have and Have Not” (1944, Howard Hawks). With Humphrey Bogart, Lauren Bacall, Walter Brennan and Marcel Dalio. Reviewed in FNB on July 21, 2012.

1 p.m. (10 a.m.): “The Postman Always Rings Twice” (1946, Tay Garnett). See “Pick of the Week.”

3 p.m. (12 p.m.): “The Locket” (1946, John Brahm). With Laraine Day, Robert Mitchum and Brian Aherne. Reviewed in FNB, on May 1, 2013.

4:30 p.m. (1:30 p.m.): “The Reckless Moment” (1949, Max Ophuls). With James Mason, Joan Bennett and Geraldine Brooks. Reviewed in FNB on July 12, 2012.

6 p.m. (3 p.m.): “Lady in the Lake” (1946, Robert Montgomery). With Montgomery, Audrey Totter and Lloyd Nolan. Reviewed in FNB on Dec. 3, 2012.

9:30 p.m. (6:30 p.m.): “The Third Man” (1949, Carol Reed). With Joseph Cotten, Orson Welles, Alida Valli and Trevor Howard. Reviewed in FNB on Oct. 13, 2012.

5 a.m. (2 a.m.): “The Band Wagon” (1953, Vincente Minnelli). With Fred Astaire, Cyd Charisse, Jack Buchanan and Oscar Levant. Reviewed in FNB on Aug. 8, 2012.

Gilda poster smallTuesday, Jan. 7

12:15 p.m. (9:15 a.m.): “His Girl Friday” (1940, Howard Hawks). With Cary Grant, Rosalind Russell and Ralph Bellamy. Reviewed in FNB on Jan. 22, 2013.

4 p.m. (1 p.m.): “Gilda” (1946, Charles Vidor). With Rita Hayworth, Glenn Ford and George Macready. Reviewed in FNB on Sept. 19, 2012.

8 p.m. (5 p.m.): “On the Waterfront” (1954, Elia Kazan). With Marlon Brando, Eva Marie Saint, Lee J. Cobb, Karl Malden and Rod Steiger. Reviewed in FNB on Feb. 20, 2013.

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A few of FNB’s fave posts from 2012

Happy 2013, all! Here’s a look at FNB highlights from 2012.

Marilyn Monroe shot by Bert Stern

Top 10 FNB posts (misc.)

Remembering Beth Short, the Black Dahlia, on the 65th anniversary of her death

TCM festival in Hollywood

Interview with Tere Tereba, author of “Mickey Cohen: The Life and Crimes of L.A.’s Notorious Mobster”

Marilyn Monroe birthday tribute

Marilyn Monroe exhibit in Hollywood

Film noir feline stars: The cat in “The Strange Love of Martha Ivers”

Famous injuries in film noir, coinciding with my fractured toe, or broken foot, depending on how dramatic I am feeling

Panel event on author Georges Simenon with director William Friedkin

History Channel announcement: FNB to curate film noir shop page

Retro restaurant reviews: Russell’s in Pasadena

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REVIEWS: 2012 neo-noirs or films with elements of noir

Crossfire Hurricane” documentary

Hitchcock

Holy Motors

Killing Them Softly

Momo: The Sam Giancana Story” documentary

Polisse

Rust and Bone

Searching for Sugar Man” documentary

Unforgivable

Wuthering Heights

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REVIEWS: Classic film noir

Anatomy of a Murder

Criss Cross

Decoy

Gilda

Gun Crazy

Murder, My Sweet

The Postman Always Rings Twice

Possessed

Sunset Blvd.

They Drive By Night

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REVIEWS: Directed by Alfred Hitchcock

Dial M for Murder

The Lady Vanishes

Marnie

Notorious

The 39 Steps

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Director takes a gamble in yuletide yarn ‘Lady in the Lake’

Lady in the Lake/1947/MGM/103 min.

Mistletoe and holly, egg nog and parties, guns and murder. In “Lady in the Lake,” based on Raymond Chandler’s novel of the same name, actor/director Robert Montgomery mixes Christmas traditions with ironic noir style.

After Adrienne Fromsett (Audrey Totter) hires Philip Marlowe (Robert Montgomery), their relationship morphs from business to pleasure.

While sleigh bells are jingling, Montgomery’s Philip Marlowe, the famed private eye, is trying to find a mystery woman named Chrystal Kingsby. Chrystal is married to Derace Kingsby (Leon Ames), the owner of a book publishing company in Los Angeles; she was last seen at the Little Fawn Lake resort.

Marlowe’s been hired by one of Derace Kingsby’s employees: uptight and bossy Adrienne Fromsett (Audrey Totter), a sharp-tongued executive editor with designs on her boss and his money. She chooses her detective not from the yellow pages but from a crime-caper manuscript Marlowe submits for publication – some effective multitasking she’ll no doubt include on her performance review. Though Adrienne’s all about business and bank balances at first, she softens as sparks fly between her and Marlowe.

Heading to Bay City (based on Santa Monica), Marlowe checks in with Chris Lavery (Dick Simmons), a Southern-transplant playboy with whom Chrystal was having an affair. But a punch from Lavery lands Marlowe in jail and he wakes up to questioning from Capt. Kane (Tom Tully) and Lt. DeGarmot (Lloyd Nolan). After his release, Marlowe learns that a woman’s body has been recovered from the lake and that the caretaker has been charged with murdering his wife, Muriel (Jayne Meadows). He also finds Lavery’s dead body.

From there, as Marlowe puts together the pieces of the puzzle – a multiple-identity scam, another murder, several soured love affairs, Chrystal’s part in the proceedings – Adrienne realizes that Marlowe, not Derace Kingsby, is the man for her. (Look out for blonde actress Lila Leeds as a receptionist at the publishing company. Leeds was arrested with Robert Mitchum on Aug. 31, 1948, for possession of marijuana.)

More interesting than the plot is way the movie was shot. Montgomery plays Marlowe but we see very little of him in character because Montgomery as director took a stylistic risk by using a subjective/first-person camera and telling the story from Marlowe’s point of view.

The audience sees Marlowe in the mirror when he pays Adrienne a visit.

First-person camera had been used before – briefly in “Dr. Jekyll and Mr. Hyde” (1931, Rouben Mamoulian) and “Murder, My Sweet” (1944, Edward Dmytryk) and most notably for about 30 minutes in “Dark Passage” (1947, Delmer Daves, starring Bogart & Bacall). But this was the first time the whole movie (other than a few times when Marlowe speaks directly to the audience) unspooled in this manner.

It’s a daring experiment and a bigger deal than you might think, involving a number of technical, staging and acting challenges. In their excellent commentary on the Warner Home Video DVD, Alain Silver and James Ursini provide insight as to what this artistic decision meant for Montgomery.

For example, the film has very long takes and far fewer cuts than most movies of its time – this serves to build suspense but is tough to execute. For the actors as well (other than Montgomery) this presented hurdles. They were required to address the camera directly (something they’d been trained to avoid) and they faced the pressure of knowing that if they goofed toward the end of the take, the whole lengthy shot would have to be redone.

Bad girl Muriel (Jayne Meadows) corners the unseen Marlowe.

Additionally, Silver and Ursini point out that because “Lady in the Lake” was an MGM production (as was “The Postman Always Rings Twice” the year before), it had to conform somewhat to the studio’s preferred look: high production values and high-key lighting – unlike most noirs, which used low-key light and featured richer shadows, more intense chiaroscuro.

So, did the shooting experiment work? Chandler, who drafted a script that Steve Fisher rewrote, thought Montgomery made a mistake. And having watched “Lady in the Lake: a few times, I’m inclined to agree. First, despite the marketing gimmick of putting the viewer in the detective’s shoes and urging him/her to solve the crime, “Lady” feels artificial and stilted, perhaps because the long takes lend a slightly stagey feel to the performances.

Lila Leeds, who plays the receptionist at the publishing company, was arrested with Robert Mitchum in 1948 for possession of marijuana.

Not seeing much of Montgomery/Marlowe makes it hard to connect to the story (typically Chandlerian in its twists and turns) and puts too much weight on the shoulders of the other players. While Totter and the rest are very capable, they can’t quite pull off such a distorted view for the duration of the movie. It’s too big a hole for any cast to fill.

And Marlowe isn’t particularly sympathetic because we only glimpse him here and there instead of seeing him interact with the others – especially Totter. For their romance to work, we need to see them together!

That said, I don’t want to get all Bah-Humbug about this yuletide yarn. “Lady in the Lake” is fun to watch just for the novelty value and I love to picture Adrienne sprawled on a sofa and whipping out her red pen to shape Marlowe’s manuscript as he mixes her a martini, garnished with a candy cane, natch.

“Lady in the Lake” will show in 35 mm at the Castro Theatre in San Francisco on Wednesday, Dec. 19, as part of Noir City Xmas 3. The evening will also feature the unveiling of the full schedule for the Noir City 11 film festival.

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Classic Cain, power plays, Turner and Garfield in ‘Postman’

The Postman Always Rings Twice/1946/MGM/113 min.

In the opening of “The Postman Always Rings Twice,” a sign reading “MAN WANTED” flashes at us twice. This man, John Garfield as it happens, is really wanted. But you wouldn’t know it from Lana Turner’s imperious entrance.

She drops a tube of lipstick, then deigns to let him pick it up and return it to her. He decides to let her get it herself. She’s unruffled and he’s hooked. In a way, these first few minutes of the film foreshadow the sexual power play between Garfield’s Frank and Turner’s Cora.

The godless-like Cora, with her platinum hair, pouty lips and gorgeous curves, is arguably Turner’s most memorable role. One of film noir’s most famous femmes fatales, she is by turns a come-hither, passionate seductress and an icy blonde who likes to be the boss. Notice how often she wears white, sometimes from head to toe.

Lana Turner as Cora and John Garfield as Frank cook up trouble in the restaurant Cora runs with her husband.

Garfield as Frank gives her a run for her money, both in looks and attitude. Ephraim Katz writes of Garfield (born Julius Garfinkle, the son of a poor immigrant Jewish tailor): “[His] screen character was … not much at variance with his own personality – that of a cynical, defiant young man from the other side of the tracks, a resilient rebel with a chip on his shoulder who desperately tries to charm and muscle his way onward and upward.

“Despite the mediocrity of many of his films, Garfield’s boyish virility and his ability to project a soulful interior underneath a pugnacious façade made him an attractive star to many filmgoers. When given a proper vehicle, he proved himself a sensitive and solid interpreter.” (Garfield was later blacklisted for refusing to name friends as Communists in response to a House Un-American Activities Committee investigation.)

“Postman” more than qualifies as a proper vehicle. Frank, a hitchhiker at loose ends, stops at a roadside restaurant on the outskirts of LA and sees the MAN WANTED sign, posted by the owner, Cora’s chubby, cheerful, and much older, husband Nick (Cecil Kellaway). Nick persuades Frank to stay and work; not a bad deal considering that he also gets room and board.

Love on the rocks: Notice how often Cora wears white.

Before long, Nick and Cora become lovers and decide to do away with Nick so that they can start their new life together with a fat pile of cash. From there, things get darker and more diabolical. They botch their first attempt (death by electrocution) and their second try (they fake a car crash) results in charges being brought against them, which may or may not stick.

“Postman,” based on the James M. Cain novel and directed by Tay Garnett, is about as jet-black and unrelentingly bleak as they come. Harry Ruskin and Niven Busch wrote the script. There is no comic relief or guy-buddy subplot of the kind that you get in Billy Wilder’s “Double Indemnity,” also based on a Cain novel and written by Wilder and Raymond Chandler.

Also, the character of Nick gets a fair amount of screen time and, far from being a dire wretch of a husband (like the husband in “Double Indemnity,” played by Tom Powers), he’s affable and kind. He knows she doesn’t love him and even seems inclined to turn a blind eye if Cora and Frank want a romp in the hay. The dour vision of their betrayal, ill-fated reconciliation and their dogged determination to kill him feels far more uncomfortable – queasy even.

Because Garnett isn’t as visually stylish as many of the noir directors, “Postman” is a more blunt rendering than other essential noirs. But it’s also possible that Garnett, who was also a writer, was more interested in exploring the nuances of Cain’s book. Garnett and Cain grapple with the deepest issues of noir – for example, upending the myth that America is a classless society.

Cecil Kellaway (left) plays Nick, Cora’s husband, who is not bad as portly older husbands go. This lends his murder much gravity.

Only slightly less chilling than the violence perpetrated by the waitress and the manual worker, Garnett suggests, is the cavalier, snarky attitude of these two bourgeois buddies on the “right” side of the law (Leon Ames as district attorney Kyle Sackett and Hume Cronyn as defense lawyer Arthur Keats).

The case is nothing more than a game to them and they place a $100 bet on who will win. They’re not above using questionable methods to yield their desired results. Yet, they are considered upstanding members of society, whereas Cora and Frank are common criminals who must be punished.

Another point in Garnett’s favor: He gets excellent work from the leads and supporting players (also look out for noirista Audrey Totter). Cora and Frank are complicated parts that require range, depth and the ability to project irony.

Their love may be twisted, it’s true, but it goes through many incarnations and we sense that they are drawn to each other from mutual desperation and shared disappointment. As Frank tells her: “We’re chained to each other, Cora.”

Jack Nicholson and Jessica Lange made a steamier version of the story in 1981, directed by Bob Rafelson.

To be sure, there’s no shortage of gloom. But, with leads as gorgeous and sexy as Garfield and Turner, every minute makes compelling viewing.

When Bob Rafelson remade the movie in 1981 with Jessica Lange and Jack Nicholson, replete with raunchy sex scenes, Frank and Cora sizzled once more.

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‘The Postman Always Rings Twice’ quick hit

The Postman Always Rings Twice/1946/MGM/113 min.

“Postman” is from that strain of noir that prizes stark realism above all else, particularly humor and visual style. Based on a James M. Cain novel and directed by Tay Garnett, it’s a grim story of two lovers – blonde-bombshell temptress Lana Turner and earthy, streetwise super-hunk John Garfield – who bump off Lana’s wealthy husband, get away with it, but then face a whole new set of problems.

Hard-as-nails Turner makes a splendid femme fatale and Garfield matches her beat for beat. The great supporting cast includes Cecil Kellaway, Leon Ames, Hume Cronyn and Audrey Totter. Dour and dire, yes, but also sexy and compelling. Required viewing for any noir aficionado.

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The Noir File: Non-stop tension from pulp-fiction king Woolrich

By Mike Wilmington and Film Noir Blonde

This is a guide to classic film noir on cable TV. All the movies are from the current schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Pick of the Week

The Window” (1949, Ted Tetzlaff). Monday, Sept. 17, 2012, 1:45 a.m. (10:45 p.m.)

On a sweltering New York City night, a 9-year-old named Tommy (Bobby Driscoll) witnesses a murder committed by neighbors (Paul Stewart and Ruth Roman).

Unfortunately Tommy is known for crying wolf and his parents (Barbara Hale and Arthur Kennedy) don’t believe him. As he keeps trying to tell his story, the killers become more and more aware of the threat he poses and more determined to shut him up.

Of all the great noir writers – Hammett, Chandler, Cain, Goodis, Thompson – no one could generate sheer screaming suspense like pulp-fiction king Cornell Woolrich. And this picture, along with Hitchcock’s 1954 “Rear Window,” are the most tension-packed, unnerving movies made from Woolrich’s stories.

Cornell Woolrich (1903-1968)

“The Window,” shot largely on location, has grittily evocative street scenery and the cast is letter-perfect. (Driscoll won a special Juvenile Oscar for his performance.) The director was Ted Tetzlaff, an ace cinematographer who shot Hitchcock’s “Notorious,” and he does a wonderful job here.

This movie seethes with atmosphere and character, crackles with fear and dread. There are some classic film noirs that are underrated, and – perhaps because the protagonist here is, atypically, a child – this is one of them.

Saturday, Sept. 15

10 p.m. (7 p.m.) “Strangers on a Train” (1951, Alfred Hitchcock)

12 a.m. (9 p.m.) “Dial M for Murder” (1954, Alfred Hitchcock)

2 a.m. (11 p.m.) “Niagara” (1953, Henry Hathaway)

3:45 a.m. (12:45 a.m.): “The Postman Always Rings Twice” (1946, Tay Garnett). See Noir File, 6/29/12

Sunday, Sept. 16

3:30 p.m. (12:30 p.m.): “Point Blank” (1967, John Boorman). “Point Blank” is one of the quintessential neo noirs. Lee Marvin is a thief betrayed and left for dead in Alcatraz. When he takes off after his treacherous associates and their bosses (Carroll O’Connor and Lloyd Bochner), with the help of a mysterious guide (Keenan Wynn) and a glamorous pal (Angie Dickinson), it’s a magnetic, terrifying sight.

Based on a novel by “Richard Stark” (aka Donald Westlake), the movie is steeped in its Los Angeles locale: a deadly city of noir that’s also a surprisingly beautiful sunlit-vision of LA circa 1967. With Boorman going all out, this classic movie plays like a grand collaboration among Don Siegel, Alain Resnais, Phil Karlson and Jean-Pierre Melville. As for Lee Marvin, he’s at the top of his game. So is Angie.

Wednesday, Sept. 19

6:15 p.m. (3:15 p.m.): “The Breaking Point” (1950, Michael Curtiz). Based on Hemingway’s “To Have and Have Not,” and starring John Garfield in the Bogie part, this is a more faithful adaptation than the 1944 Howard Hawks picture, but not quite as good a movie. (Then again, some buffs prefer it.) Curtiz gives it speed, atmosphere and a dark overview. The rest of the cast includes Patricia Neal, Phyllis Thaxter and, in the Walter Brennan part, the matchless Juano Hernandez.

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

THE NOIR FILE
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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Noir City’s final weekend: Pre-code ‘Maltese Falcon,’ Gary Cooper and a special appearance by Marsha Hunt

Gary Cooper

FNB shot by Halstan Williams; www.halstan.com

Noir City at the American Cinematheque’s Egyptian Theatre wraps up this weekend with a first-rate slate of films. Tonight is the Dashiell Hammett double feature, starting with the 1931 (pre-code) version of “The Maltese Falcon,” starring Ricardo Cortez and Bebe Daniels, directed by Roy Del Ruth. In “City Streets” (1931, Rouben Mamoulian) a young Gary Cooper goes crooked in order to free his love (Sylvia Sidney) from prison. It should be great looking, given that the cinematographer is Lee Garmes.

The Saturday matinee is the noir classic “The Postman Always Rings Twice” (1946, Tay Garnett), starring Lana Turner as one of the all-time best femmes fatales opposite a smoldering John Garfield; based on James M. Cain’s novel. Before the film, Denise Hamilton, noir novelist and editor of the Edgar-winning Los Angeles Noir short story anthologies, will discuss the genesis of film noir and the cross-pollination between Hollywood and its noir bards.

John Garfield

Lana Turner

Saturday night is a terrific pick: two films from the underrated director Jean Negulesco. First, “Three Strangers” (1946) tells the cynical tale of a trio bonded by fate and a winning lottery ticket: Sydney Greenstreet, Peter Lorre and Geraldine Fitzgerald. To read more about this film, I recommend this piece by my friend, writer/producer Barry Grey.

Fitzgerald also stars in 1946’s “Nobody Lives Forever,” scripted by W. R. Burnett. Here, she’s a war widow getting conned by scheming ex-GI John Garfield. There will be a discussion between films with Fitzgerald’s son, Michael Lindsay-Hogg. At 6:30 p.m., in the Egyptian lobby, Lindsay-Hogg will sign his book “Luck and Circumstance: A Coming of Age in Hollywood, New York, and Points Beyond.”

Geraldine Fitzgerald

Marsha Hunt

Next up is the Sunday matinee: “Circumstantial Evidence” (1945, John Larkin) a father-son noir starring Lloyd Nolan and Michael O’Shea. This will pair with “Sign of the Ram” (1948, John Sturges).

Says the program: This unusual film was fashioned as a vehicle for star Susan Peters, who plays a sociopathic, paraplegic matriarch bent on destroying her family. Peters, injured the year before in a hunting accident, gives a remarkable performance – all the more haunting for the fact that her paralysis is real. Hitchcock collaborator Charles Bennett wrote the screenplay.

And closing the fest is a special appearance by actress Marsha Hunt. The films shown are an ultra-rare B, “Mary Ryan, Detective” (1949, Abby Berlin), and “Kid Glove Killer” (1942, Fred Zinnemann) in which Hunt plays a police forensics expert juggling a cop (Van Heflin) and a gangster (Lee Bowman). Scripted by John C. Higgins, “Kid Glove Killer” is Zinnemann’s feature film debut. Ava Gardner plays a car hop.

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