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“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
― Sigmund Freud
“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)
THE DARK PAGES NEWSLETTER a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!
Constance Towers as Kelly from The Naked Kiss (1964): “I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That’s what I saw.”
Griff (Anthony Eisley) The Naked Kiss (1964): “Your body is your only passport!”
Catherine Deneuve as Carole Ledoux in Repulsion (1965): “I must get this crack mended.”
Monty Clift Dr. Cukrowicz Suddenly, Last Summer (1959) : “Nature is not made in the image of man’s compassion.”
Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”
Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962—“When People are Kind to each other why do they have to find a dirty word for it.”
The Naked Venus 1959–“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”
Darren McGavin as Louie–The Man With the Golden Arm (1955): “The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn.”
Baby Boy Franky Buono-Blast of Silence (1961) “The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”
Lorna (1964)- “Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”
Peter Fonda as Stephen Evshevsky in Lilith (1964): “How wonderful I feel when I’m happy. Do you think that insanity could be so simple a thing as unhappiness?”
Glen or Glenda (1953)– “Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”
Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”
Dr. Moreau (Charles Laughton) Island of Lost Souls: “Do you know what it means to feel like God?”
The Curious Dr. Humpp (1969): “Sex dominates the world! And now, I dominate sex!”
The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham “I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”
Delphine Seyrig as Countess Bathory in Daughters of Darkness (1971)– “Aren’t those crimes horrifying. And yet -so fascinating!”
Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)–“I was so young. I already knew that to love the world you have to get away from it.”
The Killing of Sister George (1968) -Suzanna York as Alice ‘CHILDIE’: “Not all women are raving bloody lesbians, you know” Beryl Reid as George: “That is a misfortune I am perfectly well aware of!”
The Lickerish Quartet (1970)–“You can’t get blood out of an illusion.”
THE SWEET SOUND OF DEATH (1965)– Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”
Peter O’Toole as Sir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”
Maximillian Schell as Stanislaus Pilgrin in Return From The Ashes 1965: “If there is no God, no devil, no heaven, no hell, and no immortality, then anything is permissible.”
Euripides 425 B.C.–“Whom God wishes to destroy… he first makes mad.”
WHAT DOES PSYCHOTRONIC MEAN?
psychotronic |ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia
In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!
FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!
I just got myself this collection of goodies from Something Weird!
Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. While Film Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.
“Hungrily, he watched her walk down the street…and then he squeezed the trigger!”
There’s a crazed sniper picking off brunettes, as the police scramble to try and profile the psychology of the killer on the loose!
Gritty psycho-sexual film noir based on a story by Edna & Edward Anhalt. Screenplay by Harry Brown (A Place in the Sun ’51, The Man on the Eiffel Tower ’49) Director of Photography is the great Burnett Guffey (From Here To Eternity ’53, Private Hell 36, NIghtfall ’57, The Strange One ’57, Screaming Mimi ’58) With music by George Antheil (uncredited stock music compose)And film editing by the great Aaron Stell (Human Desire ’54, Beginning of the End ’57, Touch of Evil ’58, Lonelyhearts ’58, The Giant Gila Monster & The Killer Shrews ’59, To Kill A Mockingbird 1962)
Directed by Edward Dmytryk marking his return to Hollywood after he was named the blacklist and served time in jail for contempt of court.
In Edward Dmytryk’s Walk on the Wild Side Barbara Stanwyck is no ordinary ‘Jo’
Stanwyck was the epitome of independence and determination. She had a streak of non-conformity, toughness, and resilience.
Stanwyck was born Ruby Stevens in Brooklyn, July 16th 1907. A New Yorker like me and a fellow Cancerian. Her mother died and her father disappeared when she was 4, leaving her and her brother in the care of her older sister Mildred and foster homes where she’d often run away. At age 9 Ruby toured with her dancer sister, a John Cort Showgirl practicing the routines back stage. Watching her idol Pearl White on the big screen inspired her to go into showbiz. She quitt school at age 14, followed her sister’s lead and became a Ziegfeld Follies girl.
In 1929 Stanwyck had the lead in the road company production of the Broadway hit ‘Burlesque’ which was a hit in theater. She shared the stage with Mary Tomlinson, a clergyman’s daughter who most likely ran away from home because she was a lesbian. Mary changed her name to Marjorie Main and become the quick talkin’ ‘Ma’ in the raucous Ma and Pa Kettle series from ’49-’57.
One of her good friends during those years was pianist Oscar Levant who said Stanwyck was “wary of sophisticates and phonies.”
Ruby became Barbara Stanwyck at age 19 while she had the lead in ‘The Noose’ on Broadway. At 21 she was introduce by Levant to Frank Fay star of Vaudeville and ten years older than she, a closet homosexual, alcoholic and abusive husband. They married and moved to Hollywood in 1929 when Stanwyck was on her way to becoming a star of the silver screen. They used her money and bought a mansion in Brentwood. That’s how she and Joan Crawford (married to Franchot Tone at the time) became neighbors and close friends.
At first Stanwyck starred in a few B movies but began getting attention for her roles in Ladies of Leisure ‘30, Illicit ’31, Night Nurse ’31, and Miracle Woman ’31.
While working with Frank Capra on Ladies of Leisure he taught her that much of acting was conveyed with the eyes, and that unless the audience was drawn in, the dialogue didn’t matter. This was her breakthrough movie. Edward Bernds who worked with Capra said “That first take with Stanwyck was sacred.”
Stanwyck’s first Academy Award nomination was for the down trodden mother Stella Dallas ’37 where her old friend Marjorie Main played her mother-in-law.
Three nominations followed for Ball of Fire ’42 with Gary Cooper, Double Indemnity ’44, and Sorry Wrong Number ’48 with Burt Lancaster. Stanwyck was now on her second marriage to another gay man, the handsome Robert Taylor. Their ’39 marriage was arranged by the studio. The couple had separate bedrooms.
Stanwyck had a life-long relationship with her publicist Helen Ferguson. In ’35 she played the rugged farm girl living in a man’s world– Annie Oakley, a masculine woman who was great with a gun.
She did a slew of romantic comedies with charismatic co-stars. Twice with Henry Fonda in the screw ball The Mad Miss Manton ’38, and Preston Sturges‘ The Lady Eve ’41. Remember The Night ’40 opposite Fred MacMurray was her first film with costume designer Edith Head.
Some of my favorite films of her’s were: playing opposite co-star William Holden in Rouben Mamoulian’s Golden Boy ’39. Then Meet John Doe 1941, Lady of Burlesque, and the immortal femme fatale Phyllis Dietrichson in 1944 Double Indemnity, The Strange Love of Martha Ivers ’46, The Two Mrs. Carrolls ’47, Cry Wolf ’47, B. F.’s Daughter ’48, Sorry, Wrong Number ’48, in 1950 The File on Thelma Jordan, No Man of Her Own & The Furies. Fritz Lang’s tumultuous Mae Doyle opposite Robert Ryan in Clash By Night ’52, Witness to Murder ’56, There’s Always Tomorrow ’56, Crime of Passion ’57 & Forty Guns ’57.
Clifton Webb who co-starred in Titanic 53 called her his “Favorite Hollywood Lesbian.” It’s pretty significant that Barbara had finally played her one and only screen lesbian in Walk on the Wild Side ’62. Barbara Stanwyck’s sexual orientation has been called ‘the best kept secret in the movies’ by Axel Madsen who wrote the very engaging The Sewing Circle. It’s a hell of a read!
Three years later she created a new image for herself as the gutsy matriarch Victoria Barkley in the television western The Big Valley. Stanwyck loved her character ‘an old broad who combines elegance with guts.’
Walk on the Wild Side was Barbara Stanwyck’s return to the big screen since playing Cattle Queen Jessica Drummond in Sam Fuller’s sexually charged western Forty Guns 1957 which had this fantastic line, `Can I touch it?’ asks Jessica referring to Griff Bonnell’s (Barry Sullivan) gun. Griff tells her, ‘It might go off in your face’ Stanwyck was in love with the Western genre.
She was thrilled to accept a good part in a film, that of Jo Courtney the iron-willed lesbian madame of a ritzy bordello named The Doll House in New Orleans. The film still maintains that clichéd whiff of mothballs from The Celluloid Closet holding the mystique and stereotypes of homosexuals and lesbians who are all either sad souls, psychopaths, or villains. Yet Stanwyck’s Jo Courtney poured from concrete and as dangerous as a steel trap conveys a pathos transcending the caricature of a predatory lesbian. It’s probably what made her such a beloved lesbian icon. Stanwyck proved she could go head to head with any man or woman who came her way. And although she never came out of the closet she went through two marriages to gay men without a hitch of scandal.
in 1962 the film sets this lurid lesbian melodrama and peek at the underbelly of bordello life, down in the midst of the underworld revisiting the archetypes of gays being part of the illicit subculture of society. Revisiting the ‘sexual ghetto’ in quite the same way the briefly liberated films of the early Thirties depicted them. As Vito Russo says in The Celluloid Closet, “The movies simply reflected what little they could identify of a hidden world and, in both pre-Code and post-Code times saw Homosexuals solely in sexual terms because that what had always been sold.”
For over thirty years the subject had not been talked about, so when the ban was lifted, filmmakers picked up where they had left off. The film was able to represent the whore house openly as just that, a house of prostitution.
Walk on the Wild Side is the story of a New Orleans brothel and the seductive melodrama surrounding an obsessed drifter in search of his lost love, the lugubrious courtesan who is ensnared in a tangled web of vice, decadence and the lesbian madame who desires to possess her.
The bordello is stocked with liquor, a bartender who never quits pouring, and a full jazz ensemble who play fabulous bluesy melodies that cater to their clients while the employees all seem to suffer from a collective languorous state of mind.
Stanwyck’s Jo Courtney villainous nature accepts her own lesbianism. Instead of killing herself like Shirley MacLaine’s Martha in The Children’s Hour ’61, Jo decides to declare her power by opening up a brothel, and selling sexuality on her own terms.
Jo lusts after and loves her object of desire Hallie, played by model actress Capucine. But the love that dare not speak it’s name finds itself disrupted once smooth talking Texas farmer Dove Linkhorn (Laurence Harvey) comes looking for Hallie. Three years prior Hallie and Dove swam and kissed each other and danced themselves silly til Dove was hopelessly hooked on the lovely divinity that he refers to as his ‘religion.’ Dove had to wait for his ailing father to die before he could come and claim his love.
The film was not the huge success they thought it would be despite the adult themes and stellar cast. Probably because of it’s screenplay which doesn’t allow Algren’s novel to freely express it’s most provocative and sociological themes. Nelson Algren’s book focused on the seedy underbelly of the New Orleans of Depression Era 30s. Screenwriters, Fante, Morris and Hecht while synthesizing the essence of the story, their observations gloss over the grittier descriptiveness and atmosphere of Algren’s murky brothels filled with even more vile and violent pimps. A world that showcased fetishistic patrons and sullen whores who wade around in the muck hoping for a better life. While the film has a way of self-moralizing the plot to death at times, Algren’s novel did not show contempt for his prostitutes. It had a real strain of class conscious angst and didn’t sermonize about the unpalatable people who lived on the fringe of society but rather focused on those in power who exploited them. In some ways the film hones in on the story making it a more intimate venture into melodrama.