Directed by Joseph Losey (M (1951 version) These Are the Damned 1962, Eva 1962, The Servant 1963, Modesty Blaise 1966, Accident 1967, Secret Ceremony 1968) Music by unsung composer Lyn Murray.
The Cinematography by Arthur C. Miller (How Green Was My Valley 1941, The Song of Bernadette 1943) creates both a landscape of alienation within the city and continues to spread even in the wide open spaces. Miller understands how to frame his visual lens in the same way George E. Diskant, Nicholas Musuraca and Conrad L. Hall do. By taking the internal machinations of the players, the subtexts (usually themes of alienation) and either the pervasive or subtle moralizing, is transposed onto the landscape as either closed-in space or vastly wide open in contrast.
Evelyn Keyes (Johnny O’Clock 1947,The Killer Who Stalked New York 1950, Iron Man 1951, Hells Half Acre 1954) who has a natural gutsy ‘real woman’ sex appeal plays a repressed suburban California housewife Susan Gilvray married to the older John (Sherry Hall)who works nights as a late night radio host.
One night she sees a prowler outside her house and calls the police to come Webb Garwood ( Van Heflin) and his partner Bud Crocker (John Maxwell) show up to investigate but don’t find anyone lurking around. There’s something seedy and intrusive about Webb who shows up a second time Susan is more like a shut in and so she invites Webb in for a cup of coffee.
Of course Webb makes a play for Susan as he had already set his sights on her during the initial call. The two wind up in having an affair, until her husband John gets a clue that somethings going on. Susan ends it with Webb and he quits the police force.
Webb concocts a plan to murder John making it look like he is accidentally shot dead during what would be thought to be another prowler incident. At the inquest John’s death is ruled an accident.
Van Heflin plays a perfectly tightly wound psychopath who swarms and suffocates Evelyn Keye’s character Susan until she is trapped by his frightening obsessiveness with control and greed. The climax is quite intense as the pacing leaves you gasping for air a bit in that classic Losey bleak and nihilistic view of human nature that his is style.
IMDb trivia—Novelist James Ellroy (“L.A. Confidential”, “The Black Dahlia”) once called this his favorite film and described it as “a masterpiece of sexual creepiness, institutional corruption and suffocating, ugly passion.”
Webb Garwood: “I didn’t do it, Susan. I’ll swear that by the only thing I ever really loved and that’s you.”
I’ll be prowling around The Last Drive In folks! Your EverLovin Joey
“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)
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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!!!!”
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”
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 Bathoryin 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 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 asSir 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.”
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. WhileFilm 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.