MonsterGirl’s Quote of The Day! The Black Cat (1934)

The Black Cat (1934) – Bela Lugosi

“Supernatural, perhaps; baloney, perhaps not.”

EDGAR G.ULMER’S: THE BLACK CAT (1934) “ARE WE BOTH NOT"¦ THE LIVING DEAD?”

Amazing Rasputina score The New Zero feat to The Black Cat 1934.

Melora Creager plays a wicked Cello!!!!!!

Chills -M.G.

The Films of Jack Arnold: Visions of Giant bugs, sympathetic monsters and little men danced in his head.

Good Afternoon folks!

Just a little note. It’s Sunday. that always gives me a feeling of nostalgia as does Saturday afternoons. Those were the times when I would sit quietly in front of the television set. All the other kids were outside scrambling around getting sweaty and dirty and doing well, what most kids do be mean to each other. Me, I chose to inhabit the mysterious worlds that Roger Corman, Jack Arnold, William Castle, Universal and RKO pictures had the good sense to give us “outliers” of society. Those of us who Identified with the monster. Thus the nickname Monster Girl. A name the neighborhood kids used to taunt me with, not realizing that eventually I would wear it as a badge of honor.

JACK ARNOLD

I owe much of my creativity as a songwriter and artist, to these films that validated my existence. These monsters were my true friends, because they helped me cope with the awkward phases of childhood when you just don’t fit in, and never will. These films are more than just nostalgic memories for me, they were my epiphany into the real world as an imaginative, compassionate, empathetic and yes a visionary in some ways. With my music and my writing. I plan on doing extensive individual posts about some of these great films.

Like Incredible Shrinking Man. Creature From the Black Lagoon and It Came From Outer Space. It’s Sunday, so I thought I’d share a little tidbit of the old days, when Jack Arnold bestowed upon us Giant Spiders and one little guy who had to fight one off in the basement of his house, a common environment turned sinister and dangerous, where it takes a whole day of strategizing to get a moldy crust of bread the size of a small crouton to us.

During the years of 1950’s horror and sci-fi films made by the great Jack Arnold there was a sympathetic, symbiotic lens that Arnold used towards aliens and “The Other” and the outsider. While working at Universal along side the production of William Alland, he gave us our first venture into the genre offering us benevolent yet mystifying aliens who crash land near a small town, inside a mountain and merely need time to fix the spaceship in order to leave earth.

It Came From Outer Space (1953) based on a story by Ray Bradbury the prolific science fiction writer of that era, as did Richard Matheson who told of bizarre, inscrutable and very advance race of one eyed amorphous creatures who could assume the form of any human in order to facilitate the uninterrupted  repair of their ship. The aliens were not here to seize the planet to enslave earth people, nor destroy earth in order to be the ultimate life form in the universe, threatened by the advancement of our weaponry, fear of the bomb in that age engendered many bomb, cold war scare films.

Like Invaders From Mars (1956) and Don Siegel’s Invasion of The Body Snatchers (1956),fear of Communism and losing our individual identity as well as the patriotism and national prowess. The visionary writers and film makers knew how to frame this message in their flights of fantasy films. The last major film that Arnold did was the sublime and metaphysical masterpiece The Incredible Shrinking Man (1957). A film that still inspires chills up the back of my neck when Grant Williams realizes that he isn’t disappearing, merely becoming greater as he is subsumed by the vast universal heart beat of the unknown yet interconnectedness and essence of life force itself.

The Incredible Shrinking Man was based on Matheson’s novel and actually scripted by him as well. Shrinking Man and It Came from Outer Space are still considered two of Arnold’s best work. The film that has really become his most iconic as an enduring classic is Creature From The Black Lagoon (1954)

Creature From The Black Lagoon had no involvement from either writer. In fact, it was because this film was so successful for Universal, that it prompted them to direct their attentions specifically in more productions that involved Sci-Fi and Horror films after 1954 many of which were directed by Jack Arnold.

In a lot of ways, aside from the money that these films made for Universal, it’s really the charm of Arnold’s films that make this specific moment in history for the genres to remain in the hearts of those of us who remember watching them on rainy Saturday afternoons, or like I said the sunny ones when you didn’t fit in with the nasty jerk heads in the neighborhood, so you’d rather hang out with the sort of cute green scaly guy who could stay underwater for days at a time.

David J Skal who’s a hell of a writer, I recommend The Monster Show refers to Creature as the “most vivid formative memories a large segment of American population”

Like The Twilight Zone, Serling’s compact morality plays tied up in fantasy story telling, for a lot of us these offerings became the rituals that were quickly picked up on by the “mass media” The desire for these type of stories became the contemporary trend that inspired great writers and film makers like Stephen King, John Carpenter and even Steven Spielberg.

Much the same way that H.G Wells fantastical tales inspired a hunger for films about science marvels and other worlds.Edgar Wallace, Edgar Allen Poe and HP Lovecraft and Hawthorne inspired the Gothic horror, horror mythos and crime thriller.

Arnold’s films evoke formative memories not only of being frightened by the elements of horror, but it brings you right back to the feeling of being that child again. At least if you’re like me and rail against growing older and losing your imagination. King and Carpenter have spoken about the individual films of Arnold that gave them their first cinematic experience which like for me, changed their lives forever. You could say that Arnold’s films could be used as a benchmark and cultural reference or jumping off place for teenagers to identify with feeling alienated by society. The 50’s were a period where the generation of teenagers were influenced by these types of films. Later on filmmakers would self consciously pay homage to Arnold’s films. And every decade or so, we also see a revived interest in the use of 3D, which make movie going a sort of ritual collective event. The glasses, the group experience.

Anyway, I plan on going in depth about Arnold and several of my most memorable beloved films of his. I just wanted to write a little Sunday hail to the king of giant bugs and little people, (not like the munchkins in The Wizard of Oz) I mean people who were once big enough to drive a car, and can now sleep in a match box for shelter.

Have a great Sunday, I think I’ll watch Tarantula (1955) . I’ve got my hot cocoa and it’s raining outside. The cats are all purring and I think it’s a perfect time to watch a little arachnid suddenly growing as large as a Semi and ambushes a whole town. I’m still kind of traumatized by the woman who’s skirt get’s stuck in the car door!

See ya later! MG

PLEASE DON’T HOLD IT AGAINST THIS CAT! Grant Williams was bite size…….

Contemplating man’s place in the universe. The Transcendent Man

Leo G Carroll’s well intended experiment, produces horrific results of great proportions!




Julie Adams is the object of The Creature’s affections.





MonsterGirl’s Saturday Morning Some Men Doing Science In Their Laboratories!

Saturday mornings are for MEN WHO DO SCIENCE… BEWARE…!!!!!!!

THE 4D MAN

PETER CUSHING- The Curse of Frankenstein 1957

BLOOD OF THE VAMPIRE 1958

DR. PHIBES

DR FRANKENSTEIN

ATOM AGE VAMPIRE


Leo G Carroll playing with the forces of nature

TARANTULA

BEN TURPIN

THE BRAIN FROM PLANET AROUS

IT CONQUERED THE WORLD

THE INVISIBLE RAY

THE BRAIN THAT WOULDN’T DIE

EYES WITHOUT A FACE

BRIDE OF FRANKENSTEIN

JOHN CARRADINE

MONSTER ON CAMPUS 1958

ATTACK OF THE PUPPET PEOPLE 1958

THE DEVIL BAT

THE DEVIL COMMANDS 1941

DR JEKYLL AND MR HYDE

DONOVAN’S BRAIN 1953

DR. CYCLOPS 1940

THE FACE OF MARBLE

DR MORBIUS – FORBIDDEN PLANET 1956

CORRIDORS OF BLOOD

HELP ME HELP ME ….THE FLY 1958

METROPOLIS

THE UNEARTHLY

THE INDESTRUCTIBLE MAN 1956

DR MOREAU THE ISLAND OF LOST SOULS

THE INVISIBLE MAN – CLAUDE RAINS

THE THING -HOWARD HAWKS

THE MAD GHOUL

THE MAD DOCTOR OF MARKET STREET

THE TINGLER

MonsterGirl’s: Saturday Morning’s Some Men Who Do Science-posters

It’s Saturday morning so here’s some men who do science posters!

Next Saturday perhaps we’ll see inside their laboratories….!

Monster Girl’s Quote of the night! Island Of Lost Souls (1932)

“Do you know what it means to feel like God?” – Dr. Moreau (Charles Laughton)

Monster Girl’s Quote of the day! The Fall of The House of Usher (1960)

The Fall of The House of Usher (1960)

“He buried her alive…to save her soul!”

]

BUtterfield 8 (1960) Part II “I don’t suppose that anybody would think that she was a good person but strangely enough she was. On the surface she was all sex and devil may care yet everything in her was struggling toward respectability,and she never gave up trying”


Gloria’s little red sports car pulls up in front of a row of lovely houses. She gets out, and Ligg tells her “That’s where I was born” There’s snow on the ground, and you can hear the wind howling around them. Ligg tells her his father “was an inventor…can you think of anything more useless in a small town like this?” she says “Not if he invented a way to get out”

“He was certain I’d go a long way in this world.” Gloria says”And you did, didn’t you?…the head of a big chemical company”

“I’m just another hired hand, the company belongs to my wife’s family…My wife is a fact that I can’t avoid…she’s the center of a huge spider web of family, money, country clubs, and childish time killing employments, all into at once” Gloria touches his lips with her leather gloved hand to hush the words that are aching him and they embrace in front of an elderly couple walking by looking shocked.

Gloria’s mother and Francis are sitting at the table drinking coffee and playing cards. Annie seems distracted. She mixes up her cards, “what did I play” Francis says “Your heart and I can hear yours pounding across the table”Annie apologizes and says she’ll pay better attention.

Fannie says “I’d rather you put your troubles out and put them on the table” “I don’t want to burden you with them” “So what am I your friend for…your money?…or maybe I wanna steal your husband” She continues “Look you think I don’t that you haven’t heard from your daughter in 6 days” Annie looks upset “she’s never done such a thing before without calling.”

Annie slaps the cards down on the table and gets up.”Something terrible must have happened” Fannie says “Now why does it have to be bad, there are good things that happen too ya know” “Francis look you’re my best friend but I can’t talk to you frankly” “Why not?” “There are things you don’t know about and shouldn’t…nobody should, “Francis says “Yes they should,” Annie tells her “No her father died when she was so little…I only wish she had a father who was wise enough and strong enough to keep her on the right path” (yet again an example of patriarchal rule giving governance) Annie looks out the window. “once there was a man I almost married…(she looks visibly shaken)

“The Major, Major Hartley” she starts to cry a little “Somehow or other Gloria didn’t like him” We see Annie’s profile, Francis listening “it might have been good if I had” Francis walks over and puts a comforting hand on her shoulder and in a stern voice says “Annie, Gloria’s a good girl, don’t worry about her”

Annie cries out “But you always say such impolite things to her” “I say the same thing to everybody, I’m a born critic…there’s bad in everything, but there’s good too…her good far outweighs the bad” Fannie is one person aside from Steve and Happy who sees the virtue and kindness in Gloria.

“Oh if she was as bad as she pretends, you wouldn’t have heard from her in 6 years.” Annie asks “Do you mind if I kiss you?”Fannie grabs her with a big wide hug “You do and I’ll spread a big ugly rumor all around the neighborhood.

Crossfade

While Gloria and Ligg are walking together on a pier Liggett uncovers his old rust bucket of a Yacht, and the two go inside the cabin to spend some romantic time together.

Emily Liggett is sitting in bed reading. Her mother Mrs Jescott played by the gritty Carmen Mathews enters the room. “You should be in bed. And you shouldn’t be in bed, alone” She sits down and says that she wants to tell Emily about the family. “We’ve had sacrifice and cowardice, honor and infidelity, courage, love, deception, confusion, brilliance, tragedy”

Now seated across from her mother as an equal, Emily is more assertive “Mother if there’s anything wrong with Wes we brought it about” she explains “Instead of my living his life, we brought him here to ours, and we handed him a big gift wrapped package and said, here, here’s your life don’t bother to live it yourself…you even presented him with a meaningless job, all title and no work.”

“One day he woke up with energy to burn…and he started burning it, but in all the wrong directions…liquor, women, defiance and the more he did it the more he had to go on doing it to justify it.”

Emily’s mother says “But you’re not running a mission for lost egos” “Mother I’m running a marriage, not just through the good days but through the bad days too. Some day Wes is going to find himself.

(Gloria is also on a journey of self-discovery yet still considered a tramp while Wes doing all the same things is going to find himself),and when he does his wife will be there waiting for him. Gloria only awaits loneliness and a terrible end.

Back in NYC Gloria and Liggett are walking arm and arm down the busy city sidewalk. Gloria sees a leather attache case and stops in to buy it for Steve’s birthday.

Gloria calls over to “Liggett, I’m going to have to leave you today and go see Steve” he says “Now Look” she says “I know, you’re with me kid remember” Gloria asks the clerk if what she called in the other day was ready yet. The clerk goes and gets it. Gloria hands Liggett a small gift-wrapped package. It’s a sterling silver lighter with the inscription BU8 on it.

He smiles and kisses her. “Gloria there’s something I have to tell you” She looks deeply into his eyes, “you act like a man who’s expecting his wife back in town.” ” How did you know?” she says “I always knew…someday,” She says thank you for not calling me, honey and babe and doll face anymore,” he says “I couldn’t I don’t think of you like that anymore”

Crossfade

The little Yorkie sitting atop a pillow like a princess on Annie’s couch. She comes into the apartment and calls out “Mama.” Seconds later her mother walks in puts the packages down and runs over to hug her daughter. “Mama I want to tell you what I’ve been doing” nervously “No dear, you don’t have to” “I’ve been with a man a whole week. Her mother gets up shaking her head disturbed “No”, Gloria says “let me tell you the truth for once in my life” her mother pleads ” no please, please, please”crying and turning away, Gloria goes after to her.

“Mama, we both know what kind of a girl I’ve been, we both know it” Her mother screams and covers her ears, shaking,”no I don’t want to hear about it”Gloria tries to grab her mother’s hands away from her ears, so she has to listen. She shakes her “Mama you have to!… unless I can be honest with you about yesterday, how can you believe me today?” “believe what?!”

“I am different, Mama I am different, yesterday it was men, a whole world full of men,” her mother says”let me go you’re hurting me, you’re hurting me!” Gloria begs, shouting “Mama face it, I was the slut of all time!” Her mother slaps her in the face. There is a sudden silence. A moment’s pause in the midst of crisis. Gloria looked so much more authentic, “if only you’d done that before…long ago…every time I came home all soaked through with gin.” Annie is sobbing, turns, and faces the wall “I’m sorry” she weakly speaks out.

Gloria touches her “It’s not your fault Mama, it never has been, it was in me…but it isn’t there anymore. It’s no longer just men for me, there’s only one man, one, just one…maybe it’s too late for marriage, but it’s not too late for love…now by some miracle, I’m like everybody else.” Annie is facing her daughter now. “I’m in love…you can look at me mama, without wishing I’d never been born” they hug.

Mildred Dunnock is remarkable as Gloria’s fragile yet caring mother

Fade to black

Gloria shows up at her psychiatrist’s office. Dr. Treadman says”Don’t try to analyze me, you don’t have the training” She comes back cleverly “Not in books perhaps”

“Dr Treadman are you hard of hearing?… I’ve been trying to tell you something…I don’t need you anymore!” he looks skeptical” I have no problems anymore…I’m in love, I am in love…I am really in love” He says that he’s delighted to hear it. Gloria gets up, shakes his hand, and thanks him for everything.

He calls to her “Gloria, Gloria while it is possible that sometimes love can solve many things, love is not so simple that you can rely on it as a complete solution, so if it isn’t all that you hoped it would be…if it doesn’t work out, don’t hesitate to come back…quickly.”

She looks back at him confidently “But it will work out, I’m gonna make it work” he calls over to her again as she is walking out of his office. ” but if it doesn’t”” but it will, it has to”

Crossfade

Gloria knocks on Steve’s door, he opens the door she kisses his cheek wishing him a happy birthday, holding flowers and his present. Norma’s on the phone. Gloria is snuggling all over him, kisses him trying to get him in trouble while Norma’s on the phone.

“what are you trying to do to me?” he says laughing, she says “oh you drive me wild with desire,” he asks “Gloria where’ve you been all this time?”I’ve been chained to the wall of a sanitarium trying to keep away from you”Steve has to leave to meet up with Norma.

Gloria follows him over to the closet. And sees the fur coat. Liggett’s wife is coming back to town today, “The coat, oh the coat, what am I going to do?” She runs out of Steve’s with the fur.

Short scene.

Just as Gloria is walking towards the doorman to Liggett’s apartment building with his wife’s fur, Emily Liggett gets out of a limo wearing another fur coat. The doorman greets Mrs. Liggett, and Gloria is stopped in her tracks. She runs back to her little red sports car with the coat, gets in, and starts crying.

Crossfade

Emily is sitting at her dressing table doing her nails. Wes gives her a kiss and welcomes her home. She thanks him and acts surprised at the gesture. She tells him that “there’s a certain aliveness about you” She tells him her mink is missing. He says maybe she left it out on Long Island. But she’s checked it’s not there.

He tells her he’s been home the whole time and nobody else has been there. Then he looks down at the cigarette lighter. He leaves the room, and she runs after him calling Wes. She wants to call the police, but he grabs the phone from her. “the cheap publicity and all” they argue for a bit. “let me do it my way shall we, without your mother!”

Liggett is at a bar, asking if the bartender knows Gloria. “you don’t have to describe her to me Mr. Liggett, I’d know her with my eyes closed, on the bottom of a coal mine, during the eclipse of the sun” She hasn’t been in for over a week.”Without her this place is dead, she’s like cat nip to every cat in town”

He goes to the next bar. two men approach him and ask where he’s been. Then they say Gloria’s the kind of business they wouldn’t mind having again. One man puts his arm around Liggett, “Oh come on Liggett come on Gloria, ha sure, she’s she’s frantic isn’t she like a rocket right off the earth…mother I’d have left home for that…she’s got a traveling hitch, she’s like a flea hop hop hop from one dog to another, bites ya and she’s gone, she picks ya up and she drops you” Ligg looks worried, angry, the man raises a glass and says “well welcome to the fraternity we meet once a year at Yankee Stadium”

Ligg walks out and is on the phone now. “Now listen Butterfield 8 I’ve called her hundreds of times, (desperate) I’m her closest friend, you’ve got to tell me where she is, it’s a matter of life and death.(frustrated about to blow) you’re liars all of you liars fiends and liars now tell me!” he slams the phone down.

We see Gloria driving the red sports car and being pulled over by flashing police lights. Tells her to take it easy, don’t drive away her troubles. Tomorrow the sun will come up again just like it did today. She’s at Happy’s now. Happy brings her a plate of cookies. She’s telling Gloria a story about an actress trying to get a part in the show.

Trying to get in solid with the director.”Two days later or should I say two nights later, she was in, but solid, yeah with the director with his cousin, She was so busy getting in solid with every Tom, Dick and Harry and his uncle George that she wouldn’t recognize a producer if she found one right under her pillow…So time passes and our heroine is very big, yeah but not in the theater oh no, in all the wrong places…in 500 little black books…and 28 divorce cases, 2 police blotters, and in one restraining sheet in the psychopathic ward in Bellevue. Yeah, she hit it big, from a size 12 dress to a size 44. She went from looking like an Orchid to a face like a pan of worms and all because she said with only a rag a bone a hank of hair. I will move the world my way”

Happy sees that Gloria is sullen. She grabs her arm and tells her “Hey you live it, you kick up your heels, you grab everything you can get, you light the candle from one end to the other as they say…and then one day, you too can be the proud proprietor of a very heavily mortgage rolled side brick brothel, you’ll wish you were dead.” Happy eats a cookie looking down and disgusted with her life.

crossfade

Liggett is with his wife Emily sitting at the breakfast table. He gets up and pours vodka into his orange juice glass, “Don’t worry Emily it’s not alcoholism it’s just a kind of medicine”

He says he can’t he has to go out and look for her fur coat. She wonders why he feels so personally responsible for it. “Wes is there anything I can do?” he says  ” When I come back with that coat which I will, I want you to throw me out” he takes his drink, and the scene ends.

Gloria’s mother is needle-pointing “Sorry I didn’t come home last night I spent the night in a motel, Annie looks worried but Gloria laughs “Alone” I had some thinking to do, then she passes a mirror and takes a hard look at her reflection. I saw a woman, utterly proper, utterly conventional, utterly beautiful.

Then she stares at herself in the mirror again. Annie says “You’re beautiful too dear,” She says “I have a face, and that’s not the kind of beauty I mean,” Her mother asks “What kind of beauty?” “The kind that comes from self-respect I guess, it shines” Her mother answers “I’ve seen that kind…it takes a lifetime to find,” Gloria says “I”m going to find it”Mom says “I think you will”

“Butterfield 8 called. Mr Liggett says he has to see you, it’s a matter of life and death.” Now Liggett’s sitting at a bar table, he’s already drunk. Gloria walks in holding his wife’s coat. He sees her and takes a long look. She looks back at him. He sees the coat. “so you did take it!”

“Yes and I’m sorry Liggett, may I sit down?” he says “That’s up to you Honey” The waiter comes by asking if she’d like to order, but Ligg says “No the lady’s not going to order” Gloria gives him the coat. “why did you bother to bring it back?” “because it isn’t mine” he throws it down and erupts quietly,” because you’re scared you mean…cause you to know I’m not like one of those ordinary Joe’s you take for a sleigh ride…because you know while I’m might have given you the world, I’d tear your head off if you’ve stolen as much as a nickel from me, isn’t that it?” she quietly shakes her head and says “no.”

He drunkenly says “So you pick up the man when you want, and drop him like a bomb,” he drops his glass. it breaks, “When you want…people don’t mean anything to you, do they?, the way they feel in here ( he points to his heart) not down where you live” she cries “I care about some people,” he says  “for an hour, or a day, or a week, til you’ve had your kicks, then you slither off to the next one.”

She is so visibly struck silent “I’ll talk to you tomorrow” he grabs her arm very violently, “there isn’t going to be any tomorrow… and for once somebody’s going to drop you, and go ahead try that heel trick again the one you use that gets the boys hot…I ought to break this arm right out of your shoulder” she says “May I say something to you” “Sure honey, babe, doll face, kid…say something sexy, something that always got the boys straight for the hotel” He’s still gripping her wrist, imploding.

Gloria reasons”You can’t have everything in life, be grateful for the few things you do get, no matter where they come from.” she’s holding it together, and he lets go of her arm “The pornographic philosopher….now you just sit there like a good tramp should until I get out of your sight…I can’t stomach being seen in public with you”

He’s creating a scene in the bar. Gloria picks up the coat and says “Liggett” he snaps “Don’t you dare mention my name in public again…( he gets closer up to her face and yells ) You’re a joke, a dirty joke from one end of this town to the other”

A man comes over to try and quiet Liggett, Liggett gets violent and the man punches him til he staggers off. Gloria runs after him with the fur.

They’re sitting in her little red car now. She tries to help him out of the car, but he shoves her away. Emily looks out the window at just the right moment and sees him getting out of Gloria’s car. Gloria gets out of the car and hands him the fur. He says, “For something like this you want me to give this back to my wife after something like you has touched it”!

He throws it back at her. Emily tears up at the window. He walks into the building and tells Emily to leave him alone. “Do you want a doctor?” Wes says “Yes and tell him to bring me something to make me unconscious before I can think.”

Gloria shows up at Steve’s. They’re in total darkness at first. Then Steve thrusts the room into the light. She’s wearing the fur “Ask me about the coat, Steve, ask me.”

“I see you still have it” “Because it’s mine..every skin…every thread…every hair…is mine….(she gasps for air) and you know why?… because I earned it, pretty good pay for one week…a thousand dollars in fur a day” She yanks it off her body.

Steve says “I take it Liggett couldn’t make it?” She says that’s not the important thing, the important thing is “I took money…you know what that makes me” She breaks down and sobs and hugs Steve. She says “Let me cry , let me cry like all the times I should have and never could”

She throws herself face down sobbing on Steve’s bed. He pats her back and she says Steve I have to tell you something” he says I know about you Gloria,” she says “You don’t know this…nobody knows this, except a certain man somewhere who I’d like to think of as standing in the middle of a lake filled with burning gasoline…she pauses and cries please listen…”

“I was 13, my father was dead, all older men seemed like fathers to me, but I wanted one of my own…to sit in his lap…and to hug him…and have him say I was beautiful.” She turns to Steve and asks “Do you remember Major Hartley? Steve remembers. “Major Hartley my mother’s friend, came down to Grand Central Station one day to pick me up from summer camp, Mother was away visiting. He took me home…he let me sit on his lap. he let me hug him…he told me I was beautiful.”

“He stayed in that house for one week, and taught me more about evil than any 13-year-old girl in the world knew” Steve quietly says don’t don’t. She turns to him viciously asserting “You haven’t heard the worst of it yet” She says with a smile and a defiant yet self-deprecating tone, “I loved it!!!!!…every awful moment of it, I loved…” screeching out the words”that’s your Gloria Steve, that’s your darling Gloria…I made a way of life out of it, the deep shame of it didn’t hit me til it was too late. I couldn’t go back to 13 again.”

She looks up a bare trace of light on her face, “I had one chance to stop it, one last chance, and I threw it all away for 32 animals sewn together in a coat.” She’s crying into her hands. Steve goes to her, “It’s not all over…you have another chance. She says it doesn’t matter where she goes. But Steve tells her it matters a great deal what she does. “You got to decide what you’re going to do next, I do too, stay here tonight” She sadly kisses his cheek “Thank you Steve”

Crossfade

Liggett’s in bed smoking, and Emily asks “Anything you need Wes” He says  “A divorce” he’s a failure as a husband and a failure as a man. She doesn’t want the divorce “Wes I love you.”

“I know you do and that makes the divorce all the more necessary…because I can’t go on disappointing you.” She asks “Do you love her, that woman you were with?” “I seem to” “but you fought with her and sent her away in a rage” “Yes I did, I was sick because I was afraid I was going to lose her…and I hated her unreasonably because I couldn’t stand the thought of losing her…just as you hate me now. Emily runs out of the room crying.

Gloria is back with her mother holding the dog, “I just called Butterfield 8 and told them to shut off the service and to send me a bill as soon as I have an address in Boston will you forward it to me?”

Fannie is there Gloria’s mother says “Yes dear I will” “take care of Mama Mrs. Thurber “Oh I got plans for her, my cousin Harry” “Oh Francis” “I’m a born matchmaker” Gloria pipes in ” at 10 percent of course,” Fannie say “naturally…look I don’t want to be a nosy neighbor but why Boston?” “Well that’s where the pilgrims made a fresh start, if it’s good enough for them I guess I can take it”Fannie replies “Can Boston take you?”

Mother asks ‘what will you do in Boston dear?” “Well, I’ll buy a paper, look up the want ads, same as any girl without a job,” Fannie says wearing Emily’s fur coat, “look before we start crying let’s get the luggage into the car…looking in the mirror, ah this is as close as I’ll ever get to heaven,” Gloria asks “Do you like it Mrs Thurber?” “Course not I’m only faint from not eating in three days” “It’s yours”

Fannie looks shocked”no” Annie is smiling, and Gloria says “Wear it in good health” “Oh no you can’t bribe me with this…I could never say a mean word about you as long as I live, I’d die of boredom ” “Well then just keep it warm for me” She turns to her mother “Goodbye mama” They hug very preciously and Annie says “I don’t want you to go, I have a feeling you’ll never come back” “I never will come back Mama, but I’ll send for you as soon as I can” she kisses her on the cheek, then kisses the little dog on the head.

Now Liggett is on the phone, “Did she leave any forwarding address?… Now look this is the most important telephone call of my life…you must tell me, please…Boston? You’re certain…thank you Butterfield 8, thanks”

Joe’s Barber Shop, a Gulf gas station, cars speeding fast on the road, he’s driving to find her. He stops the car, he sees the little red sports car outside a brick diner. She’s sitting at a table. She looks stunned. He says “Don’t be frightened Gloria, please…I can only think of one apology…will you marry me?… I’ve arranged for a divorce, wait for me, and in time, I’ll make you forget every word I uttered last night” “You can’t….I’m left with those words…I’m branded with them, but thank you for asking me to marry you…if only you’d done it yesterday it might have meant something, but not today.

“I only did what I did last night because you were so much in my blood that I exploded” “But you were right last night, no man could marry me and not keep remembering, you, you’d have to explode at my life..past and present, you couldn’t help but explode” Oh Gloria I can think of a dozen apologies” Oh I know, and I accept, but then look at all the thousand of explosions ahead and the thousand apologies and a thousand acceptances until we” he grabs her hand and kisses it, crying holding in his mouth. “til we both get so disgusted” he whispers “I love you I love you” And I love you…it’s no use it’s no damn use”

He wants to go over to Happy’s to be alone and talk ” If I get in a room with you, together, alone, I know what’ll happen, it’ll be the same thing all over again” Look Gloria, we started this whole thing together, we’re obligated to solve it together, please” She tilts her head she’s weakening.

Happy greets Liggett and says “Oh you brought another weary traveler. Hi Honey, welcome home”. Happy keeps talking, and Liggett gets impatient. ”Happy give me the key” Gloria is gripping the steering wheel of the car, hesitating to go into the motel room. Suddenly Gloria speeds away, and Liggett goes after her.

]

She’s racing the engine as fast as it will go. She gets onto the thruway, he’s in pursuit. She goes faster, looks behind her to see him following, and realizes too late that she’s hit a detour. Gloria skids off the road, and we see and hear a scream in the little red car as it goes off the cliff and smashes down into rocks. The horn stuck blaring. Liggett looks over at the wreck then the police show up, they are putting a stretcher in the back of an ambulance. Liggett is just standing there. A cop comes over “You saw the accident?” “Yes” Your name please” “Weston Liggett 10 -38 10th Avenue NYC.

The cop says “I stopped that same girl 2 nights ago for speeding, I wish I had put her in jail” Then another cop comes over “I haven’t made her name yet chief” “Her name is Gloria Wandrous” “You knew her?” the cops look at each other baffled.

crossfade

Liggett returns home, “You’re going to read about it in the newspapers tomorrow Emily, the family name your picture, my picture, everything, I’m sorry”

“Wes I don’t understand what’s happened tell me” “She’s dead…she lived for an hour unconscious but she’s dead,” Emily asks “who that girl?”  “Yes, terrible, automobile accident, she was trying to get away from me, I’m sorry, so sorry”

He says solemnly “I don’t suppose that anybody would think that she was a good person but strangely enough she was. On the surface, she was all sex and devil may care yet everything in her was struggling toward respectability , and she never gave up trying”.

He jerks forward in a gust of anguish then turns to Emily, “I’m going out looking for my pride, alone, when I find it, if you’re here, I’ll come back and we’ll see if it still has any value to either of us” he walks out the door. The strings start dramatically, we are left with  Emily standing in the apartment for a second before the screen goes black.

The End

Elizabeth Taylor rightfully won an Academy Award for this role. A woman cannot afford to be an individual who is sexually adventurous otherwise she is labeled a whore. Thus she is reviled by the very men who are themselves sexually active and ultimately she must be deconstructed and destroyed.

Gloria is also under a doctor’s care for this. Another factor in a woman having a strong sexual identity is that it is associated with a mentally ill pathology. Francis Farmer was lobotomized for this. Not many decades ago women were thrown into jail or Psych wards for this.

While men are heralded as being part of a Fraternity, a brotherhood of users, exploiters, and objectifiers. They are viewed as heroic and successful. They affirm their masculinity. While women, lose their self-worth and become dehumanized and shunned.

Gloria’s downward spiral was inevitable because she needed the outside agency of other sympathetic characters to find the good that is buried deep within her, when in fact it was obvious that she was a good person.

She is already a very dynamic, delightful, loving, and free-spirited individual, something to be honored and not reviled.

As in The Naked Kiss (1964), we see a double standard of male /female expectations.

Sam Fuller’s The Naked Kiss (1965): Part I: “There’ll be no later, this town is clean”

A woman’s sexuality is something to be feared, and judged, and also used as a weapon as it applies to the undoing of male power over logic. The theme of Madonna vs Whore syndrome, where she can’t be both, not able to exist in this world with this dual role she must be destroyed in order to be set free from the stain of her sexual nature. Kelly had to leave Grantville, and Gloria had to die horribly in a car crash, in order to destroy the sexual desire she both embodied and projected.

From “The Dread of Difference: Gender and the Horror Film” edited by Barry Keith Grant

Page 35 “Horror and the Monstrous -Feminine An Imaginary Abjection” by Barbara Creed

“All human societies have a conception of the monstrous-feminine, of what it is about a woman that is shocking, terrifying, horrific, abject. Classical mythology also was populated with gendered monsters, many of which were female. The Medusa with her “evil eyes” head of writhing serpents” -Barbara Creed

page 36 “It is not by accident that Freud linked the sight of Medusa’s to the equally horrifying sight of the mother’s genitals, for the concept of the monstrous- feminine, as constructed within and by a patriarchal and phallocentric ideology, is related intimately to the problem of sexual difference and castration.” In 1922 Freud argued that “Medusa’s head takes the place of the female’s genitals. If we accept Freud’s interpretation we can see that the Perseus myth is mediated by a narrative about the difference of female sexuality as a difference which is grounded in monstrousness  and which invokes castration anxiety in the male spectator.” -Barbara Creed

Remember when Liggett tells Gloria that she should go slither away, making a reference to her as a serpent? Liggett is also emotionally castrated by his relationship with his wife and mother-in-law.

They Live By Night (1948) Part One “This boy and girl were never properly introduced to the world”

They Live By Night (1948) Directed by the great Nicholas Ray. Ray was responsible for one of my all-time favorite films with Bogie and Gloria Grahame, In A Lonely Place (1950), and he also gave us On Dangerous Ground (1952), Rebel Without A Cause, and Joan Crawford in Johnny Guitar.

They Live By Night is an adaptation by Nicholas Ray from the Novel “Thieves Like Us” by Edward Anderson. Produced by John Houseman.

Farley Granger plays Bowie, Cathy O’Donnell is the simple girl Keechie, Howard Da Silva is the ruthless”one-eyed “Chickamaw, Jay C.Flippen is T-Dub, and all three men make up the band of criminals responsible for robbing “charging “banks, across Texas. Will Wright plays old man Mobley a drunk (Ben Weaver, cantankerous store owner in The Andy Griffith Show) Helen Craig, plays Mattie who is married to T-Dub’s brother who is stuck in jail, having difficulty getting paroled.

“This boy and this girl were never properly introduced to the world we live in…

To tell their story…


Ray uses open vistas, the cars driving through open expanses of land, not the often dominating skyscrapers, or closely cropped staircases and framed structural shadows. yet a certain desolation permeates the screen. Textually and thematically, They Live By Night breaks away from the urban milieu and plants itself in the rural countryside, in contrast to other darker noir environs.

This is yet another RKO excursion into the noir realm that they became well known for.  RKO had been one of the original production studios from the Golden Age of Hollywood. Val Lewton had done his low-budget yet groundbreaking horror collection(I Walked With A Zombie, Bedlam, Cat People, Isle Of The Dead) while at RKO.

There is a sentimentality and romanticism surrounding our two lead actors, the young couple project innocent victims, who were just born into a bad station in life. We get the sense that had they have been given another set of circumstances in another place, their lives would have been so far contrasting to the lives they’re leading because Bowie and Keechie are both essentially good people. We also see the very plain and feral Keechie blossom into her sexuality, as Bowie awakens this primal undercurrent that’s been subverted by her sheltered existence.

The certain outcome they faced, was always inevitable because they never had a chance to rise above the choices they’d been given.

There is so much of the narrative focused on what “other people normally do”, “to be like everybody else”. Our two young figures are trapped in a world, not of their own making.

Though most of the story is set in the rural countryside, which opens up the environment from the usual claustrophobic city scenes and defies the familiar mechanism of darkness, They Live By Night has an oppressive sensibility that makes the film a dark piece. The protagonist Bowie is still closed in by his situation.

Another departure from the more commonly seen protagonists with rough exteriors like Richard Conte, Robert Ryan and Charles McGraw, Farley Granger exudes a sexual ambiguity. Granger’s characters (Rope (1948), Strangers on A Train (1951), Side Street (1950)) have often been morally weak and susceptible to crime, not able to hold off temptation. He projects a sullenness, a softness that makes him appear the noir victim.


The divergence of the gentle souled Bowie with the cutthroat ruthlessness of his two treacherous partners in crime, set up the combustible dynamic that threatens Bowie’s safety from the outset.

As the lush and poignant music opens, it creates an unusual mood for us, not the typically hard-edged jazz thematic score we’re used to hearing with dark noir offerings. They Live By Night starts by serenading the sweet embraces of Farley Granger’s Bowie and O’Donell’s naive Keechie. The musical strings become threatening and the Titles roll as an old jalopy is driving eclipsed by the words They Live By Night.

It’s the 30s and two jalopies are speeding furiously down a desolate road. We see Bowie toss his shirt out of the car, and four men in the car, spin off the side of the road stirring up a dirt cloud, as they stop the car.

“I knew that tire had to go,” a farmer they’ve kidnapped says to Bowie sitting in the back seat. 2 men step outside of the car holding guns, one of them, Chickamaw wearing a hat says “You talk too much” The dusty isolation frames the men like a gray wilderness.

Chickamaw jerks the farmer out of the car as he begs, “Please mister please.” At first, Chickamaw holds a rifle up to his face as if threatening to shoot, instead he is forced to the ground out of our view, obscured by the car but we hear Chickamaw pounding on the farmer.  The music is serious, the horns play brutal tones, and then we see a concerned expression come over Bowie watching from his viewpoint, startled at the brutality he is witnessing. We get a glimpse of humanity in one of the 3 thieves.

We can’t see but we hear “Smack, smack” like pops and bones breaking. The picture, the photograph we see is so filthy, the environment itself so angry, like the dirt could devour all the men whole.

They toss the beaten man into the back of the car and Chickamaw says “Now what” T Dub replies “Now we gotta get to that brother of yours and get to that doe you got stashed away.”

The 3 men leave on foot we get an aerial view of them walking in the tall grass passing a billboard sign that says “Cosmo Nifties.” Bowie falls and grabs his foot. “How far we gotta go?” “About 10, 15 miles.” Bowie’s foot appears injured. The two other men tell him to hide out in the bushes beneath the billboard and that they’ll be back for him at night. They tell him to “take it easy son,” he says “I’ll take it easy. I gotta lawyer in Tulsa to see.”

It is night now. The Cosmo Nifties sign bares a sultry-haired beauty with a flower in her hair, the sign shapeshifts on the screen into a fence. Bowie is peaking through the fence, and a little scrappy dog comes into the scene, Bowie sits back down the little approaches him for food. But he suddenly sees headlights of a car approaching. he looks through the fence again. The fence, he is fenced in. We hear the twinkling song of night crickets, a truck pulls up and stops, the breaks screeching to a halt.

Bowie steps out from behind the fence, and we hear the truck trying to be started but stalling. The dog is following him. He asks the driver, “you having trouble?” a voice shaded by the dark and a hat answer back. it is the soft comeback of a female voice, this is Keechie.
“Could be” he asks “Who are you?  Do you live around here?” The crickets serenade the two veiled in shadow. Again the only two words she utters are “Could be.”

“You haven’t had a couple of visitors have you?” ” That wouldn’t be a sore foot making you limp would it?” “Could be” she says “I got some other stuff to pick up, get in or we’ll both get pneumonia” Her profile is solemn, and she looks down at the steering wheel.

She gets the car started and now her face is lit a little more, we can see she’s very plain, but very pretty, he comes around the side and starts to get into the car. A train whistle sings in the background. He looks at her “They sure took their sweet time sending for me”

Bowie asks “Who are you?” “they sent this for you, get in.” They arrive at a shabby place, in the car only the edges of their faces show light, like crescent moons, the rest is pure darkness surrounding them. They are staring at each other, she tells him “I’ll take that stuff, you go around the shed, through the trees, a cabin back there.”

He knocks on the door to the cabin, there are several men inside, one smoking a cigar opens it up to greet him with a smirk. Chickamaw says “Look who’s here” T-Dub sitting down counting money, says “Hello son,” Chickamaw says “You took your time gettin’ here… what are you and the gal been doin’, swimmin’?” “Say hello to Mobley, Chickamaw’s brother,” the old man says, ” I told you she’d find him… she’s a weasel that daughter of mine” “Sorry we had to keep you waiting son…had to be that way” Chickamaw gives Bowie a new shirt and says “here kid this’ll fit a lot better over that bandage.” He takes it, still very silent, Chickamaw slightly admonishing him says “You’re welcome.”

T-Dub, asks old man Mobley, “A thousand dollars, is that enough for a used car?” “Could be, you can’t tell though, the way things are…” They are interrupted by a sound outside, he says, “Oh that’d be my daughter.” T-Dub rises to his feet and says ” Hello Miss Keechie.” Bowie puts on his clean shirt and looks up at her, holding groceries, a surprised expression, as she too looks back at him curiously.

T-Dub looks at Chickamaw and gestures that he wants some of the cash, so he starts shuffling money through his thumb and fingers to hand to the old man, “That’s five hundred more, that’s fifteen hundred for the car… can’t have you coming back in no rattle trap, not for this trip.” Bowie with food in his mouth says “Fifteen hundred bucks for a second-hand car?” T-Dub says “That’s right” Bowie comes back. “That’s worse than robbing a bank!” but T-Dub explains “They’re thieves just like us” (meaning old man Mobley and his daughter Keechie).

T-Dub sits and faces the old man Chickamaw, “Now don’t forget the clothes, and tell Mattie the first big doe goes to getting her man out of jail.. tell her that or she won’t come.” “I’ll tell her for sure… well so long fellars… I’ll try to get back here with Mattie before tomorrow night.” Chickamaw says to his brother the old man Mobley, “Say big brother stay sober” he puts his hat on and answers “Me?…oh I won’t touch a drop, not a drop” he says resentfully. T-Dub still sitting down says, “Of course, he won’t, we take care of our friends Mobley” The old man cries out “I know, I know that T-Dub, he turns to Keechie and asks if she’ll take care of the station, then says “so long.”

Chickamaw says, “Take care of the station he says, he hasn’t done a lick of work in his life…that brother of mine.” Close up we now see that his right eye is hazed over and blind. He starts grinning and laughing, “Did you catch the look on his face?”…more laughter, “he’s still trying to figure out where I had that doe hid.” He laughs even more sardonically.

Keechie looks so worried. We hear a noise, Bowie is fiddling with the small stove, she goes towards him and says, “Can’t you make that stove work?” but as she starts to move, Chickamaw grabs her by the arm. “He’d a grab you too wouldn’t he?” T-Dub says, “You show ’em how Miss Keechie” “That’s one machine he don’t know nothing about..” Bowie hands her a clean cloth and says “Here”, she smiles a little and says “Thanks.”

T-Dub says, “That boy’s some gallant eh Miss Keechie?” and Chickamaw says “Yeah, he’s got a soft heart…” takes the cigar out of his mouth, “and a head to match”

Keechie says “his head looks alright to me” She gets up and walks away.

Bowie says “That little girl don’t think any too much of what’s me I tell you.”

Chickamaw relates “Her ma was just the same way, always acting like she was the Queen of Romania!” just then Keechie steps back from behind the heavy floral curtain that partitions the room. Bowie asks curiously “Keechie’s ma?” Chickamaw tells him “Yeah, you know what she did?…she ran off with a fella, now they’re running a medicine show” Keechie throws down what she was holding and walks back through the partition.

Fade to Black

T-Dub says “No matter how, I tell you we’re short…we need another thousand dollars” Chickamaw replies while looking at a newspaper “Hey we’re in it… Prison Farm break, the escape of 3 lifers was announced today by Warden E K Lardub (of some such name) the fugitives have captured a farmer in their flight”, then Chickamaw gets angry and slams down the paper. T-Dub picks it up and continues to read, “Elmo One Eyed Mobley” aka (Chickamaw) mumbles and paces, “It’s always one-eyed something.”

T-Dub reading “RT Waters, farmer of Akota, gave a description of the 3 men who commandeered his car at the point of a gun.” Chickamaw pipes in still pacing with the cigar in his mouth, “I shoulda blast his head off with that gun.”

T-Dub sees that there’s a dance at a dance hall that used to be Chickamaw’s old stomping ground, he gets the idea that there would be enough for the take there to be a small cushion for the big Zelton job they’re planning on.

Chickamaw picks up the paper from the table and says, “Sunday night, yeah that…” Then he pauses, “That one eye!…they didn’t’ print a very big piece about us either.” T-Dub says “Don’t wish it was more than just 2 lines..newspapers raise more heat than anything Chickamaw In a few days, they’ll really have somethin’ to print about us?” Bowie says “Yeah” and Chickamaw continues, “3 boys like us, we could charge any bank in the country, any bank!, how many have you knocked off T-Dub?” “Enough,” Chickamaw says to Bowie “You’re in luck kid, you’re traveling with real people T-Dub puts his hand on Bowie’s shoulder, and Chickamaw says “It takes 3 to charge a bank…and we’re the 3 mosquitas.”

“We move fast” looking deep into Bowie’s face. “Can you take it? “me?” “You!” “Sure.”

Bowie “I can rib myself up to anything,” Chickamaw says “Maybe. You ribbed yourself up once to killin’ a man didn’t ya?” Keechie walks into the room just then and looks faintly startled, and disappointed, Bowie stares at her concerned, and ashamed, Chickamaw asks again “Didn’t ya?” then Bowie breaks his gaze away from Keechie and looks up at Chickamaw and says “Yeah… I sure did” then looks back at Keechie who now looks down at the floor and walks out of the room.

It’s the first 10 minutes of They Live By Night that sets the stage for our ill-fated lovers.

To be continued in Part II…

They Live By Night (1948) Part Two “A woman is sort of like a dog”

The Killers (1946): Brutal Noir- A green silk hankerchief with golden harps

The Killers (1946) is the quintessential existentialist film. Based on Ernest Hemingway’s 1920s short story as he was immersed in the pre-war existentialism of that time period, which fostered tales of crimes and violence. As the two French critics Raymond Borde and Etienne Chaumeton remark in their fantastic read and seminal work A Panorama of American Film Noir 1941-153 the killer’s gunmen walking into the diner in Brentwood N.J. and begin complaining about the menu predates the dark Absurdism of the existential movement of playwrights like Harold Pinter and Samuel Beckett.

It reminds me of how great directors like Quentin Tarantino pay homage to films like The Killers in Pulp Fiction, or the work of Samuel Fuller who didn’t hold back on the vicious realism that was groundbreaking in its day.

According to the Electric Sheep blog, “The first twelve minutes of The Killers (1946) is a faithful (almost word for word) adaptation of Ernest Hemingway's much-anthologized short story. Two hit men enter a diner (shot to look like Edward Hopper's painting Nighthawks "“ itself apparently inspired by Hemingway's story) typical Hemingway heroic fatalism.”

Robert Siodmak’s The Killers (1946): Brutal Noir- The First 12 Killer Minutes!

The Killers (1946) the original version scripted by Hemingway himself, was produced by Mark Hellinger (The Naked City, Brute Force, and The Two Mrs Carrolls– 3 of my favorite films,) and once again boldly directed by the great Robert Siodmak. With the rise of Nazism Siodmak left Germany for Paris and then for Hollywood. He’s singularly responsible for a great deal of the noir films that are so memorable.

In my opinion, Siodmak’s film is a meatier piece of work that rendered a more brutal impression than the 1964 version directed by Don Siegel.

Perhaps due to its more neo-gangster noir style, it gave it a liminal and evocative intensity. Siodmak’s Killers has a more violently surreal tone, than the stylishly slick and richly colorful pulpy Siegel version. The effective black-and-white environment of the 1946 Killers once again sets the stage for the players to live in a world that is condemned by shadow. While I love Siegel’s version, it does seem brighter and the world more aired out than usual frames of noir desolation.

Although I’m a huge fan of Angie Dickenson and she was incredibly lush and provocative in the role of Sheila, Ava Gardner’s Kitty Collins was more subtly carnal as the temptress who becomes Swede’s downfall. Siodmak’s version gives us the noir police investigation, there is pervasive Machiavellian cruelty, and the characters have more stratum to their personas. John Cassavetes is more icy while Burt Lancaster’s Swede is a very sympathetic yet imperfect man, that fatalistic heroism.

Burt Lancaster plays Ole “Swede” Andersen ex-boxer and con, Ava Gardner is Kitty Collins, Edmond O’Brien is  Jim Reardon insurance investigator, Albert Dekker is Big Jim Colfax (Dr. Cyclops) criminal mastermind and Virginia Christine is Lily Harmon Lubinsky (she cameos in the ’64 version as the blind secretary).

Sam Levene is Lt. Sam Lubinsky Swede’s old childhood friend Charles McGraw( The Narrow Margin) is Al the killer and William Conrad (Cannon tv series)is Max the other killer. The Killers also casts Jeff Corey as “Blinky” Franklin (The Outer Limits O.B.I.T.episode) one of Big Jim’s criminal lackeys with a “monkey on his back” implying that he has a drug addiction. And Vince Barnett as Swede’s devoted and world-weary petty thief Charleston.

The film opens with Miklos Rozsa’s ominous brassy jazz score that later becomes the killer’s motif, as the two men drive into a small American town, anywhere USA,  we see them from behind in the darkest black silhouette in the car. Then a long view of them walking onto the scene still surrounded in shadow, we know they are trouble. The opening scene of The Killers is perhaps one of the most powerfully ferocious I’ve seen from a 1940s film.

The two men enter Henry’s Diner William Conrad’s Max and McGraw’s Al, are The Killers, who begin to psychologically torture George who works the counter, and Nick Adams the boy at the end of the counter. They exude an obnoxious egotism. A cruel anti-social spirit as they barrage the men in the diner with verbal assaults, having a somewhat perverse quality that begins with the menu.

George: What’ll it be, gentlemen?
Max: I don’t know. Whatta you want to eat, Al?
Al: I don’t know what I want to eat.
Max: I’ll have the roast pork tenderloin with apple sauce and mashed potatoes.
George: That’s not ready yet.
Max: Then what’s it on the card for?
George: Well, that’s on the dinner. You can have that at six o’clock. That clock is ten minutes fast. The dinner isn’t ready yet.
Max: Never mind the clock. What have you got to eat?
George: Well, I can give you any kind of sandwiches: bacon and eggs, liver and bacon, ham and eggs, steak…
Al: I’ll have the chicken croquettes with the cream sauce and the green peas and the mashed potatoes.
Max: Everything we want is on the dinner.

They continue to harass George, asking for alcohol, “Al: You got anything to drink? George tells them “I can give you beer, soda, or ginger ale. Al: I said you got anything to drink?” George submits a quiet “no.” Max says “This is a hot town, whatta you call it?“George“Brentwood” Al turns to Max “You ever hear of Brentwood?” Max shakes his head no and then Al asks George “What do you do for nights?”Max takes in a deep breath and groans out “They eat for dinner, they all come here and eat The Big Dinner” George looks downward and murmurs  “That’s right” and Al says

“You’re a pretty bright boy aren’t you”, meanwhile George is a grown middle-aged man. The term “boy” is designed  to demean him. George mutters “sure” and Al snaps back “Well you’re not!”

Al now shouts to the young man at the end of the counter “Hey you what’s your name?” he looks earnestly at Al and says “Adams, Nick Adams.” Al says, “Another bright boy.” There is an emerging sadism at work here, almost subconsciously homophobic/homoerotic, in the way they are using the terminology of “boy” working to subvert these bystanders’ manhood. Max says, “Town’s full of bright boys”

The cook comes out from the kitchen bringing the plates of ” one ham and one bacon” George starts to serve the men the food and asks “Which one is yours?“Al says “Don’t you remember bright boy?” the continued use of this phrase truly begins to flay the layers of our nerve endings. George starts laughing and Max says “What are you laughing at?” “nothing” “You see something funny?” “no” “Then don’t laugh” “Alright” Again Max says, ” He thinks it’s alright,” Al says “Oh, he’s a thinker” Here we see the anti-social backlash to an intellectual society that would perceive them as outcasts. The term “thinker” is used pejoratively as is “boy.” This is where the film begins to break the molds of the Hollywood window dressing of a civilized society when two intruders trespass on an ordinarily quiet community and shatter its sense of security. It is the death of humanism in film language.

Max and Al proceed to tie up Nick Adams and the cook in the kitchen. They further taunt George who asks “What’s this all about?” Max “I’ll tell ya what’s gonna happen, we’re gonna kill a Swede, you know big Swede, works over at the filling station” he lights a cigarette. George says, “You mean Pete Lund?” As Max takes the cigarette out of his mouth the smoke enervates in George’s face, “If that’s what he calls himself’, comes in every night at 6 o’clock don’t he?” Georges asks “What are you gonna kill him for? what did Pete Lund ever do to you?” Max replies,” he never had a chance to do anything to us he never even seen us.” The conversation is so matter-of-fact that it’s almost chillingly absurd. Again George asks, “What are you gonna kill him for?” and Max smirks “We’re killing him for a friend.” Al pokes his head in from the sliding panel window to the kitchen “Shut up you talk too much” but Max says ” I gotta keep bright boy amused don’t I?”

Once the killers believe what George tells them, that Swede isn’t coming into the diner for his supper because it’s passed 6 pm, they go to Swede’s boarding house. George unties the two men in the kitchen who have been bound up with dish rags, and Nick jumps over fences trying to head off the killers and warn Swede that they’re coming for him. Nick bursts into Swede’s room.

At first, we only see the obscured figure of a man lying on his bed, only from the neck down to his feet. We do not yet see the figure clearly. Swede is framed in shadow. Nick tells him about the men at Henry’s Diner, they were going to shoot him when he came in for supper.”George thought I oughta come over and tell ya” Out of breath Nick is panting, and we still only hear Lancaster’s substantial voice in a whispering tone “There’s nothing I can do about it,” Nick says “Don’t you even wanna know what they’re like?” “I don’t wanna know what they’re like, thanks for coming” Don’t you wanna go and see the police?” “No that wouldn’t do any good,” Swede tells Nick he’s sick of running and “I did something wrong (pause) once, thanks for coming” he ends very solemnly. Nick leaves. The last words we hear Swede utter are “Charleston was right, Charleston was right.”

Now we see Swede’s face just staring and waiting. Sitting up, as the killers come bursting into the room, blasts of light from the gun spray, we are left looking at Swede’s hand lying limp against the side of the bed, surrounded in shadow once again, he is dead.

The Killers relies a lot on the noir mechanism of the flashback. At times there are flashbacks within flashbacks.

We’re now at the police station with Nick and Sam the cook giving their statements. We see a silk scarf with harps among his effects. Swede left a death benefit life insurance policy for $2,500 that goes to a woman in Atlantic City. The case is now being investigated by an insurance detective for the Atlantic Casualty and Insurance Company. Edmond O’Brien plays Reardon, who refuses to drop the case even after his boss insists that it’s not financially worth the company’s time. But Reardon wants to know what happened to this man who had “8 slugs in him, nearly tore him in half.”

Reardon goes to the hotel in Atlantic City and talks to the old chambermaid, Queenie, who is the beneficiary of Swede’s death benefit. She tells Reardon that at least he could be buried in consecrated ground and Reardon asked why she thought it was a suicide.

Queenie tells him in flashback how she was working that night and came into Swede’s room to clean, and he was visibly disturbed, smashing and stomping the furniture crying out “She’s gone, she’s gone!” Queenie asks “Who’s gone, mister?” He picks up a chair and breaks the window and tries to jump out, but Queenie grabs him and tells him” For the sake of God, you’ll burn in hell for all time” and stops him from killing himself. The death benefit was his way of saying thanks for her kindness.

Reardon embarks on a journey to get the bell to ring in his head, about why the green silk handkerchief with the golden harps is on the tip of his mind. His boss says that claims are piling up and he’s off running around with a 2 for a nickel shooting, but Reardon wants to know why 2 professionals put the blast on a filling station attendant, a nobody. He also notices his hands, scarring which indicates that Swede had been a boxer at one time.

He meets up with Swede’s old boyhood friend from the 12th ward in Philly. Lt Sam Lubinsky who is now married to Swede’s one-time girlfriend Lily played by the young and ever-present character actress Virginia Christine who was also in The Killer Is Loose. In The Killers, she is absolutely beautiful as the “nice girl” playing opposite Ava Garner’s femme fatale role as Kitty. Sam joined the police force and Ole Swede started fighting professionally. They always kept in touch, but “when you’re a copper, you’re a copper” and eventually after taking a savage beating in the ring, Swede breaks his knuckles beyond repair and has to stop boxing. Sam winds up putting ” the pinch” on his friend Ole later on.

In a flashback, we see Lily and Swede at a party thrown at a swanky hotel by Jake, one of Big Jim Colfax’s men. Lily doesn’t like Jake, he’s got mean eyes. Swede sees Kitty for the first time sitting at a piano. Swede is mesmerized by Kitty. The women share competitive glances. Kitty says, “Jake tells me you’re a fighter,” he says “Do you like the fights?” Kitty says “I hate brutality Mr. Anderson the idea of 2 men beating each other to a pulp makes me ill.” Lily tells Kitty that she’s seen all of Swede’s fights, but Kitty comes back with “Oh really, I couldn’t bare to see the man I care about hurt” At that point Lily is finished once Swede remarks how beautiful Kitty is Lily leaves the party.

Lt. Lubinsky tells Reardon that “It seems like I was always in there when he was losing, ever see him fight? He took a lot of punishment.”

Ole’s manager leaves Swede after he isn’t any good as a money-making fighter anymore since the bones in his hand are crushed. It’s why he didn’t use his right hand to fight the night he lost the bout to Tiger Lewis. That night his manager says “No use hanging around here, never did like wakes”

In a flashback within a flashback, Ole starts dating Kitty Collins, Big Jim’s girl. Evidently, she shoplifts a diamond pin, Reardon recognizes it as she’s wearing it at a table sitting with a group of thugs who work for Big Jim Colfax. She drops it into a plate of soup, but Reardon stops the waiter, fishes it out, and rinses it off in a cup of coffee then tries to take Kitty in, but then “Ole” Swede walks in and winds up taking the rap for her spending 3 years in jail for Kitty’s robbery then he gets released for good behavior.

Kitty’s given him this green silk scarf with golden harps of hers, which he strokes in jail. Swede has a cellmate and friend in a man named Charleston, a petty larceny crook and old-time hoodlum who bonds with Swede while in prison. Charleston brings up Jupiter one night. He liked to look at the stars after lights out, he knew their names because he got a book from the prison library.

“You can’t learn any better about stars than by staring” Swede and Charleston stares out the window at the stars, while Swede is stroking the silk scarf Kitty gave him. He asks Charleston if he knows what “harp” means. He says “Yeah, angels play ’em” “They mean Irish, Kitty gave me this scarf.” But Kitty hasn’t come to see Swede once while he’s in prison for the robbery she pulled. Swede asks Charleston to look up Kitty when he gets out because he’s worried about her. But Charleston knows she’s not sick or in trouble. Swede is too much in love to see it.

Later on, Charleston relates to Reardon at a pool hall where he was told to bring Swede on the day after his release from jail because Big Jim is planning a “big set-up.” Also in the room is a thug named Dumb Dumb and Blinky Franklin. Charleston opts out, he only wants easy pickings at his age he’s spent half his life in stir, but Swede seeing Kitty in the room, still Big Jim’s girl, says he’s in. Kitty becomes Swede’s mistress again. We see the glances between the two, and Swede knocks Jim down when he tries to hit Kitty. The two men swear that after the heist, they will even up the score with each other.

The last thing Charleston says to Swede before he leaves the room is “Want a word of advice? stop listening to golden harps, they’ll land you in a lot of trouble.” We now know what Swede meant by his last words. Charleston leaves the room. Closing the door, hoping Swede will follow, but ” he never showed up, and I never seen the Swede again” We see the character Charleston in flashback standing outside the door. Framed by the shot making the door a principal moment in the film. Charleston stared at the door waiting, looking trapped and small. The door symbolizes the unknown and what lies behind or ahead.

Back at Atlantic Casualty and Insurance Co. Reardon tells his boss the “bell rang” he remembered hearing about it in relationship to a big caper that was pulled on July 20th, 1940 at The Prentiss Hat Company. Armed gunmen got away with a quarter of a million of Atlantic’s money. One of the robbers was seen wearing a green scarf with golden harps wrapped around his face like a bandit. Swede was one of the people involved in the heist. Now hiding out under an assumed name, and working at a filling station supposedly hiding all the loot from the Hat Company heist, taken away from the other members of the gang. Who sent the killers to assassinate Swede and did Kitty Collins sign his death warrant?

The Killers, details double crosses of all double-crosses, as ‘the killers’ go to the sleepy town of Brentwood to even a score with Swede, who didn’t take Charleston’s advice and stops listening to golden harps. In noir films, there is often a fetishistic quality to an item or action. I think the scarf is a sexual symbol of Kitty for Swede. It bares her scent, it was a token of her sexuality being made of “real silk” as if her skin. the idea of touching something golden. The scarf acts as a surrogate for Kitty’s body, as he strokes it in place of the real thing.

Phantom Lady: Forgotten Cerebral Noir: It’s not how a man looks, it’s how his mind works that makes him a killer.

Phantom Lady (1944)

Directed by the master of suspenseful thrillers and fabulous noirs- Robert Siodmak; (Son of Dracula 1943, The Suspect 1944, Christmas Holiday 1944 The Strange Affair of Uncle Harry 1945, The Killers 1946, The Dark Mirror, The Spiral Staircase 1946, Cry of the City 1948, Criss Cross 1949, The File of Thelma Jordon 1948) is as nightmarish and psychologically aromatic as it is a penetrating crime noir. The distinguishing cinematography by Woody Bredell.

Phantom Lady is a sadly neglected film noir based on a story by Cornell Woolrich and scripted for the screen by Bernard C. Schoenfeld. Stars the quietly enigmatic Ella Raines (Cry ‘Havoc’ 1943, The Suspect 1944, Impact 1949), as Carol “Kansas” Richman, Franchot Tone as Jack Marlow, and Alan Curtis as the leading man Scott Henderson. The film also co-stars Thomas Gomez (Key Largo) as perceptive Detective Burgess, the intelligent and compassionate detective who eventually comes around to believe in Scott Henderson’s innocence. This film noir is directed by Robert Siodmak who derived attention after the release of Phantom Lady which carved out a niche for him in film noir. Adding to the wonderful direction, the film benefits from Woody Bredell’s cinematography (Black Friday 1940, Christmas Holiday 1944, The Ghost of Frankenstein 1942, The Mystery of Marie Roget 1942) He added the elements of Woolrich’s world, from the fraught innocence roaming New York City, a dark blistering urban landscape, threatening shadows, seedy bars, jazz and Kansas’ high heels escaping the pavement.

Phantom Lady utilizes noir’s innocent man theme beautifully. Siodmak’s directing creates an often nightmarish realm, the characters float in and out of. The intersectionality frames the story between crime melodrama and psychological thriller. Siodmak is a master storyteller who earned an Oscar nomination for The Killers in 1946.

Although on the surface you would assume Phantom Lady to be a man-in-peril film, it actually functions as a woman in danger as well because Carol “Kansas” puts herself in harm’s way in order to help her boss, whom she’s in love with. Fay Helm’s mysterious woman has a tragic trajectory herself as a woman who is spiraling into oblivion by a mental decline after losing her beloved fiance.

Scott Henderson (Alan Curtis), a successful young businessman, spends the night with a mysterious woman whose identity is unknown to him. Only later do we learn that her name is Ann Terry (Fay Helm) The two first meet in a bar after Scott has been shunned by his wife for the last time. The phantom lady is obviously disturbed by something causing her emotional pain, she finally agrees to take in a show with Scott who has tickets. The conditions are that they do not exchange names as it’s just a way for both of them to keep themselves occupied at a moment when both are feeling dejected.

The “Phantom Lady” is wearing a sensationally quirky hat which the film revolves around in a sense because Scott returns home to find his apartment crawling with police after his wife has been brutally strangled, with one of Scott’s expensive ties. The anonymous lady who wore this stand-out hat is the only key to providing Scott with an alibi.

Scott proceeds to tell Inspector Burgess (the wonderful Thomas Gomez), that he spent the night with this no-name woman, after fighting with his wife and that there are several people who would have seen them together. The bartender, the cabbie with a very memorable name, and the temperamental lead singer/dancer in the musical review could identify him accompanied by the phantom lady, because of her supposedly original hat– the performer Estela Monteiro (Aurora Miranda) was also wearing the same hat on stage, which is later used as a lead. Aurora shoots daggers at the phantom lady for having worn the same design. You could see the fury on her face as she sings her musical number. Estela Monteiro has a fit, walks off stage and decrees that no one would have the nerve to wear one of her original hats, and throws hers away. Wonderful character actor Doris Lloyd plays the designer Kettisha who is sought after for her one-of-a-kind hat designs.

Inspector Burgess takes Scott around to each of these witnesses but no one recalls having seen him with the woman at all. They all very curiously deny seeing the lady, and it becomes obvious that something is very wrong with the testimony from all these people who were obviously covering something up. Neither the cab driver, the bartender, nor the singer will confirm his story. The outcome looks bleak for Scott.

Inspector Burgess: [Questioning] You’re a pretty neat dresser, Mr. Henderson.

Detective Tom: [Taunting] Yeah. Everything goes together. It’s an art.

Inspector Burgess: Nice tie you’re wearing.

Scott Henderson: [Upset] Tie?

Detective Tom: Pretty taste. Expensive. I wish I could afford it.

Scott Henderson: Hey, what are you trying to do to me? Marcella’s dead, gimme a break! What’s the difference if my tie is OK or not?

Inspector Burgess: It makes a great deal of difference, Mr. Henderson.

Scott Henderson: Why?

Inspector Burgess: Your wife was strangled with one of your ties.

Detective Chewing Gum: Yeah. Knotted so tight it had to be cut loose with a knife.

Because it appears that Scott is guilty of the crime he is sentenced to death and faces the electric chair in 18 days. With no witnesses to back him up.

Even his best friend sculptor Jack Marlow played by gravel-toned sophisticate Franchot Tone who doesn’t come onto the scene until midway through the film, is away on business in Brazil, so there is no one but sweet and devoted secretary Kansas who is left to stand by Scott. Scott resigns himself to his fate and doesn’t even blame the jury for their decision.

Scott Henderson is a civil engineer who was in a loveless marriage with a beautiful associate, his faithful secretary who works for him, which he affectionately calls Kansas. She never doubts his innocence for a moment and devoutly sets out on a mission to try and find this mysterious lady to prove she really does exist, before it’s too late. Inspector Burgess and Kansas both believe Scott’s innocence and help each other to try and prove it. Kansas tracks down those whom she knows have lied about seeing this woman. She haunts the bar where Scott first met this mysterious woman.

Kansas assumes the role of serious cookie as she taunts Mac the bartender who denies having ever seen the woman with the funny hat in his bar with Scott at the time his wife was murdered. The bartender winds up getting killed in a car accident. She also goes undercover as a “hep kitten” to trap the lecherous and super frenetic drummer Cliff played to the sweaty frenzied orgasmic nines by Elisha Cook Jr. The jazz fanatic admits that he has been paid off to “forget” the woman. But when Kansas drops her purse and Cliff sees the police sheet on him that she’s carrying on him, he goes even wackier and pursues her. She evades him and calls Burgess.

Along the way, Inspector Burgess confronts Kansas in her apartment and tells her that although he did his job at the time, he also believes in Scott’s story because a child could make up a better alibi than the story he has stuck to so religiously. So now Kansas and Burgess set about to prove that someone has been tampering with these witnesses.

At this point, Jack Marlow, Scott’s secretly crazed artist friend comes back from Brazil to lend his help in getting to the bottom of the case. Jack was having an affair with Scott’s wife and killed her when she refused to run away with him. The always-present Jack begins to play an important role in helping solve the murder. He meets Kansas at the prison while both are visiting Scott.  He wants to help her find the real murderer. They eventually trace the hat to Ann Terry after they find the milliner who designed the unusual hat. Ann gives them the hat.  Kansas goes back to Jack’s studio to wait for Burgess and winds up discovering her stolen purse, realizing that Jack is in fact the murderer. Jack begins to untie his scarf, another strangulation on his mind, but Burgess arrives just in time and Jack commits suicide by defenestration. Interesting to note that Jack’s obsession with his hands reminds me of Maurice Renard’s novel The Hands of Orlac adapted in 1924 starring Conrad Veidt, again in Mad Love in 1935 starring Peter Lorre, and then again in 1960 starring Mel Ferrer.

What lies ahead is a very gripping story with several taut and fiery moments amidst the looming shadows and dead ends.

Elisha Cook Jr. is too believable yet fantastic as the tweaked sleazy drummer who’s got an appetite for women in the audience, even the phantom lady whom he flirted with.

And Fay Helm plays a very palpable victim of her own sadness as the Phantom Lady who alludes to the police after that one night at the musical revue with Scott.

What adds to the noirish obfuscation of the story is the witnesses who are despicable in their evasiveness, which creates an atmosphere of obstruction that is stirring and at times, maddening. But they will all meet a certain cosmic justice by the film’s end.

Woolrich was a prolific writer whose work came close to being as popular as Raymond Chandler, and he was responsible for many of the screenplays of the 1940s as well as the radio drama Suspense. Ella Raines is absolutely breathtaking to look at. And sadly Alan Curtis having died in the 50s of complications from surgery was not only great at being sympathetic, but he was also strikingly handsome as well.

Carol ‘Kansas’ Richman: [Visiting Scott in prison] Is there anything I can do for you?

Scott Henderson: Yes. You can thank the foreman. I forgot to.

Carol ‘Kansas’ Richman: I don’t know what to say.

Scott Henderson: Skip it, Kansas. I’ll be all right now that I know where I stand. Yes, I’ll be fine. Last night for the first time I didn’t have to count sheep. I slept like a guilty man.

Phantom Lady is a cerebral excursion, which uncovers a lot of psychological layers for us, as it progresses.

Without giving away any key parts of the plot, I’ll say that the film shows us the dark side of humanity.

Without going into the background of the characters, the narrative of Phantom Lady is drawn out in little scenic bursts of disclosure. While the film doesn’t describe to us why these characters are doing what they do with the use of flashback another noir technique, we see who these people are by their actions. The film explores human nature in a slightly gritty naturalistic style.

The cinematography by Elwood Bredell (The Ghost of Frankenstein 1942, The Mystery of Marie Roget 1942, Christmas Holiday 1944, Lady on a Train 1945, The Killers 1946, The Unsuspected 1947, Female Jungle 1956)  is remarkable as Bredell paints a landscape of looming shadows, dark sinister corners and breaks of light that cut through the clouds of mystery and excursions into bad spaces.

A nightmarish journey of the wrongly accused, the tragedy of loss, greed, true madness, and sometimes darkness of the soul. And ultimately the love that bears its fruits by unrelenting devotion and the pursuit of the truth at any cost.

Kansas will need to wash her mouth out with bleach after the predatory Cliff plants a raptorial kiss on her!

Inspector Burgess: The fact remains that none of you could have committed these murders.

Jack Marlow: Why not?

Inspector Burgess: You’re all too normal.

Jack Marlow: Oh, the murderer must be normal enough. Just clever, that’s all.

Inspector Burgess: Yes, all of them are. Diabolically clever.

Jack Marlow: Who?

Inspector Burgess: Paranoiacs.

Jack Marlow: That’s simply your opinion. Psychiatrists might disagree.

Inspector Burgess: Oh, I’ve seen paranoiacs before. They all have incredible egos. Abnormal cunning. A contempt for life.

Jack Marlow: You make it sound unbeatable.


 

Save

Save

Save

Save

Save