Loretta Young plays Wilma Tuttle, a charming yet slightly repressed psychology professor, who after allowing one of her aggressively sleazy students Bill Perry (Douglas Dick) to drive her home, kills him in self-defense after he attempts to rape her. Wilma in a panic tries to cover up her sympathetic crime. Director William Dieterle creates a taut little psychological coil that unwinds as homicide detective Lt. Ted Dorgan (Wendell Corey) tries to solve the murder while tossing out the sharp edged lines. The investigation causes great angst for Wilma with Young’s inner monologues regaling us of her guilty conscience, amidst her budding romance with Warren Ford (Robert Cummins). The film co-stars Sam Jaffe as Dr. Romley.
Wendell Corey as Lt. Ted Dorgan-“You know sometimes I wish there were two of me. We generally do work in pairs. The idea being that one could be mean, the other one nice.
In my next life I’m gonna be a minister. Never have to pick on anybody but the devil.”
This is your EverLovin’ Joey saying sometimes I wish there were two of me, so I could get more done!
Life’s Rough: Three Strong Anti-Heroines of 1950 Film Noir
“You see kid, in this cage, you get tough or you get killed. Better wise up before it’s too late!” – Kitty Stark, Caged (1950)
The 1950 films, Caged!, The Damned Don’t Cry, and The File on Thelma Jordon, contain three women performing female masculinity. A common thread these characters possess is ‘metamorphosis.’ They are forged by male institutions and they must adapt to survive. Each woman is thrust into a noir narrative.
In Caged!, Eleanor Parker leaves innocence outside the prison bars and is transformed into a hardened, jaded criminal in order to survive. Joan Crawford, a poverty-stricken mother in The Damned Don’t Cry rises as a high-powered opulent underworld mistress to prevail and support herself. Barbara Stanwyck is predatory, manipulating a weak man to gain access to her Aunt’s fortune in The File on Thelma Jordon — Stanwyck ultimately becomes a fallen figure of remorse and redemption.
Like their noir male counterparts, they become anti-heroines as past actions come back to haunt them.
Film noir of 1950 desired realism, decadence, and transformation. Femme-fatales thrive using sexuality to claim independence from weak, damaged, sexually-obsessed men, unable to resist dangerous influences. These women master patriarchal organizations, taking control of their bodies and identities to avoid gender enslavement in a male hetero-driven society.
In most noir films men are the central figures–isolated from their surroundings, closed in by circumstances beyond control, but married to fatalistic visions with stoic passivity. By flipping this trope on it’s battered head, these women invoke female masculinity driving their characters. As anti-heroines they adopt masculine armor to navigate masculine institutions. They’re placed in situations that impose a definition of what a woman is and should be. They adopt feminine masculinity to survive.
“Female masculinity is framed as the rejected scraps of dominate masculinity in order that male masculinity may appear to be the real thing… Masculinity in this society inevitably conjures up notions of power and legitimacy and privilege; it often symbolically refers to the power of the state and to uneven distributions of wealth.” — Halberstam, Female Masculinity
You don’t know women until you know them without men!
Directed by John Cromwell, Caged! is set in a women’s prison and plays out like a savage dance with “unremitting pessimism” (Crowther) with the women performing masculinity to gain power. It is a “dames in the hoosegow” film (New York Herald Tribune), indicative of socially conscious 1950s noir. The women are demeaned in prison, and to prevail they appropriate masculine primacy.
Caged! boasts an incredible ensemble. Eleanor Parker’s persuasive performance as Marie Allen, a delicate young woman subjected to cruelty by the sadistic degenerate Matron Evelyn Harper (punctuated to the hilt by imposing 6’ 2” Hope Emerson).
Wonderful character actors include Betty Garde as Kitty Stark, Ellen Corby as Emma Barber, Jan Sterling as Jeta Kovsky (aka Smoochie who loves to kite checks, buys pretty shiny things, and can’t stay out of prison), Olive Deering as June Roberts, Gertrude Michael as Georgia, and Lee Patrick as ‘vice queen’ Elvira Powell.
The film opens with the police van door swinging opening —“Pile out, you tramps. This is the end of the line”— to reveal the ‘new fish’ in the fatalistic incarceration cycle. The central figure is a timid, pregnant and nervous 19 year old Marie who gets the book thrown at her for helping her husband commit armed robbery- “For that forty bucks I heisted I certainly got myself an education.” Her role as an accomplice, sitting in the car waiting for the bum, lands her 15 years in prison. With a doe-eyed shocked gaze, she is thrown into a primal world. The intake nurse’s examination reveals she is ‘expecting company’ — with her dead husband’s child. Marie, number 93859, is sweet candy for the cold-blooded, menacing Matron Harper.
Marie doesn’t fall for Harper’s charms, thus she is subjected to dehumanizing torture by Harper, the bon bon-eating, romance novel-reading dyke who enjoys personal comforts and flaunts luxuries (as a grotesque phony femme) to the women prisoners who don’t have any privileges.
Harper brutally beats Marie causing her to lose her baby, thus her motherhood is taken away.
Removing her femininity, her identity, Harper shaves Marie’s hair. When vice queen Elvira distributes lipsticks at Christmas, Harper cruelly takes them away. Harper, embedded in the masculine system, creates an environment where the weakest women must become predatory cons, shedding their femininity.
Sympathetic warden Ruth Benton (Agnes Moorhead) allows them to keep cosmetics as a connection to the outside world. Believing in rehabilitation, Benton bucks bureaucracy, but her altruism blinds her from the vicious brutality.
The mood at the prison heats up and Kitty kills Matron Harper. Marie is worn down by the inhumanity of prison life and disillusioned by Harper’s corrupting influence over inmates. She changes from a shivering innocent to a smart-mouthed hard-bitten con. Her efforts to go straight are sabotaged by the sadistic Harper. Marie learns the hard way how to earn parole, but she’s already stigmatized and changed by the system.
Jan Sterling, Ellen Corby, Marjorie Crossland, Olive Deering, Betty Garde, and Eleanor Parker in Caged (1950)
Through Marie’s eyes we experience the dehumanization and objectification, from the moment she is processed, to her release. Influenced by other miscreants and malcontents Marie evolves into a criminal by the system constructed to rehabilitate. She sheds her victimhood and takes on a powerful masculine approach, but not with ruthlessness of a femme fatale. Marie becomes a criminal. She’s independent, as only a man could be in 1950.
When released at the gates, she gets into a fancy sedan with shady characters. She’s become a prostitute for her butch mentor Elvira who has given up on men completely. “If you stay in here too long, you don’t think about guys at all. You just get out of the habit.” –Elvira
Warden Benton keeps Marie’s file open as she watches out the window “Keep it active, She’ll be back” summarizing the Sisyphean absurdity of prison, hardening and transforming women without any hope.
“Call me CHEAP?” Nothing’s Cheap When You Pay the Price She’s Paying!
Directed by Vincent Sherman, with a screenplay by Harold Medford and Jerome Weidman. Cinematography by Ted D. McCord (The Treasure of the Sierra Madres 1948, Johnny Belinda 1948, I Died a Thousand Times 1955, The Sound of Music 1965) (wardrobe Sheila O’Brien who worked on all of Joan’s pictures, Sudden Fear 1952, Flamingo Road 1945, Female on the Beach 1955)
Stars Joan Crawford as Ethel Whitehead, David Brian as George Castleman, Steve Cochran as Nick Prenta, Kent Smith as Martin Blackford, Hugh Sanders as Grady, Selena Royle as Patricia Longworth, Jacqueline deWitt as Sandra, Morris Ankrum as Jim Whitehead, Edith Evanson as Mrs. Castleman, Richard Egan as Roy.
Joan Crawford is Ethel Whitehead/Lorna Hansen Forbes, a woman from harrowing poverty, who leaves her husband, Roy, after their son Tommy is tragically killed. She starts over in New York City first as a cigar store clerk, and model for a cheap fashion wholesaler. She eventually climbs to the top of the high society/criminal underworld wearing a facade of respectability. While usually men abandon families, Ethel is the one to leave. Crawford perfectly performs the role of power and masculinity.
The Damned Don’t Cry portrays a bleak, dark, corrupt world. The story is told in flashbacks. Directed by Vincent Sherman (All Through the Night 1942, Mr. Skeffington 1944, Nora Prentiss 1947, Affair in Trinidad 1952, The Garment Jungle 1957) The film co-stars Steve Cochran as Nick Prenta, David Brian as George Castleman, and Kent Smith as Martin Blackford, and Jacqueline de Wit as Sandra.
Ethel begins as unsophisticated modest woman, married to an oil field worker, dirt poor, plain looking, and beaten down. An oppressed housewife and mother, judged harshly by her misogynist father, and husband Roy who says “You’ll never do enough for her.” She becomes an elegant ambitious society climber who dismisses suggestions her life is corrupt and immoral. Crawford manifests her signature cunning in the ferocious pragmatic transformation.
Ethel lives with her parents and beloved son Tommy, who wants a bicycle but Roy says it’s too much money. Wanting her son to be happy, she makes a down payment on the bike. Furious, Roy demands it be returned. On his way to the store Tommy rides down the road, and is hit by a truck, and killed. His death ends their marriage, and Ethel leaves.
Roy says he’s “done the best he could.” Ethel answers “Well it ain’t good enough.”
Unlike male protagonists with more choices, in this narrative Ethel can only be a model or prostitute. She performs female masculinity by adopting independence. Ethel creates power to choose her own fate, possessing what Hirsch calls ‘a lonely man’ trope.
Another model, Sandra, introduces Ethel to a new world, convincing her to go out with wealthy businessmen. She becomes the glamorous mistress of gangster George Castleman, showered with riches— fur coats, diamonds, and haute couture. George helps Ethel’s metamorphosis into a wealthy socialite, Lorna Hansen Forbes, and she enters the inner circle of gangsters.
Ethel now known as Lorna, exploits her beauty, relying on rich men to pay for the privilege of her company. She learns she must selfishly grab for herself. Negotiating her body for wealth is a means to an end. Lorna’s selfishness emerges.
Lorna surpasses Sandra’s petty schemes to aim for the brass ring of ultimate luxury.
She befriends mild mannered Martin Blackford, an account who falls for her. Encouraging him to become Castleman’s bookkeeper, she uses him to get ahead. Martin brings a dark brooding presence into Lorna’s life which is visually actualized in a scene where Lorna is sunning herself at the pool, Blackford casts a symbolic dark cloud over her light-hearted sexually care free embodiment. The closeup shows Ethel’s face as the sun’s rays emblematically reflect in her sunglasses. Taking them off, she turns off the sunlight, and is confronted with Blackford’s bitterness.
The jaded Lorna tells the neutered Martin “You’re a nice guy, but the world isn’t for nice guys. You gotta kick and punch and belt your way up cuz nobody’s going to give you a life. You’ve got to do it yourself. Cuz nobody cares about us except ourselves… It’s that stuff you take to the bank, that filthy buck that everybody sneers at but slugs to get.” Martin is afraid he’ll lose self-respect. “Don’t tell me about self-respect!”Ethel snaps. “That’s what you tell yourself when you got nothing else!”
Her glamorous life ultimately comes at a price. Castleman wants to use Lorna to spy on Nick Prenta, as he suspects Prenta of killing one of his men Grady (Hugh Sanders) and making it look like a car accident planting a bottle of alcohol at the scene. Castleman fears Nick Prenta is organizing the men against him. He sends Lorna to insinuate herself with Nick Prenta in order to find out what he is up to and report back to him. Setting him up for a hit. Instead Lorna starts falling in love with the handsome rogue gangster who has a reputation for his womanizing. Lorna winds up defying Castleman by not staying in touch and actually falling for the guy instead.
Martin then shows up telling Lorna, (though he still refers to her as Ethel out of spite) that George Castleman has sent him to check up on her, he hasn’t heard from her in a while. The moment we see Martin’s scruples have eroded is during the pool scene which illustrates Martin’s own transformation from a nice decent guy to one of George’s thugs, with his smug tone and his dark sun glasses. He warns Lorna not to hold out on George. He boasts about how powerful he’s become and that people listen to him. He offers her some ‘sound advice’ “Has he promised you the world too!?” referring to Nick Prenta and sneaking in a good dig at how she used him at one time. “He means nothing to me, except he’s a human being.” “Don’t tell me that disturbs you.” Martin has become so jaded and embittered.
Later Nick Prenta asks Lorna to marry him, she is moved to tears as she embraces him. Lorna asks, “Do I really mean that much to you?” Nick tells her, “Everything, why is that enough?” Lorna –“Then get out of this, Nick, I’m scared about what you’re doing, what you’re planning, what it will lead to, if you don’t give this up.” “If that’s what it takes to get you, you’ve got a deal. I can get out of this inside a year” “No, it’ll be too late then” “But I can’t get out now Lorna, this is a big jump I’ve got to see it through.”
Lorna begs him to give it all up, but he kisses and sends her back to her hotel room where she finds Martin and Castleman waiting for her. Castelman is sitting in the dark, giving off a sense of menace from the shadows. “Hello Lorna” he puffs on his cigar then rises from the couch. “Aren’t you glad to see me?” Suddenly he begins grilling her about Nick Prenta’s meeting, but she tells him that she doesn’t know what he’s talking about. Castleman tightens his fist and smacks Lorna across the face, his paranoia about the meeting and his gang aided by Prenta out to get him is driving him into a frenzy.
In his fury, even Martin gets worried about Castleman’s sudden violent outburst. Then he hits Martin and knocks him down, and begins beating Lorna brutally as she tries to convince him that she’s not in love with Nick Prenta, it’s just that she doesn’t want anyone to get hurt. She tells Castleman that she’s still in love with him. But he growls at her, “You’re lying, you’re so used to lying and cheating and double crossing that you almost make it seem good.”
Castleman throws Lorna into the glass window that shatters. Martin tries to defend her, and calm Castleman down, telling him it’s enough. Castleman says “She’s no good, not even to you” yet Martin thinks fast on his feet, “But she is to you, she can still help, she can still be useful.” Castleman tells Martin looking down at the battered Lorna, “There’s only one thing to do with dirt, sweep it up.” Martin tells him, “Listen to me, you want Nick don’t you? She can get him” Castleman responds, “You got a brain Marty, best kind, the kind you don’t got go out and buy.” As Castleman says this he looks disdainfully at poor Lorna lying in a pile of broken glass all bruised and sobbing.
Martin convinces Lorna to call Nick Prenta and get him over to the hotel room. Prenta shows up already knowing her true identity, he must have heard it from Eddie Hart. She is lost in shadow, beaten down and crying, Prenta sarcastically tells Lorna, “I want to apologize for busting in on you like this Mrs. Forbes, but a friend of yours, Eddie Hart said it would be okay, he said Castleman might not like it, but Ethel Whitehead would go for anything.” But when he sees how badly beaten Lorna is he comes to her side, until he is confronted by Castleman, who emerges out of the shadows and tells him that while Prenta likes to be in the headlines he’s gonna move him over to the obituary column. Prenta turns to Lorna, “You dirty tramp!”
A fight breaks out and Castleman shoots and kills Prenta. In the turmoil, Lorna takes off in her car. Castleman tells Martin that they’ll have to dispose of Prenta first and then “I want her.”
Once Lorna fails to stop Castleman she is transformed once again through resignation and redemption having gone full circle through her own journey of hell.
Martin tries to protect Lorna from Castleman, by telling the police that it was George Castleman who killed Nick Prenta. In the meantime, Castleman wants her dead. And he knows the truth about where Lorna comes from, where she was probably heading and he’s on his way there.
Lorna now home in Bakersfield, arrives at the broken shack with her fur coat and her Ray Foreman coif. Her parents first reject her. The bitter Martin has shed his anger by now, hopelessly in love with Lorna, he shows up to try and protect her from the vicious Castleman. In the films ironic rhythm of fate, she symbolically comes full circle, winding up on the same road where her son died.
Martin tells her that she needs to move on and keep running before Castleman catches up with her, but she’s worried that he’s unfinished business now too, since he’s turned on Castleman. He reminds her “We do what we do– what was it you once said?, because we can’t help ourselves.”
Castleman shows up at Lorna’s home. She quietly walks out of the house, so as not to endanger her mother and father and Martin who are talking in the kitchen.
In the brutal climax Lorna calmly, stoically and courageously confronts the vicious George Castleman.
He asks for Martin but Lorna lies and covers up for him, saying she hasn’t seen him. She boldly with new resolve walks right up to George Castleman. He asks if she’s been waiting for him. “Strangely enough George there was a time when I did wait for you. And no one else. but that’s over now.”
In a struggle to take the gun away from Castleman, Lorna gets shot and wounded, lying in the dirt wearing her fur coat, –hows that for symbolism! Then Martin comes out of the house and shoots Castleman down and his getaway car leaves without him, while he’s lying there dead.
The police and the press show up pushing for all the answers to Lorna (Ethel’s) involvement.
Two cops outside the house start talking about the case. Cop one-“Pretty tough living in a place like this” Cop two–”Tougher to get out” Cop one– “Wouldn’t you?” Cop two shakes his head “Yes!”
Having traveled through her journey performing the code of female masculinity she has reclaimed herself, found her empowerment and emerged as her own woman again. We are left wondering what the future holds for Lorna/Ethel, now not only emancipated, if not redeemed, as the anti-heroine of The Damned Don’t Cry!
Thelma Jordon: “I’m no good for any man for any longer than a kiss!”
Directed by Robert Siodmak, written by Marty Holland with a screenplay by Ketti Frings. Cinematography by George Barnes (Rebecca 1940, Jane Eyre 1943, Spellbound 1945, Mourning Becomes Electra 1947, Force of Evil 1948, War of the Worlds 1953) Costumes designed by Edith head
Starring Barbara Stanwyck as Thelma Jordon, Wendell Corey as Cleve Marshall, Paul Kelly as Miles Scott, Joan Tetzel as Pamela Blackwell Marshall, Stanley Ridges as Kingsly Willes.
Barbara Stanwyck plays Thelma Jordon who uses a gullible attorney to cover up her crimes of murder and larceny, secretly in cahoots with her sleazy husband. As in Double Indemnity,Stanwyck masterfully plays a ‘vice-ridden murderess.’ She performs female masculinity, playing the aggressor— pursing lovers, greed, and power.
Directed by Robert Siodmak, the film opens with Thelma in a small town district attorney’s office reporting burglary attempts at the mansion she shares with her aunt. She begins an affair with DA Cleve Marshall (Wendell Corey), who is in a loveless marriage. Thelma is also married to the sinister Tony Laredo. An icy femme fatale who desires danger, she’s drawn to Tony’s equally nefarious nature and devours Cleve who is weakened by her magnetism. Thelma starts out the femme fatale, her fatal flaw is falling in love with Cleve, feeling remorse, and sacrificing herself to become redeemed in the end.
Thelma’s aunt is murdered in an apparent robbery and her emerald necklace is missing. Fearing Tony will be implicated, she cleans up the evidence, and calls Cleve to help. Thelma is cold and calculating, casting Cleve as her lover and accomplice known only as Mr. X. Cleve tells her to shut the lights and pretend she was asleep when the police arrive. Cleve leaves, making sure to seen but unrecognized by the butler who discovers Aunt Vera’s body.
When Tony’s alibi checks out, Thelma is arrested for murder. While the police try unsuccessfully to prove her guilt, she and Tony plan to leave town. By now Cleve has uncovered Thelma’s checkered past.
He accuses her of duplicity and Thelma admits he was part of the plot. When Cleve confronts her, Tony’s dark presence looms. The camera shows both men juxtaposed in the room, Tony’s dark presence looms— he is too irresistible to let go.. Cleve is too normal and unselfish to be stimulating for her deviant desires. With both men framed in contrast, Thelma realizes she belongs with the dark and dangerous Tony. Tony beats Cleve to a pulp, leaving with Thelma.
But driving down a winding mountain road, Thelma’s pang of conscience gets the better of her and she causes the car to plunge off the cliff. It’s a darkly romantic gesture, suicide by flaming car crash is her attempt at redemption. She hopes with her death, Cleve can repair the ruination of his life. But this is noir, and he cannot wake from the nightmare.
Tony dies but Thelma lives long enough to confess her crimes. She does not give away Cleve as Mr. X, but Miles (Paul Kelly) is suspicious. His career in shambles, Cleve walks off into the uncertain shadows of noir. Thelma dies, redeemed. It’s noir universal justice, Thelma cannot get away with her Aunt’s murder and continue her affair. She must be brought down by fate’s hand.
Miles: ”She’s confessed everything except who her Mr. X is.”
Cleve looks at her “Why don’t you tell him?”
Thelma: “I love him, that’s why. I couldn’t go on with him Cleve. You did that for me. I’m glad I told. All my life struggling, the good and the bad.”
Cleve: “Save your strength darling.”
Thelma: ”Willis said I was two people, he was right. You don’t supposed they could just let half of me die?”
This is your EverLovin’ Joey saying, it’s great to spend time in the darkness of noir’s shadows & under the influence of fate’s pointed finger, but you gotta come out into the light til the next time around!
“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!
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.
Directed by Robert Siodmak (The Spiral Staircase 1945, The Killers 1946, Criss Cross 1949) this is a slick film-noir crime thriller with the ballsy Stanwyck as femme fatale Thelma Jordon in love with jewel thief Tony Laredo (Richard Rober) who gets her to steal from her rich aunt, and winds up shooting her, then making it look like a robbery. Wendell Corey plays gullible Cleve Marshall the assistant district attorney who manages to get Thelma an acquittal at trial. They start a passionate affair but Thelma is no good, and Tony reappears back in the picture… these things never end well…
“I’m no good for any man for any longer than a kiss!”
“Maybe I am just a dame and didn’t know it!”
Maybe I’m just a dame and thought I was a MonsterGirl…
Susan Gordon plays Susan Shelley a demented child not unlike Jan Brady, just released from a convent/ institution run by nuns…where she’s been placed after suffering from the shock of seeing her mother, (the flamboyant Zsa Zsa Gabor) Jessica Flagmore Shelley be consumed by flames in her opulent bedroom.
Susan still traumatized by the haunting memories of her mother’s horrific death and surrounded by some of the creepiest toys in all tarnation, comes home to the palatial hearth with father Don Amecheas Edward Shelley and his new lusty, conniving second wife Francene played by sexy Martha Hyer. Edward is so blinded by his desire for Francene that he’d sell out the whole estate contents and all to give his conspiring hussy all the money, vacations and furs she wants.
Francene starts sneaking around again with brother-in-law Anthony Flagmore played Maxwell Reed. Flagmore’s face has been charred from that fateful night when mommy went up in flames. His odd presence and faithfulness to his pet hawk, add an air of the macabre to the already heady script.
The brazen couple plot to drive little Susan over the edge, while trying to get her to reveal the whereabouts of her mother’s missing diamond necklace.
This Grande Dame horror film is a little gem from the vintage 60s, by director Bert I Gordon, and also boasts a great supporting cast with, Wendell Corey, Signe Hasso and Anna Lee. It’s creepy, it’s campy and a wonderfully colorful psychosomatic romp. Cinematography by Ellsworth Fredericks, who was director of photography on Invasion of The Body Snatchers 1956 and the sublime Mister Buddwing 1966 which I’ll be writing about soon) The soundtrack includes The Hearse Song sung by Gordon…‘The worms crawl in, the worms crawl out.’
Hedy Lamarr gets passed over by Bert I. Gordon.
“Through a Child’s Eyes You Will See Torment … Murder … And Flaming Passion!”
The Killer is Loose (1956) directed by Budd Boetticher revolves around a bank robbery in downtown L.A. While the police have set up a wiretapping operation it is revealed that the meek bank teller Leon Poole is the inside man. Leon had faked going after the robbers and getting struck by one of them in the process. This impresses his old army Sargent who was in the bank at the time. We learn that the nickname Foggy was given to Leon by his superior officer and the entire company apparently to poke fun at Leon” Foggy” Poole for being a simple minded coward. Starring Joseph Cotten as Detective Sam Wagner, Rhonda Fleming as his wife Lila, and Wendell Corey as Leon “Foggy”Poole.
During the apprehension of Leon, detective Sam Wagner accidentally kills Poole’s young wife who wasn’t supposed to be home, and at Leon’s trial he swears to get back at Detective Wagner, while staring at Detective Wagner’s wife who is present in the courtroom.
This is the inception of the woman in peril theme once Leon sets his gaze on Sam’s wife Lila the object of his hatred fixed on her from here on in.
In a very chilling manner, Leon asks why Sam’s wife Lila should still be alive. Leon’s lack of affect shows us a more deranged man than someone who might be prone to violent outburst, and it is this subtlety of his underlying psychosis that is so frightening.
About three years later, Poole (until then a model prisoner) abruptly takes his chance to kill a guard and escape. It’s clear during the ensuing manhunt that Poole is obsessed in pursuit of a single end; but not quite the end everyone supposes.
After serving 3 years in prison, Leon gets assigned to an “honor” work farm, where because of his mild manner and seemingly model behavior is trusted to go on a ride with one of the prison guards to unload a truck. Leon seizes the opportunity to escape by brutally killing the driver, and then proceeds on his odyssey of revenge. Like a shark that never stops moving, Leon is driven only by his desire to exact the same outcome for Detective Wagner, to target Lila as retribution for the killing of his beloved wife. Leon becomes a killing machine. Going from one opportunistic murder to the next until he can reach Sam’s wife. So begins the full scale manhunt for the killer on the loose.
Budd Boetticher gives us a very bleak yet dramatic landscape of America’s man vs society, cop vs criminal, good vs evil. Like some of the wild west pictures that Boetticher is known for, except here it’s played out in an urban city setting. Leon is a man set on revenge with no other driving desire, and void of a consciousness that we can see.
Killer is uncompromisingly realistic and often brutal in it’s portrayal of the ordinary machinations of a psychotic murderer, especially for it’s time. I’m not a huge Rhonda Fleming fan, but I do love Joseph Cotten in anything even his later cult and horror period like Baron Blood, Airport ’77 and Soylent Green.
The really memorable star of this gutsy Mise en scene police vs criminal noir, is the killer himself Leon “Foggy” Poole played brilliantly by Wendell Corey who defined his sober character with simplicity, and an almost naivete childlike quality. This is what makes the film so compelling. That Leon doesn’t understand why he shouldn’t kill the people who are getting in the way of his fixing Detective Sam Wagner for having inadvertently killing Leon’s wife during a raid on his apartment.
Wendell Corey’s Leon never comes across as unhinged in an overt way, it’s the way he holds back his emotions that makes his killer enigmatic and makes your skin crawl.
There are moments of exasperation in The Killer Is Loose for me. The police often miss the mark when trying to effectively do their job, and I find Rhonda Fleming’s character as Sam’s wife Lila annoying most of the time.I was more sympathetic for Mary, the wife of Sam’s partner’s Michael Pate (Curse Of the Undead)Detective Chris Gillespie’s played by great character actress Virginia Christine.
Still, The Killer Is Loose is a compelling watch, because of it’s existential informality in some of the more brutal moments which are powerful. The tone of Killer overrode the failings of this film for me and so I was able to separate myself from the few things that irked me like Lila’s stubborn harping and the police’s ineffectual fumblings.
There are some other great veteran actors in this film like the always jovial Alan Hale Jr and John Larch who plays Otto Flanders, Foggy’s superior officer in the army who gave him that nickname Foggy as an insult.