A Trailer a Day Keeps the Boogeyman Away! Monstrous Dark Blobs & A Stone Encrusted Soul!!

Caltiki, the Immortal 1959 & Curse of the Faceless Man 1958

CALTIKI, THE IMMORTAL MONSTER 1959

Italian director Ricardo Freda’s atmospheric horror/sci-fi film reminiscent of Nigel Kneale’s The Quatermass Xperiment 1955 and directed by Val Guest. Caltiki puts forth the mythology that a once in every seventy millennia comet streaks through the sky to wreak it’s terrifying radiation on an ancient carnivorous muddy blob that devours the flesh off the bones of it’s victims in quite revolting style. When researchers, a team of archaeologists studying ancient Mayan ruins, bring a slimy chunk of the blob back to the lab for further study subjecting it to more radiation, it grows to an immense size and crawls and sweeps across the country side to swallow up everything in its path. A particularly shocking scene for 1950’s, is when the unlikable Max (Gerald Haerter in a role that would have been perfect for Martin Kosleck) runs back to steal gold has his arm sucked clean by Caltiki leaving the remains of a gruesome skeletal arm.

Curse of the Faceless Man 1958

Director Edward L. Cahn, perhaps one of my favorite B-Movie directors of the 1950s, brings us an uncrusted boogeyman from Pompeii. Double billed with It! The Terror from Beyond Space 1958, Curse of the Faceless Man.

Quintillus Aurelius a slave in Ancient Rome,  was destroyed along with the city of Pompei when Mount Vesuvius erupted. After the stone man is recovered by archaeologists, he goes on a rampage smashing people that stand in his way of being reunited with his reincarnated love, actress Elaine Edwards.

This is your EverLovin’ Joey hoping that your October is filled with more treats than tricks!

 

BRIDES OF HORROR – Scream Queens of the 1960s! 🎃 Part 1

This special The Last Drive in Halloween Feature will conclude with Part 4 and it’s primary focus exclusively on the great Barbara Steele!

‘through the complex changes in society surrounding traditional female roles using the ambivalence of the horror genre’ – Claudia Bunce

The 1960s were plagued by controversy and convulsed with violence. Horror cinema with the exception of Hammer Studio and European filmmakers’ colorful pageantry of Gothic tales, and the colorful dreamlike poetry of Mario Bava, mainly transitioned from classical themes. In the 1950s, B-horror movie narratives were concerned with outside hostile forces, alien invasions, and fear of nuclear war, but the new decade began to explore more interior horror that originated in the home and within ourselves. And many of these movies stand out as women-centric protagonists…

“Widely interpreted as a pivotal moment in the horror genre. Suggestive that monstrosity must be defined as inherent to the bourgeois family structure rather than an arcane social aberration: the crimes of Norman Bates can be read as the consequence of the sexually active mother, not unlike Marian Crane. The film is profoundly subversive.” – source unknown

After Riccardo Freda abandoned Black Sunday, the project went to cinematographer Mario Bava and became his directorial debut. The film was the start of the director’s momentous contribution to the genre with his masterful grasp of mise en scené composition, allegorical visual symbolism imagery, and the bold use of expressionist color, vivid tones and spectrum of light. Bava directed Kill, Baby Kill! 1966 featuring a ghostly little blonde girl (actually a boy actor) with a white ball that is the creepy harbinger of a series of violent deaths.

Mario Bava unleashed on us his very dark-hearted black & white Black Sunday in 1960 with jolting scenes of death and a new horror goddess, the provocative, wide-eyed- Barbara Steele. During the decade of the 60s, Steele’s ascendance within the genre was part of a broader trend in horror cinema that echoed the real world. Her strong presence and instinct to captivate our gaze, stood head to head with male horror stars Christopher Lee and Peter Cushing during that period of horror cinema. Barbara Steele inhabited the haunted screen with such a formidable primacy, there’s no disputing she is the ultimate scream queen.

The Italian movie industry of the 1960s saw a wave of Italian gothic chillers. Bava’s Blood and Black Lace 1964 is best remembered as the first ‘Giallo’ a particularly savage trademark of murder mysteries.

Riccardo Freda directed The Horrible Dr. Hichcock 1962 and The Ghost 1963, Margheriti’s beautifully orchestrated, eerily atmospheric ghost story Castle of Blood and Ciano’s Nightmare Castle 1965. All starring Barbara Steele.

Roger Corman established himself as a successful director. Of course, maverick filmmaker Corman showered us with some of the best campy low budget sci-fi / horror films of the 1950s, and in the 60s we were reintroduced to the splendid Poe adaptations in a series of vivid films of glorious terror and dread, with Daniel Haller’s gorgeous hallucinogenic art direction. These films are a series of Gothic masterpieces, – House of Usher 1960, Pit and the Pendulum 1961 and Masque of the Red Death 1964, featuring Hazel Court, another icon of 60s horror, who would command the screen with her fiery sensuality, flexing her bloodlust to offer herself up as Satan’s bride in Red Death.

Corman established himself as a successful director with his landscapes as Rodrick Usher says are a ‘feverish and deranged mind’ with his colorful more substantial yet still low-budget homages to Poe’s series of horror tales. With screenplays by Richard Matheson and cinematography by Floyd Crosby. Reaching its artistic peak with Masque of the Red Death. Many of the women in his Poe series feature a more incendiary female character. The horror genre especially from the 60s forward would prove to have more provocative roles for women since the femme fatale reigned during the time of film noir.

Instead of the restrained earlier decades, the 60s held up a mirror to the decade’s social turbulence and reflected back to us, with subversive storytelling, its edgy gore, and taboo-breaking narratives that fed a whole new audience who were hungry for more realistic and challenging scenarios. A new vanguard of filmmakers shattered traditional boundaries that restrained on-screen violence and sexuality.

Women’s roles in classical horror films of the 1930s & 40s (to my memory for now), with the exception of Elsa Lanchester as the Bride, and Gloria Holden as Countess Marya Zaleska in Dracula’s Daughter, initiated most of the leading ladies and supporting actresses, as easily fainting from fright, who screamed with hollow innocence, projecting reductive nuances of helplessness.

Still, there were established directors such as Alfred Hitchcock who caught wind of the changes, inspired by Clouzot’s le Diabolique 1955 and impressed by William Castle’s popular run of low-budget horror formula (albeit with its use of gimmickry).

Psycho 1960 would be set in safe and secure American suburbia instead of the imposing castles of Europe. The clean-cut serial killer would eclipse the caped swarthy vampire as the screen’s new boogeyman. Yet Marion’s ascendancy is as much a major element of the narrative as Norman Bates’ psychopathy!

Hitchcock offered us the bold cautionary, The Birds, a film Fellini referred to as “an apocalyptic poem” featuring a beautiful woman perceived as a she-devil that ushered in the natural world’s revolt.

FROM BARBARA CREED THE MONSTROUS FEMININE:

“Melanie Daniels in The Birds is a single woman in her thirties drifting – who must go through a trial by fire which she suffers, is humiliated and lectured to lower her defenses. She is an outsider who is being shown how social behavior becomes physically agonizing.”

The stark black & white Psycho 1960 based on a real-life serial killer, Ed Gein, pushed the boundaries of the Production Code with its shocking scenes of murder and inflected frames of Janet Leigh’s bra and slip. Leigh’s 30-minute on-screen persona of the immoral Marion Crane was a diverging representation of the traditional leading lady.

The decade also signaled a multitude of black & white psychological thrillers. Hammer split off some of its focus on the gory period pieces- translations of Frankenstein, Dracula, and Mummy, and jumped on the Psycho bandwagon with films like Scream of Fear 1961, Maniac 1963, Nightmare 1964, Hysteria 1965, Die! Die! My Darling! 1965 starring Tallulah Bankhead as the menacing Mrs. Trafoil, not a Medieval crone but a modern-day unleashed psychopath. And, The Nanny 1965 with Bette Davis, coming off of her pair of shockers by director Robert Aldrich, plays a sinister governess terrorizing young William Dix.

After Baby Jane, the industry was rife with menacing Hollywood starlets. I’ll be writing about the shattering of the myth of Hag Cinema, down the road. Robert Aldrich set in motion a trend of psychological horror films after he paired Bette Davis and Joan Crawford together in what is considered campy, outrageous at times, sickening – What Ever Happened to Baby Jane? 1962. It was a watershed moment for the genre.

Crawford and Davis in particular in Aldrich’s films made the bold and courageous decision to act under harsh white lights, in grotesque makeup, and willing to immerse themselves into a character -eccentric, cringingly childish, and utterly sadistic.

After Baby Jane, Aldrich followed up with Davis, de Havilland, and Agnes Moorehead in Hush… Hush, Sweet Charlotte 1964. Crawford worked with William Castle on Strait-Jacket 1964, and Geraldine Page played a greedy murderess in What Ever Happened to Aunt Alice? Co-starring Ruth Gordon. Shelley Winters appeared as the maniacal villainess in the fable-like Who Slew Auntie Roo? 1969 and Winters, Debbie Reynolds, and Moorehead in 1971 topped it off with Harrington’s What’s the Matter with Helen? A personal favorite of mine.

The second wave of the feminist movement and its emergence and impact began with Betty Friedan’s The Feminine Mystique, giving 50s suburban housewives a different vision of domestic enslavement and began to disassemble the myth of that decade’s family values. The quaint and complacent sentiment of post-WW2 comfortability became subverted by empowered women who broke free and found new independence reigniting the Monstrous Feminine giving permission to women as represented more freely in film, with more prominent parts, especially fostered in… the horror genre.

The 60s subverted the expectations surrounding the traditional housewife roles. Witches could be well-bred housewives like Janet Blair in Burn Witch Burn 1962 or a malevolent ingénue, Sharon Tate in Eye of the Devil 1966.

“The housewife witches of Burn, Witch, Burn and Season of the Witch use witchcraft to escape the confines of the domestic sphere and subvert their husbands’ patriarchal power. Then there is the cult leader witch of Eye of the Devil who uses her femininity to intimidate traditional societal gender roles” – Claudia Bunce

Significant films like Robert Wises’ The Haunting 1963, which were suggestive of lesbianism and repressed sexuality, stars two very significant central female characters, Julie Harris and Claire Bloom who give intensely complex and reflexive performances. Bloom as the stylish and extraordinarily self-composed Theo is a truly independent woman who lives life on her own terms. There isn’t anyone who wouldn’t shiver while at the mercy of the malevolent forces of Hill House. Director Georges Franju’s Eyes Without a Face (The French title Les Yeux sans Visage) 1960 has perhaps one of the most graphic scenes of horror, a gruesome fairytale with its medical experimentation with facial transplantation and a lead actress, Edith Scob with her macabre blank mask who floats around the halls like a lost princess swallowed up inside a night terror. The film also stars a stoic Alida Valli, a strong ally to the twisted plastic surgeon in search of a new face for his daughter.

Jack Clayton’s adaptation of Henry James’ The Turn of the Screw, became a screenplay by William Archibald, The Innocents 1961’ lead actress Deborah Kerr lies wide open with her distillation of a woman tortured by her sexual paranoia. Dressed in classical clothes, unlike Deneuve’s role in Repulsion, where her character Carol’s neurosis is flayed and hung out naked on display.

And most significantly, the female-centric role of Mia Farrow as the allegorical heroine Rosemary Woodhouse, hunted down by a coven of upper west side devil worshipers in Roman Polanski’s Rosemary’s Baby 1968. Farrow’s performance is a striking denunciation of control over women’s bodies, a slow burn of paranoia, and a strong instinct for survival.

“but when he (Guy Woodhouse) took control of her reproductive functions, he asserted his dominance over her in the darkest way possible.

Assertion of dominance reinforced his masculinity and the traditional role that men had in relationships. Guy’s taking control assuages the fear of women gaining too much independence.” – From Jenna Labbie damsels in Distress Analyzing gender in horror movies of the 1960s and 70s

Polanski’s earlier released Repulsion 1965 strayed from Hitchcock’s black humor drizzled about in Psycho. Repulsion rather has a sense of nightmarish realism and a protagonist, Catherine Deneuve who goes down a rabbit hole of repressive seizures.

Repulsion is an extremely disturbing contemplation on the destructive forces of loneliness, isolation, and paranoia seen through the lens of a sexually repressed young woman, Carol who suffers a homicidal breakdown while her sister and married lover leave her alone for a long weekend. An exit from the cheeky dark humor of Hitchcock’s Psycho, Repulsion brushes the screen with strokes of Carol’s existential misery.

Michael Powell’s groundbreaking shocker Peeping Tom is a hauntingly twisted mood piece about serial killer Karl Bohm who films his victims in the last moments of their death to capture their fear. It features two very strong female leads, Anna Massey and Maxine Audley.

Mexican fright flicks abound with atmospheric gems like The Curse of the Crying Woman 1963, The Brainiac 1961, and The Witch’s Mirror 1962, featuring strong female-centric characters played by Rosita Arenas and Rita Macedo. And in Jack Hill’s oddball black comedy Spider Baby 1967 benefitted from the quirky presence of both Beverly Washburn and Jill Banner as two bizarre, homicidal sisters.

Luana Anders features significantly in the genre, highlighted in Coppola’s Dementia 13 as the independent yet ruthless Louise Halloran and as prostitute Sylvia in Robert Altman’s psycho-sexual thriller That Cold Day in the Park 1969. The film stars one of my favorite underrated actors, Sandy Dennis who gives a stunning performance as the disturbed Francis Austen, who holds Michael Burns hostage.

George Romero broke ground with the brutal realism of Night of the Living Dead 1968 which has not so indirect social relevance. 60s horror films were breaking away from Hollywood and being forged by gutsy independent filmmakers with smaller budgets, and an imaginative longing to experiment with diversity, artistic style, and a divergent way to visualize and process gender roles outside traditional cultural norms.

Barbara Shelley

The Queen of Hammer

Ryan Gilbey, in her obituary in The Guardian, praises Shelley’s acting in the Hammer films, considering that she had “a grounded, rational quality that instantly conferred gravitas on whatever lunatic occurrences were unfolding around her.”

The world lost Barbara Shelley in January 2021 at the age of 88. With hair like paprika, Barbara Shelley was born Barbara Kowin. A glamorous gothic leading lady was considered the ‘Queen of Hammer’ during the studio’s golden age of Gothic horror. A classical beauty, with an air of elegance and self-assuredness, she has co-starred with other Hammer royalty Christoper Lee and Peter Cushing. Shelley was an actress with such integrity and beauty that she transcended the horror genre.

The London-based production company was founded in 1934 by William Hinds and James Carrera who made a string of hit Gothic horror films from the mid-1950s until the 1970s. Inspired by classic horror characters like Baron Victor Frankenstein, Count Dracula, and the Mummy and appeared in 104 films and television series until 2000. She was a member of the Royal Shakespeare Company between 1975 and 1977.

From Wiki-
{Hammer reintroduced to audiences by filming them in vivid colour for the first time. Hammer also produced science fiction, thrillers, film noir and comedies, as well as, in later years, television series. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success.}

“Hammer was like a family, a very talented family… with a wonderful atmosphere on the set and a wonderful sense of humour”

“When I first started doing Hammer, all the so-called classic actors looked down on the horror film. All the other things I did, nobody remembers those. But for the horror films, I’m very grateful to them because they built me a fan base, and I’m very touched that people will come and ask for my autograph. If you went to see a [Hammer] film in the cinema, the gasps were interspersed with giggles because people were giggling at themselves for being frightened, they were frightening themselves, and this is what made Hammer very special.”

With her success as a teenage model, she made her minor film debut in Hammer’s motion picture Mantrap in 1952 directed by Terence Fisher and starring Paul Henreid and Lois Maxwell.

Shelley took her screen name from Italian actor Walter Chiari who saw something in the actress and suggested that she use the last name as a tribute to his favorite English romantic poet Percy Bysshe Shelley. She wound up living in Rome for four years and appeared in nine Italian-speaking films.

She returned to the UK in 1957, starring that year for British Lion Film in her first starring role within the horror genre as Leonora Johnson née Brandt in Cat Girl (1957), directed by Alfred Shaughnessy who set out to borrow from Jacques Tourneur’s superior, and innovative Cat People (1942.) Leonora Johnson returns to her ancestral home that is beset with the family curse, that she will be possessed by the spirit of a leopard. The film was a collaboration between American International Pictures and the British Anglo-Amalgamated.

Her first starring vehicle was Cat Girl (1957), Alfred Shaughnessy’s offbeat variation of Jacques Tourneur’s influential Cat People (1942), and A.I.P.’s first co-production with the UK’s Anglo-Amalgamated. The following year she made her first major appearance in a film for Hammer The Camp on Blood Island.

In 1958, she co-starred as a woman in peril at the hands of mad scientist Callistratus (Donald Wolfit). In Blood of the Vampire, Shelley is the picture of fainting beauty chained to the wall, a garish period piece in line with the days of Universal’s classic horrors though scattered with gory scenes satiated by fake blood and understated cleavage.

In 1880 Transylvania Dr. Calistratus is brought back to life by his one-eyed hunchback assistant Carl after he’d been executed as a vampire. At the same time, Dr. John Pierre (Vincent Ball) is on trial for killing one of his patients whom he tried to save with a blood transfusion. He is found guilty and sentenced to life. Barbara Shelley plays fiancee Madeleine, set on finding the truth behind the incriminating letter allegedly proving his guilt, forged by Calistratus.

He is brought to prison for the criminally insane by the mad doctor’s hunchback Carl. John is put in a cell, a menacing place guarded by vicious dogs, where Calastratus experiments and tortures his human subjects. In order to prove John’s innocence Madeleine poses as Calastratus’ housekeeper who winds up chained to a wall and strapped to an operating table!

Shelley was against her body being exploited or appearing in any nude scenes while being menaced by Wolfit. She warded off this endeavor by producers Robert S. Baker and Monty Berman by writing the word “STOP” on her chest. She threatened to sue the studio if it even used a body double.

“I had one or two dissertations on horror sent to me by students, and all the discussion ever seems to be concerned with is exploitation and the licking of blood and a scene of people making love, and it’s not right. It annoys me intensely because my career was not built on exploitation and sex. It was built on working very hard.”

In 1960, she is marvelous in the heartbreaking role of the tragic mother Anthea Zellerby who has given birth to an unfeeling monstrous alien boy who has uncanny dangerous powers along with the rest of the children of Midwich. All the mothers in Midwich have conceived during a strange blackout where they wind up giving birth to a breed of malevolent telepathic sociopaths.

Shelley’s character is earnest in the role of a woman torn between motherhood and sheer terror in director Wolf Rilla’s incredibly unsettling moody classic blend of science fiction and horror-Village of the Damned (1960) based on John Wyndham’s science fiction novel The Midwich Cuckoos. The film co-stars George Sanders as Shelley’s altruistic husband Gordon, who seeks to understand the menacing children with their freaky white hair and piercing eyes and his creepy son David played by Martin Stephans. These dangerous little progeny can get inside people’s minds and make them do anything they want, as in making Shelley’s character stick her hand in a pot of boiling water. The screenplay written by Stirling Sillipant is quite a disturbing potboiler it total.

She went on to star in John Gilling’s turn-of-the-century old dark house mystery Shadow of the Cat (1961)

Some of the outstanding pictures that put her upon the thrown as the reigning Queen of those splendid years of Gothic horror are Dracula: Prince of Darkness 1966, Rasputin the Mad Monk 1966 with Christopher Lee, and The Gorgon 1964 with Peter Cushing. The monstrous Gorgon is portrayed by Prudence Hyman.

“She really was Hammer’s number one leading lady and the Technicolor queen of Hammer.
“On-screen she could be quietly evil. She goes from statuesque beauty to just animalistic wildness… She adored Christopher Lee and Peter Cushing and loved working with them, that was very dear to her.”-Agent, Thomas Bowington

What truly established Barbara Shelley’s esteemed reputation as the First Lady of British horror in the mid-1960s is her collaboration with Terence Fisher. Leaving behind the more exploitative persona of the luscious heroine with inviting bosoms Shelley portrayed the sympathetic character of Carla Hoffman in Fisher’s mood piece The Gorgon. Carla is the assistant to Dr. Namaroff (Peter Cushing), and a tortured soul possessed by an ancient evil spirit with serpents for hair and the ability to turn whoever gazes upon her to stone, and Shelley conveys the bleakness of a woman who is held captive by her monstrous alter ego.

Before Shelley turns into a blood-sucking bride of Dracula, she plays her first woman transformed into a monster in The Gorgon (1964). She told the studio “I wouldn’t need any makeup… just a green face and the headdress of real snakes.” Shelley absolutely let down when she saw what the special effects department conjured up, “They came up with these terrible sorts of rubber snakes dancing around and it just looked awful. It wasn’t frightening at all.” She had said that it was “probably the biggest regret I’ve had in any film I ever made.”

She was absolutely dejected when they chose to substitute Prudence Hyman in the part of the Gorgon, “They came up with these terrible sorts of rubber snakes dancing around, and it just looked awful. It wasn’t frightening at all.” She called it “probably the biggest regret I’ve had in any film I ever made” though she admired the look of the picture, noting that “every shot … resembles a Rembrandt painting.”

In Dracula: Prince of Darkness 1966, Christopher Lee resurrects the count from Horrors of Dracula 1958. Shelley plays Helen the heroine whom we empathize with as she is trapped by her circumstances, when her stubborn husband Alan (who dismisses Helen’s panic) and his brother Charles, both refuse to leave the creepy unwelcoming Castle Dracula after stumbling onto the unattended mausoleum.

They want to stay and partake in a meal laid out for them, but Helen is justifiably spooked by its strange undercurrent. “Everything about this place is evil”.

Once Christopher Lee’s resurrection, Helen goes through a diverging transformation from the archetypal repressed female to an unrestrained raptorial vampiress liberated from her proper English breeding, in high contrast to her tight up swung hair in a provincial hat, was now wide open with unwound flowing hair and unequivocal breastage. Shelley loved how distinct her character’s trajectory was in Dracula: Prince of Darkness. From inhibited, startled gentlewoman to the monstrous feminine as one of Dracula’s brides. When she appears at Karlsbad Castle, telling Suzan Farmer, “nothing’s wrong” through hungry red lips and baring fangs. “Come sister, You don’t need Charles…” she tempts, with inviting arms outstretched to the innocent Suzan Farmer as Diana. Shelley’s virtuous woman who reveals to her Diana that she is now a vampire is lauded by Gilbey in The Guardian as having “traumatized and tantalized” viewers.

Shelley’s scream in Dracula is actually dubbed by fellow actress Suzan Farmer (Die Monster Die! 1965 with Boris Karloff) who appeared with her in Dracula: Prince of Darkness and Rasputin The Mad Monk.

In a terrifying scene perhaps inspiring Stephen King’s Salem’s Lot, has Helen tapping on the window in the middle of the night. “Please let me in,” she pleads. “It’s cold out here. So cold. Everything’s all right now.”

She was delighted by one of her most potent scenes -as when she contends with her adversaries – monks who lie her on a table and hammer a stake through her undead heart.

Shelley told Mark Gatiss in his 2010 documentary series A History of Horror, “The scene that I’m most proud of is when she is staked that’s absolute evil when she’s struggling and then suddenly she’s staked and there is tremendous serenity. And I think that is one of my best moments in the film.”

“… and then suddenly she’s staked, and there is tremendous serenity. And I think that is one of my best moments on film.”

“Christopher Lee, who was an eloquent Gothic figure of pure evil in 1958’s first adaptation of Stoker’s vampire, had now evolved into a hissing fiend. But Shelley had this to say about the actor -“He brought dignity and veritas. It’s a difficult thing to bring to a fantasy like a vampire. And that is just Chris’ appearance and his personality. He did all that. He used to walk onto the sent and I’d say to him it’s an extraordinary performance, cause we know each other so well and you could hypnotize me. But it was brilliant because he completely dominated the film without a word. Talk about silent movies!”

Shot at the same time was another Hammer horror, Rasputin the Mad Monk with Christopher Lee has dialogue in a more colorful, lurid role, as the mad mesmerist in contrast to his silent, blood-eyed fiend. Shelley falls under the spell of Rasputin. While not willing to do a nude scene in Blood of the Vampire, she was however up to laying bare a seduction scene with Christoper Lee. “That scene was in the script when I read it. The scenes I refused to do was when they would suddenly say to me ‘Oh, you take your clothes off here’ The answer to that was always no” – From an interview with Fangoria Magazine 2010.

One of her beloved roles is her last Hammer feature in Roy Ward Baker’s adaption of writer Nigel Kneale’s (The Quatermass Experiment 1955, First Men in the Moon 1964, The Witches 1966, The Stone Tape 1972 TV movie) Quatermass and the Pit 1967.

In Quatermass and the Pit, Shelley portrays scientist Barbara Judd who along with paleontologist Doctor Roney (James Donald) and a team of scientists discover an ancient alien race whose spacecraft is found buried in the underground station at Hobbs End during an expansion of London’s Underground transport system. Shelley develops a psychic link to the aliens and is taken over by the inhabitants of the alien spacecraft.

She is subjected to images of green gooey decomposing locust-like alien carcasses that in the process of being removed from the tunnels cause her brain to succumb to the electromagnetic influence of the spacecraft, causing her to writhe in pain. She is so totally reasonable as an actress that she brings credibility to her character. Shelly had claimed that director Roy Ward Baker was her favorite of all the filmmakers she worked with.

The way he felt about her goes like this. He told Bizarre Magazine in a 1974 interview that he was ‘mad about her. “Mad in the sense of love,” he said. “We used to waltz about the set together, a great love affair. It puzzles me about her. She should be much bigger than she is, but I don’t think she really cares whether she is a star or not. She can act, God, she can act!”

In The Avengers 1961 image: Studio Canal

Barbara Shelley would eventually do guest appearances on popular television shows including the British television series Doctor Who playing Sorasta in the episode “Planet Of Fire,” starring Peter Davison as the fifth incarnation of Doctor Who. She would also appear on The Saint, The Avengers, The Man From U.N.C.L.E, and Route 66. Later she would play Hester Samuels in “EastEnders.”

Shelley’s final role in horror films was in the old dark house mystery Ghost Story 1974 directed by Stephen Weeks co-starring Marianne Faithful.

Her final role on screen was in the Uncle Silas mini-series in 1989. A sinister character brought to life on screen by Derrick De Marney in 1947 with Jean Simmons in the role of Caroline.

Although Shelley ultimately felt framed in within the horror genre by the late 1960s, retiring two decades later, she always embraced her devoted fanbase and left behind a substantial legacy. “I realized that my work had been appreciated and that I had – through those horror films – actually reached a far bigger audience than I would ever have done if I’d stuck to the theater.”

The actress was modest about her achievements but happy with her legacy, as she conveyed with typical aplomb to Marcus Hearn: “There’s a lovely saying – we’re given memories so we can have roses in winter. When I look back over my various rose gardens, I’m only sorry I didn’t enjoy them more”.

“No one told me I was beautiful. They said I was photogenic but no one said I was beautiful. If they had I would have had a lot more fun!”

In an interview with the Express newspaper in 2009, she said she was told at a convention by female fans that they loved her for her strong roles. “Which I thought was a brilliant thing to have said about one. I never thought of it in that way. The fact that I’m still getting mail from my horror fan base really touches me.”

TRIVIA

While making the 1961 TV film, A Story of David, she met Hollywood star Jeff Chandler and they began a relationship. Chandler died suddenly the following year. Shelley is later reported to have said that he had been the love of her life

So convincing was Shelley’s violently realistic struggle against the stake, she swallowed one of her stuck-on fangs.

With no spares at the ready and a tight shooting schedule, it is reported that she kept drinking salt water until she puked it up.

After the scene in Dracula: Prince of Darkness where she struggles with the monks at the end with her demise, it was so physically demanding on Shelley, that she suffered from chronic back pain.

Barbara Shelley would recall how she and Lee, prided themselves on being “un-corpseable”, and would compete to make one another laugh during takes.

Cat Girl 1957, Blood of the Vampire 1958, VILLAGE OF THE DAMNED 1960 THE GORGON 1964,  DRACULA PRINCE OF DARKNESS 1966, RASPUTIN THE MAD MONK 1966, QUATERMASS AND THE PIT 1967

Continue reading “BRIDES OF HORROR – Scream Queens of the 1960s! 🎃 Part 1”

It’s October! There might be a few things that go bump in the night here at The Last Drive In!

Happy October my dear friends!

There’ll be a few trailers to keep the Boogeyman away and Brides of 60s Horror on their way to scream at you!

Your EverLovin’ Joey wishing you a happy haunting all throughout this spooky month! 🎃

Four Favorite Noirs Blogathon May 16, 2022

That’s life. Whichever way you turn, Fate sticks out a foot to trip you- Al Roberts

12-Cry of the City 1948

From the heart of its people comes the … cry of the city.

Directed by Robert Siodmak (The Killers 1946 , Phantom Lady 1944, The Strange Affair of Uncle Harry 1945, The Spiral Staircase 1946, The File on Thelma Jordon 1949) with a screenplay by Richard Murphy from the novel The Chair for Martin Rome by Henry Edward Helseth, and an uncredited Ben Hecht.

Editorial use only.No book cover usage. Mandatory Credit: Photo by 20th Century Fox/Kobal/Shutterstock (5876973e)
Robert Siodmak, Victor Mature Cry Of The City 1948 Director: Robert Siodmak 20th Century Fox USA On/Off Set La Proie

The moody black and white photography is by cinematographer Lloyd Ahern Sr. and music by Alfred Newman. Eddie Muller refers to Cry of the City as “Siodmak’s most operatic noir.” It is Siodmak’s most focused work, and the first film noir he shot extensively on location. The film reunited Siodmak with producer Sol Siegel who worked on three Paramount B pictures together after the director settled in Hollywood during the early 1940s. The song ‘Street Scene’, a recurring motif heard in several noirs and written by composer Alfred Newman, flows at the opening of the film. The song can be remembered in I Wake Up Screaming, also starring Mature. It is an urban melody that evokes dreamy nightscapes of the city. “Street Scene” is the same as that played in the earlier Henry Hathaway’s , The Dark Corner 1946. It was originally written for the film Street Scene (1931).

Siodmak loves a rain soaked street in his noir films, with it’s themes of fatalism and obsession, and the shocking story of the clash between law and lawlessness. The story borrows from a familiar plot device which sets up an opposition between two characters who come from the same background as children, but wind up clashing in their adult life.

Trivia:

Originally, Victor Mature was cast as the killer and Richard Conte as the cop. The roles were switched.

Richard Conte as the character  of Martin Rome would later co-star in the movie Tony Rome (1967) with Frank Sinatra.

Cry of the City is the most ‘operatic’ (Muller) film noir not just stylistically, but the theme its essential that you not hate Marty Rome’s character. The whole idea is that these are two boyhood friends who come from the same neighborhood and it’s just through circumstance one becomes a criminal and one a lawman, but they’re basically the same guy. That’s the whole point of the film. It’s essential that he play someone with that swagger (Conte) and that criminal intent, but he also has a vulnerability you can see in both of them. You can see the boy in the man. It ends so tragically that it feels operatic…You could see that Siodmak is using the street like this huge stage”

Cry of the City stars Victor Mature as Lt. Vittorio Candella, and Richard Conte as the ruthless Marty Rome. Fred Clark plays Cadnella’s partner Lt. Jim Collins whose tongue is fast on the trigger. Shelley Winters is Marty’s old flame Brenda Martingale. Brenda is Martin’s loyal ex-gal who spirits the wounded Conte around the city, while an unlicensed doctor works on his bullet wounds in the back seat of her car.

Betty Garde is Nurse Frances Pruett, and Berry Kroeger is the unsavory, amoral lawyer W. A. Niles. Debra Paget plays angelic Teena Riconti. Tommy Cook plays Conte’s cop hating kid brother who worships him, and it’s clear is heading down the same doomed path, as hi older brother Marty.

Garde and Emerson worked together in John Cromwell’s Caged 1950. Garde is Conte’s sympathetic nurse And Hope Emerson as the darkly imposing Rose Given. In Emerson’s first credited feature film she plays a masseuse and a sadist, is the nefarious Amazon who desperately wants the jewels that Conte has lifted from sleazy lawyer Kroeger. One of the best supporting roles in Cry of the City is Hope Emerson as the ‘monolithic’ (Dinman) Rose Givens who dominates the scenes with Conte.

In Robert Siodmak’s sublime noir Cry of the City 1948 Emerson plays Madame Rose Given who runs a massage parlor, loves to cook, is a pancake eatin’ -looming ‘heavy’… who loves jewels and just wants a little place in the country where she can cook, eat pancakes and fresh eggs… ‘yeah that’s livin’. From her brawny swagger to her grumbling yet leisurely voice, Emerson’s delicsiouly diabolical performance is the highlight of the film!

Continue reading “Four Favorite Noirs Blogathon May 16, 2022”

The Film Score Freak Recognizes: And little things between…

 Above photo of composer Dave Grusin

The art of film wouldn’t resonate without the language of music to help speak for it!

*And don’t think I forgot Jerry Goldsmith. He is my ultimate inspiration and will get a feature tribute all to himself!

*Billy Goldenberg

(Columbo episodes) Murder by the Book and Ransom for a dead man.

*Gil Mellé

The Sentinel 1977

Embryo 1976

Columbo episodes-Blueprint for Murder 1972, Short Fuse, Dead Weight and Death Lends a Hand

*Malcolm Williamson

Crescendo 1970

*Johnny Mandel

The Sandpiper 1965

*Dave Grusin

Columbo episode Presciption Murder (1968)

3 Days of the Condor 1973

The Nickel Ride 1974

*Michel Legrand

The Thomas Crown Affair 1968

Summer of ’42 (1971)

*Krzysztof Komeda

Rosemary’s Baby 1968 (courtesy of Soundtrack Fred)

*Jerry Fielding

The Enforcer 1976

The Mechanic 1972

The Big Sleep 1978

*Pino Dinaggio

Don’t Look Now 1973

*Francis Lai

live for life 1967

Bilitis 1977

The Forbidden Room 1977

*Colin Towns

The Haunting of Julia 1977 aka Full Circle

*Jaime Mendoza-Nave

The Brotherhood of Satan 1971

*Fred Myrow

Soylent Green 1973

*Waldo De Los Rios

The House that Screamed 1969

*David Raksin

Force of Evil 1948

The Big Combo 1955

Night Tide 1961

The Bad and the Beautiful 1952

*George Duning 

Picnic 1955

The Devil at 4 O’Clock 1961

*Ernest Gold

Ship of Fools 1965

*Maurice Jarre

Ash Wednesday 1973

Les yeux sans visage (1960)

*Alex North

A Streetcar Named Desire 1951

Hard Contract 1969

Shanks 1974 (courtesy of Goregirlsdungeon)

Spartacus 1960 love theme

The Children’s Hour 1961

*David Shire

Norma Rae 1979 “It goes like it goes”

The Taking of Pelham One Two Three (1974)

The Conversation 1974

*Quincy Jones

The Getaway 1972

*Michael Small

Klute 1971

The Stepford Wives 1975

Audrey Rose 1977

*Lalo Schifrin

The Fox 1967

Cool Hand Luke 1967

Prime Cut 1972

Bullitt 1968

*Ennio Morricone

The Sicilian Clan 1969

courtesy of Soundtrack of the Mind

Violent City 1970

*Kenyon Hopkins

12 Angy Men (1957)

*Ron Grainer

The Omega Man 1971

*John Carpenter

Escape from New York 1981

*Trevor Jones

courtesy of Soundtrack of the Mind

Labyrinth 1986

This is your EverLovin’ Joey sayin’ all the beautiful little things between – will always stay the same here at The Last Drive In!

 

Thank You For Being a Friend: Saying Goodbye to Betty White – Dec 31, 2021

A legacy of comedic brilliance!

There are times when my heart is heavy and the only thing in this world that I can process with ease, is an episode of The Golden Girls. There are no words that can sum up Betty White’s legacy, a comedic giant who wasn’t afraid to just let it rip, a compassionate animal rights activist, and a national icon who wound up becoming one of the most beloved figures. She is purely golden. I’ll let Betty White’s genius speak for itself.

Actress Betty White poses for a photograph in Los Angeles, California May 26, 2010. REUTERS/Gus Ruelas (UNITED STATES – Tags: ENTERTAINMENT)

clip-‘The Triangle’ Season One episode 5

clip ‘The Competition’ Season One episode 7

clip ‘Flu Attack’ Season One episode 21

clip ‘It’s a miserable life’ Season 2 episode 4

clip ‘The Sisters’ Season 2 episode 12

clip ‘And then there was one’ Season 2 episode 16

Tribute to Rose Nyland!

THIS IS YOUR EVERLOVIN’ JOEY SAYIN’ WE ALL LOVE YOU BETTY. THANK YOU FOR BEING OUR FRIEND!

 

To Sidney, With Love-Saddened by the loss of Legendary actor Sidney Poitier

Sidney Poitier-elegant, profoundly influential and trailblazing actor and filmmaker Sir Sidney Poitier has passed away at the age of 94.

NEW YORK TIMES TRIBUTE

I think I’ve been in love with Sidney Poitier since I saw him in To Sir, With Love. He won me over like his awe-struck students, with his beautiful gentle manner. After that I was drawn in by his keen ability to portray a depth of character in all of his roles. He’s got a way about him, a kind of magnetic pull. Maybe it’s his bright smile with a light that shines within. Maybe it’s the intensity he brings to the screen, because he does not go half way with his emotional fortitude. Sidney Poitier is a legend because he mastered the utterance of genuine skill with a singular essence of dignity, composure and grace.

“I felt very much as if I were representing 15, 18 million people with every move I made”

Sidney will be remembered for his riviting performance in the tense, racially charged No Way Out 1950, in the film noir Edge of the City 1957 and combustible dramas The Defiant Ones 1958 and Pressure Point 1962 not to mention his portrayal of Gordon Ralfe in the heartwrenching A Patch of Blue 1965.

Poitier was the first Black actor to win the Academy Award for Best Actor in 1964 for his performance in ‘Lilies of the Field.’ He gave one hell of a startling performance as Virgil Tibbs In 1967’s In the Heat of the Night and as Mark Thackeray in To Sir, With Love 1967.

To Sidney, With Love, Joey

What A Character Blogathon 2021: Actresses of a Certain Character

I’m an ordinary person in an ordinary life-Mildred Dunnock

Once again my favorite blogathon has rolled around, giving me the chance to pay tribute to the great character actors who add a certain depth and extra layer to stage, film and television. Just a brief glimpse of them in a story manages to bring something quite special and undeniably memorable. Thank you so much to Aurora of Once Upon A Screen, Kellee of Outspoken and Freckled and Paula of Paula’s Cinema Club for the opportunity to take a deep dive into the span of these two women’s careers. Leave it to the finest classic film bloggers to host one of the BEST blogathons there is!

It is with extreme pleasure that I’ll be giving attention to two extraordinary actresses who have contributed a quiet depth of character to both film and dramatic television, Patricia Collinge and Mildred Dunnock. Both actresses were also prominent leading ladies of the theatre.

And coincidentally The Nun’s Story co-starred Mildred Dunnock and Patricia Collinge. This was Collinge’s last appearance in film.

MILDRED DUNNOCK

NEW YORK CITY – JANUARY 20: Mildred Dunnock sighted on January 10, 1975 at DJ Nite Club in New York City. (Photo by Ron Galella, Ltd./Ron Galella Collection via Getty Images)

A “superb actress who didn’t find nearly the roles she deserved” and “suffered the deprivations more keenly than less sensitive artists would have.” –Elia Kazan

I WANT YOU, Mildred Dunnock, 1951 Courtesy Everett Collection PUBLICATIONxINxGERxSUIxAUTxONLY Copyright: xCourtesyxEverettxCollectionx MBDIWAN EC033

With the dignity of a weathered carved tree, Dunnock is spare and angular, a handsome yet fey looking woman with a modest hair style and time worn features. She is an American actress who was prolific in playing spinsters and middle class mothers. Her weighty performances earned her two Oscar nominations and praise for her performance in Tennessee William’s Sweet Bird of Youth. But the role that would garner the most praise, both stage and screen versions, is Linda Loman in Arthur Miller’s Death of a Salesman.

Dunnock was born in Baltimore, Maryland and acted throughout her college years with the Vagabond Players and the John Hopkins University troupe in Baltimore. She later taught at the Friends School in New York and acted with the Morningside players in their show Life Begins which led her to Broadway, working with the Selwyn Theater in 1932.

Dunnock’s career spanned over four decades, and she was one of the few actresses to have created important roles in the theater by some of the leading playwrights of the twentieth century, Tennessee Williams and Arthur Miller. Her theatrical career debuting on The Great White Way at the age of thirty, lasted over 45 years including 23 shows on Broadway. Though she only appeared in 25 feature films, the quality of her work is to be celebrated.

Dunnock’s breakthrough role came eight years later, as Miss Ronberry in the original production of Emlyn Williams’ hit play The Corn is Green 1940-42.

Mildred Dunnock was cast in the supporting role to Ethel Barrymore who by that time, had a long and successful stage presence. Barrymore inhabited the role of Miss Moffat the spinster schoolteacher who is passionate about transforming the life of uneducated, proud young Welsh Miners and giving them a chance to lift themselves out of the darkness and reach toward a better life.

Dunnock plays the prissy spinster Miss Ronberry, a reluctant assistant teacher who becomes devoted to Moffat’s endeavor. Her performance attracted the attention of Hollywood. Ironically it was Dunnock, and not Barrymore, who was asked to reprise her role on film when Warner Bros bought the rights and insisted their star Bette Davis be cast for the lead in 1945.

When we first meet Miss Ronberry she is eager to become acquainted with the new tenant whom she thinks is a rugged Colonel. She studies his sizable collection of books and includes his ‘virile’ wastepaper basket as one of the illuminating artifacts she infers as deliciously masculine. But Miss Ronberry is stunned when the “L.C.” who wrote the letter she receives turns out to be the feisty Lilly Christabel (“L.C.”) Moffat (Bette Davis).

Dunnock also created the role on stage of Lavinia Hubbard in Lillian Hellman’s Another Part of the Forest with Patricia Neal as Regina. The play was the prequel to Hellman’s The Little Foxes, which was a story that reflected the assorted lives of a cunning, bourgeois Southern family in the wake of the Civil War. Bette Davis would bring to life the treacherous Regina in the 1941 film The Little Foxes directed by William Wyler. And Patricia Collinge would be cast in the role of Birdie Hubbard, giving one of the most poignant performances of her career. Dunnock’s role playing Lavinia went to Florence Eldridge in the film version of Another Part of the Forest in 1948.

Dunnock appeared with Margaret Rutherford in the stage production of Farewell, Farewell Eugene, and co-starred with Hermione Baddley in Tennessee William’s play The Milk Train Doesn’t Stop Here Anymore at the Morosco Theatre. Shown below are the two actresses with playwright Tennessee Williams.

Mildred Dunnock starred in the dramatic television series, The Ford Theater Hour presentation of Night Must Fall in 1948 co-starring Fay Bainter and Cloris Leachman. Based on the play by Emlyn Williams, and adapted to the big screen in 1937 starring Rosalind Russell, Dame May Whitty and Robert Montgomery.

She continued to turn in stellar performances on stage. In 1945 she had the supporting role to Tallulah Bankhead on Broadway in the comedy by Phillip Barry called Foolish Nation. Also on Broadway, she starred in Henrik Ibsen’s Peer Gynt 1951 where she played John Garfield’s mother Tase. Then she appeared in Lee Strasberg’s short lived production of Jane Bowles in The Summer House 1953-54. A ‘surreal and operatic’ and ‘darkly funny’ (Axel Nissen) work, starring Judith Anderson and Dunnock as manipulative, domineering mothers.

In February of 1949, at the Morosco Theatre on Broadway, Mildred Dunnock premiered in the role that will forever be remembered as her most iconic performance. That of Linda Loman in Arthur Miller’s Death of a Salesman, co-starring Lee J. Cobb as Willy Loman. In 1951, Dunnock went on to star in the film version directed by Laszlo Benedek, with Fredrick March stepping into the role of Willy Loman.

Mildred Dunnock from the film ‘Death Of A Salesman’, 1951. (Photo by Columbia Pictures/Getty Images)

New York Times’ snarky film critic Bosley Crowther wrote of Dunnock’s performance that she was, “simply superb, as she was on the stage … For her portrayal of a woman who bears the agony of seeing her sons and husband turn out failure, supports the one pretension of this drama to genuine tragedy.”

Mildred Dunnock was nominated for her first Academy Award in 1951 for Death of a Salesman, but lost to Kim Hunter for Tennessee William’s A Streetcar Named Desire. Though Dunnock did not win the Oscar her performance in Salesman began a fruitful decade in both film and theater.

After her 1956 performance in The Wings of a Dove (the stage adaptation of Henry James’ novel Child of Fortune), Dunnock disappeared from Broadway for almost four years.

In 1957 Dunnock appeared in the dramatic television series Climax! episode ‘Don’t Touch Me’ co-starring Shelley Winters, three episodes of Kraft Theatre 1950-1957 and four episodes of Studio One 1951-1957. One of my favorite television appearances was as Mother Alcott, the spectacle-wearing kleptomaniac whose son and daughter-in-law are planning to kill her off for her money in Boris Karloff’s anthology series-Thriller in the episode The Cheaters 1960. She appeared in Roald Dahl’s warped television series Way Out episode – William and Mary 1961. Below is Dunnock blowing smoke into the tank holding the brain of her cantankerous husband, Henry Jones.

Mildred Dunnock in the episode ‘William & Mary’ from the television show ‘Way Out’, March 27, 1967. (Photo by CBS Photo Archive/Getty Images)
L.A. – APRIL 4: Mildred Dunnock as Aunt Ida and Shelley Winters as Carol in the CLIMAX! episode, “Don’t Touch Me.” Image dated April 4, 1957. (Photo by CBS via Getty Images)

It was during these years she delivered some of her best and most beloved screen roles in films like Baby Doll 1956, Peyton Place 1957, The Nun’s Story 1959, Butterifeld 8 1960 and in Jack Garfein’s Something Wild 1961. Dunnock co-stars as Carroll Baker’s judgmental mother, who goes through an emotional journey to reconnect with her traumatized daughter.

Peyton Place earned Dunnock a Golden Globe nomination, for her sensitive portrayal of the devoted school teacher, Miss Elsie Thornton who is undeservedly passed over as principal. Miss Elsie shares strong felt wisdom,“Allison a person doesn’t always get what she deserves. Remember it.”“Allison, if there is anything in life you want, go and get it. Don’t wait for anyone to give it to you.”

In The Nuns Story (Audrey Hepburn is a strong-willed nurse who struggles with her place in the church and whether taking her vows was the best direction for her humanitarian work ) Dunnock plays Sister Margarita “Mistress of Postulates” or The Living Rule, (which means a ideal example to the novices and other nuns), where she gives a quiet yet powerful performance as the very serious acolyte to the church. Other sisters include our featured actress Patricia Collinge, the great Peggy Ashcroft and Dame Edith Evans.

Mildred Dunnock had a creative presence on television in the 1950s and though her film appearances were relatively sparse, they were no doubt memorable. Her keen acting style earned her two Oscar nominations, not just for Death of a Salesman but for Elia Kazan’s Baby Doll 1956. Kazan’s 1956 version of his play was the one dramatization, Tennessee Williams adapted for the screen himself. In 1957, while Dunnock was nominated for an Oscar a second time, It went to Dorothy Malone for Written on the Wind.

Baby Doll, is the uncomfortably, subtly amusing, sensually charged, deviant story set in the South about an abusive blustering slob Karl Malden, anxious with explosive sexual frustration, awaiting his virginal bride (Carroll Baker) to reach the age he can consummate his marriage. (Baker should have won an Oscar for her arresting performance in Something Wild).

Dunnock’s part as Aunt Rose Comfort, a jacobson hat wearing, ditzy spinster who shuffles around the house like a lost mouse, suffering from far-reaching timidity is a spark of vulnerability. Malden spends the entire film using Rose as a verbal punching bag bullying her, threatening to throw her in a home. She may have occupied a tangential piece of the story, nevertheless, her contribution is distinctive.

Tennessee Williams considered Big Mamma to be one of Dunnock’s most poignant performances in his play, Cat on a Hot Tin Roof 1955-56, which won the Pulitzer Prize. When the story was adapted to the screen, she lost the role to Judith Anderson. While I think Anderson is a force to be reckoned with, I believe she wasn’t the right choice to play Big Momma, the Southern vacuous wife of Big Daddy Pollitt. Dunnock should have been the natural choice. Margaret “Maggie” Pollitt – He says bull when he’s disgusted. Ida “Big Momma” Pollitt – Yes, that’s right. I say bull too, like Big Daddy.

1959 Press Photo Mildred Dunnock in The Confessions of Saint Augustine

Dunnock took on a rare loathsome role as Gig Young’s emasculating mother. In the classic courtroom drama, The Story on Page One 1960 written and directed by Clifford Odets. This puts Dunnock in our view as an oppressive presence and a middle class dragon in aloof clothing. Mrs. Ellis is a departure from her usual roles and gave her a
shot at playing a “monstrous mom”, a devouring mother.

Gig Young’s defense attorney (Anthony Franciosa), sums up Mrs. Ellis as an- ‘unmitigated monster” a film critic referred to her as- “a cruel and voracious she-wolf in deceptively virtuous sheep’s clothing.”

He is on trial with his lover Rita Hayworth (who gives a fantastic performance) both accused of murdering her drunk and abusive husband played by Alfred Ryder, when Young shoots him in self defense. Dunnock turns in a chilling performance with her taut strokes of hypocritical correctness, sanctimonious rhetoric and unfailing selfishness that is an unnerving example of suffocating motherhood, as we watch her compressing the life out of her son.

Dressed in decorous tailored suits, hat and gloves, Mrs Ellis spouts banalities, “it’s one of the great lessons of life: There’s no substitute for breeding.”

Dunnocks’ role in BUtterfield 8 1960 is closer to her typified mothers as she weighs in on her daughter’s (Elizabeth Taylor) life as a high paid escort. Taylor won Best Actress for her performance.

Other films Dunnock  made in the 1960s include Sweet Bird of Youth 1962, the adaptation of Tennessee William’s play from 1959. The film stars Geraldine Page as the aging screen diva Alexandra del Lago. Dunnock worked with Page once again in the psychological thriller (underscored by Gerald Fried’s menacing soundtrack) What Ever Happened to Aunt Alice? 1969. In Sweet Bird of Youth, Dunnock plays Aunt Nonnie the sister-in-law to Boss Finley (Ed Begley) and aunt to Heavenly Finley (Shirley Knight). Dunnock brought to the film her signature “quiet authority and timorous tenderness.” (Axel Nissen)

Directed by John Ford, 7 Women (1966) features a dynamic cast, Anne Bancroft, Margaret Leighton, and Betty Field. Mildred Dunnock, along with Flora Robson, play older missionaries who are seized by ruthless Mongolian bandits. The standout performance in the film is Anne Bancroft as a wildly ‘progressive’ doctor.

CIRCA 1966: Actress Anne Bancroft and Mildred Dunnock on set of the movie “7 Women”, circa 196. (Photo by Michael Ochs Archives/Getty Images)

Dunnock and Lee J Cobb revised their exceptional roles in a television version of Death of a Salesman, for which she was nominated for an Emmy.

LOS ANGELES – MAY 8: DEATH OF A SALESMAN The television adaptation of the 1949 play by Arthur Miller. Mildred Dunnock as Linda Loman, Lee J Cobb as Willy Loman. Air date, May 8, 1966. (Photo by CBS via Getty Images)
1949: Lee J Cobb and Mildred Dunnock in a US production of Arthur Miller’s ‘Death Of A Salesman’. (Photo by Keystone Features/Getty Images)

After What Alice Ever Happened to Aunt Alice? in 1969, she appeared in television series and made for tv movies, like Murder or Mercy 1974 with Melvyn Douglas and The Patricia Neal Story in 1981. The Pick Up Artist 1987 was her last appearance on the big screen.

Unspecified – 1974: (L-R) Mildred Dunnock, Melvyn Douglas appearing in the ABC tv movie ‘Murder or Mercy’. (Photo by Disney General Entertainment Content via Getty Images)

She also appeared as Mrs. Rule in the television series, Circle of Fear 1972 once again co-starring with Melvyn Douglas in the episode ‘House of Evil’. Her final show on Broadway, was in Marguerite Duras’ play, Days in the Trees in 1976.

Mildred Dunnock remained active in theater through the 1980s, participating in numerous stage productions at the Long Wharf Theatre in New Haven where she starred in Long Day’s Journey Into Night. She also played Amanda Wingfield as part of her collaboration with Tennessee Williams from his story The Glass Menagerie. Dunnock went on to teach at Yale Drama School. She passed away on July 5, 1991 at the age of 90.

FEATURED CLIPS:

Miss Ronberry The Corn is Green 1945

Miss Rizzo Kiss of Death 1947

Mrs Linda Loman Death of a Salesman 1951

Celanese Theatre ‘On Borrowed Time’ 1952

Mrs Wiggs The Trouble With Harry 1955

Aunt Rose Comfort Baby Doll 1956

Miss Elsie Thornton Peyton Place 1957

Mrs. Ellis The Story on Page On 1959 

Way Out 1961 ‘William and Mary’

Minnie Briggs Alfred Hitchcock Hour ‘Beyond the Sea of Death’ 1964

Miriam Olcott Thriller The Cheaters 1960

Mrs Wandrous BUtterfield 8 1960

Mrs Gates Something Wild 1961

Aunt Nonnie Sweet Bird of Youth 1962

Miss Tinsley What Ever Happened to Aunt Alice 1969

Photograph by Diane Arbus: 1961

PATRICIA COLLINGE

Over the years, in my journey through classic film and television, I discovered character actress Patricia Collinge, an endearingly beautiful woman, winsome, kind eyes that glimmer when she speaks. Through her broad sweet-tempered smile, emerges her voice, with a quality that strikes me as distinct, giving the impression of spaces between her words. Like the spaces of amber honeycomb, that are drizzled with her authentically regal and splendid kindness. You will recognize her most often playing sympathetic widows, whimsical mothers, aunts or vulnerable older women. Collinge was primarily a celebrated stage actress from 1908-1952. I can only imagine what her stage presence would be like, knowing the depth of her acting integrity.

Born in London, Collinge emigrated to America in 1907 and began her acting career on Broadway in 1908 with her first New York stage appearance when she was 16 years old, as a flower girl in The Queen of the Moulin Rouge at the Circle Theatre on Broadway. Look at those beautifully expressive eyes.

She became an acclaimed actress of the theatre in many classic stage productions, penned by such playwrights as George Bernard Shaw, Henrik Ibsen and J.M. Barrie. Some notable stage appearances — She was the first actress to play the lead role of Pollyanna, which was popularized by Hayley Mills in the 1960 ‘filmitization’ which was also rendered by Mary Pickford in 1920. Collinge received rave reviews for the four act stage adaptation of Catherine Chisholm Cushing’s novel which opened in 1916 at the Hudson Theater on Broadway and ran for 112 shows. She appeared in Hedda Gabler 1926, The Importance of Being Earnest 1926, Venus 1927, She Stoops to Conquer 1928, Becky Sharp 1929, The Lady with the Lamp 1931, The Little Foxes 1939, as Abby Brewster in Arsenic and Old Lace 1941, The Heiress 1947 and her last appearance on stage was 1952 in I’ve Got Sixpence.

Patricia Collinge in the theatrical production of Tillie 1916.

From 1947-48 she starred as Lavinia Penniman in The Heiress at the Biltmore Theatre where she gave 410 performances.

Collinge originated the role of Birdie Hubbard in Lillian Hellman’s The Little Foxes on Broadway in 1939, probably her most notable performance as well as her film debut is that of the forlorn and fragile, beguiling and heartbreaking interpretation of Aunt Birdie Hubbard in the screen version of Lillian Hellman’s The Little Foxes 1941, which was a recreation of her role in the original Broadway production in 1939, which she co-starred with Tallulah Bankhead. While Bankhead was considered to reprise her role as Regina Giddens in the film adaptation, Bette Davis was cast instead. Collinge’s psychologically tortured, neglected and alcoholic Aunt Birdie is perhaps the most startling performance of the picture.

Collinge’s touching performance won her an Academy Award nomination for Best Supporting Actress, and in my opinion should have delivered her the honor. She lost to Mary Astor for The Big Lie.

Another memorable role is Collinge’s Emmie Newton in Alfred Hitchcock’s psychological thriller, Shadow of a Doubt 1943 where she plays Teresa’s Wright’s humble, proud and chatty housewife who dotes over her baby brother Charlie, The Merry Widow Killer. Collinge also rewrote the scene with Macdonald Carey confessing his love for her in the garage. The cast were reportedly dissatisfied with the dialogue and she was asked to rewrite the script, which pleased Hitchcock.

Aside from being an actress, Collinge was a playwright, author, and columnist. In 1938, her comedy, “Dame Nature”, an adaptation of a French drama by André Birabeau was published. Several of Collinge’s short stories were published in the New Yorker and she was also a contributor to the New York Times Book Review. Collinge is also uncredited for writing some of the other dialogue for Shadow of a Doubt, and having been one of several writers on Hitchcock’s Lifeboat 1944 in which she did not appear as an actress.

Collinge and Wright would appear together in two other features, The Little Foxes 1941 and as Mrs. Drury once again playing Wright’s mother in Casanova Brown 1944. The film is a seldom-credited romantic comedy about Gary Cooper and Wright who get divorced only to discover that she has given birth to their child. Collinge is a quirky eccentric who judges her daughter’s marriage by interpreting the astrological signs to decide whether Cooper is the right man for her daughter.

She later appeared in Hitchcock’s anthology mystery series, in 1955-1961. Starring in four episodes of Alfred Hitchcock Presents and in 1962 two episodes of The Alfred Hitchcock Hour. Collinge’s participation in Hitchcock’s outstanding mystery series are startling examples of her acting, and should be considered some of her best work. See film clips below:

Aside from The Little Foxes and Shadow of a Doubt, major motion pictures and television credits include Tender Comrade 1943 co-starring Ginger Rogers, Ruth Hussey, and Kim Hunter as women who have moved in together while their husbands are fighting in WWII.

In Teresa 1951, after a six-year absence from film, Fred Zinnemann cast Collinge as Clara Cast, GI John Ericson’s controlling, possessive mother who refuses to let go of her son when he brings home an Italian bride (Pier Angeli) after the war. Her performance is quite a shift from her familiarly likable characters. She appeared briefly as Sister William in The Nun’s Story 1959, Collinge also gave dramatic performances in such television series The Web 1953 “Midnight Guest” Celanese Theatre 1952 “Mornings at Seven”, Goodyear Playhouse “The Rumor” 1953, Omnibus “Lord Byron’s Love Letter”, and Studio Ones “Crime at Blossom’s”, The River Garden” and “The Hero”. She also appeared in Armstrong Circile Theater 1955-56 and East Side/West Side 1963 “Creeps Live Here”, and United Steel Hour 1962 “Scene of the Crime”.

Patricia Collinge passed away in New York City at the age of 81 on April 10, 1974.

Patricia Collinge co-stars with Ginger Rogers, Kim Hunter, and Ruth Hussey in Tender Comrade 1943

9 FEATURED CLIPS:

*As Birdie Hubbard in The Little Foxes 1941

*The Alfred Hitchcock Hour in Bonfire as Naomi Freshwater with psychopathic Peter Falk

*Emmie in Shadow of a Doubt 1943

*East Side /West Side 1963 ‘Creeps Live Here’ as Miss Harriet Allen

*Alfred Hitchcock Presents 3 episodes

Across the Threshold S5 Ep 22 1960, The Rose Garden Season 2 1956, and The Cheney Vase 1955

*Casanova Brown as Mrs Drury 1944

*As Clara Cass in Teresa 1951

This is your EverLovin’ Joey showing a little appreciation to two actresses of a certain character!

31 Flavors of Noir on the Fringe to Lure you in! Part 2

By now with Part 1 and 2 under my belt it’s pretty clear that one theme has emerged. It is my love for three shamefully underrated noir actors that really carry the genre, John Garfield, Victure Mature and Richard Conte! Victor Mature is a swarthy jewel in his darker noirs, The Long Haul, I Wake Up Screaming and Kiss of Death. Even in the western noir masterpiece My Darling Clementine 1946 where he plays the brooding Doc Holliday. Conte possesses a sublime brutality, with the lure of a Minotaur charging. Think of him In The Big Combo, Thieves’ Highway, and Brothers Rico. And Garfield is deeply vulnerable and edgy, giving off an existential sensuality as in He Ran All the Way, Force of Evil, Body and Soul, and They Made Me a Criminal. I think I’ve fallen in love with all three!

JUST A HEADS UP: THERE ARE SPOILERS!

12-Cry of the City 1948

From the heart of its people comes the … cry of the city.

Directed by Robert Siodmak (The Killers 1946 , Phantom Lady 1944, The Strange Affair of Uncle Harry 1945, The Spiral Staircase 1946, The File on Thelma Jordon 1949) with a screenplay by Richard Murphy from the novel The Chair for Martin Rome by Henry Edward Helseth, and an uncredited Ben Hecht.

Editorial use only.No book cover usage. Mandatory Credit: Photo by 20th Century Fox/Kobal/Shutterstock (5876973e)
Robert Siodmak, Victor Mature Cry Of The City 1948 Director: Robert Siodmak 20th Century Fox USA On/Off Set La Proie

The moody black and white photography is by cinematographer Lloyd Ahern Sr. and music by Alfred Newman. Eddie Muller refers to Cry of the City as “Siodmak’s most operatic noir.” It is Siodmak’s most focused work, and the first film noir he shot extensively on location. The film reunited Siodmak with producer Sol Siegel who worked on three Paramount B pictures together after the director settled in Hollywood during the early 1940s. The song ‘Street Scene’, a recurring motif heard in several noirs and written by composer Alfred Newman, plays at the opening of the film. The song can be remembered in I Wake Up Screaming, also starring Mature. It is an urban melody that evokes dreamy nightscapes of the city. Siodmak loves a rain soaked street in his noir films, with it’s themes of fatalism and obsession, and the shocking story of the clash between law and lawlessness. The story borrows from a familiar plot device which sets up an opposition between two characters who come from the same background as children, but wind up clashing in their adult life.

Cry of the City is the most ‘operatic’ (Muller) film noir not just stylistically, but the theme its essential that you not hate Marty Rome’s character. The whole idea is that these are two boyhood friends who come from the same neighborhood and it’s just through circumstance one becomes a criminal and one a lawman, but they’re basically the same guy. That’s the whole point of the film. It’s essential that he play someone with that swagger (Conte) and that criminal intent, but he also has a vulnerability you can see in both of them. You can see the boy in the man. It ends so tragically that it feels operatic…You could see that Siodmak is using the street like this huge stage”

Cry of the City stars Victor Mature as Lt. Vittorio Candella, and Richard Conte as the ruthless Marty Rome. Fred Clark plays Cadnella’s partner Lt. Jim Collins whose tongue is fast on the trigger. Shelley Winters is Marty’s old flame Brenda Martingale. Brenda is Martin’s loyal ex-gal who spirits the wounded Conte around the city, while an unlicensed doctor works on his bullet wounds in the back seat of her car.

Betty Garde is Nurse Frances Pruett, and Berry Kroeger is the unsavory, amoral lawyer W. A. Niles. Debra Paget plays angelic Teena Riconti. Tommy Cook plays Conte’s cop hating kid brother who worships him, and it’s clear is heading down the same doomed path, as hi older brother Marty.

Garde and Emerson worked together in John Cromwell’s Caged 1950. Garde is Conte’s sympathetic nurse And Hope Emerson as the darkly imposing Rose Given. Emerson, a masseuse and a sadist, is the nefarious Amazon who desperately wants the jewels that Conte has lifted from sleazy lawyer Kroeger. One of the best supporting roles in Cry of the City is Hope Emerson as the ‘monolithic’ (Dinman) Rose Givens who dominates the scenes with Conte.

In Robert Siodmak’s sublime noir Cry of the City 1948 Emerson plays Madame Rose Given who runs a massage parlor, loves to cook, is a pancake eatin’ -looming ‘heavy’… who loves jewels and just wants a little place in the country where she can cook, eat pancakes and fresh eggs… ‘yeah that’s livin’. From her brawny swagger to her grumbling yet leisurely voice, Emerson’s delicsiouly diabolical performance is the highlight of the film!

Continue reading “31 Flavors of Noir on the Fringe to Lure you in! Part 2”

31 Flavors of Noir on the Fringe to Lure You In! Part 1

“A man could spend the rest of his life trying to remember what he shouldn’t have said.”- Force of Evil

“All that Cain did to Abel was murder him.” –Force of Evil

“He pushed me too far!… So I pushed him just far enough.” –The Lineup

“You’re like a rat in a box without any holes” – I Wake Up Screaming

“From now on, no one cuts me so deep that I can’t close the wound.” – I Wake Up Screaming

“I’m gonna give you a break. I’m gonna fix it so you don’t hear the bullets!”- The Big Combo

“I was born on a Monday, I might as well go out on a Monday. Like dirty laundry.”- Man in the Dark 

Heads up… this feature includes spoilers…💣

1-I Wake Up Screaming 1941

I Wake Up Screaming is the first official noir produced by Fox, directed by H. Bruce Humberstone (he worked on Charlie Chan programmers and B-movies) who was not considered a noir director. With a screenplay by Dwight Taylor based on the novel by Steve Fisher. Eddie Muller said it personified film noir, and calls the 1941 film – Proto-noir, as it was the first of it’s kind.

Darryl F. Zanuck wanted the film’s location changed to New York City, so it wouldn’t reflect badly on L.A. There are a number of sleazy characters involved and he wanted to shift the story from Hollywood to Broadway.

The film was remade as Vicki in 1953 (with Jeanne Crane and Jean Peters, though it lacked the highly stylized artistry) Photographed by Edward Cronjager (Seven Keys to Baldpate 1929, Hell’s Highway 1932, The Monkey’s Paw 1933, Island in the Sky 1938, The Gorilla 1939, Heaven Can Wait 1943, Desert Fury 1947, Relentless 1948, House by the River 1950, The Girl in Lovers Lane 1960) pours out murky noir shadows, darkened streets, unusual camera angles, low key lighting and the high contrast, onepoint lighting that illuminates the ink black threatening spaces. The film is stark yet dynamic.

With music by Cyril J. Mockridge, you’ll hear the familiar often used noir leitmotif, the melody Street Scene by Alfred Newman. I Wake Up Screaming stars Betty Grable as Jill Lynn, Victor Mature as Frankie Christopher, Carole Landis as Vicki Lynn, Laird Cregar as Ed Cornell. The film also co-stars Alan Mowbray as Robin Ray and Allyn Joslyn as Larry Evans. Quirky character actor Elisha Cook Jr. plays Harry Williams the desk clerk in Vicki’s apartment building who’s a real weirdo. William Gargan plays Detective Jerry ‘Mac’ MacDonald.

Cook is great at playing quirky oddballs (Cliff the crazed drummer in Phantom Lady 1944, George Peatty in The Killing 1956, anxious trench coat wearing Wilmer in The Maltese Falcon 1941, Watson Pritchard in House on Haunted Hill 1959).

I Wake up Screaming bares a resemblance to a whodunit, as the killer is chased down with the story playing a bit of a shell game with us. There are common noir themes of obsession, perverse lust, corruption and homicidal jealousy. The film is also has a preoccupation with images and artifice, tossing up flashbacks like a circus juggler.

Right before model Vicki Lynn heads to Hollywood to reach for her rising star, she is brutally murdered. Delicious Betty Grable in her first non-music role, plays Jill Lynn, Vicki’s sister, who is drawn to the man (Victor Mature) who is presumably her sister’s murderer.

Vicki functions as an essential part of the narrative early on in the film and is resurrected by way of flashbacks. Frankie knows that while there are images that still exist of Vicki she is no longer present. In fact Vicki is a myth and a manufactured deception in some ways. Jill on the other hand is genuine, unpretentious and warmhearted.

Carol Landis who died at 28 from an overdose, plays murder victim Vicki Lynn. I Wake up Screaming back flips into the weeks leading up to her death. The film is also somewhat of a noir variation on Pygmalion, as Victor Mature who plays Frankie Christopher, sports and show business promoter, discovers a beautiful girl waiting tables and gets the hot idea of turning Vicki into a celebrity and society girl. Vicki’s appeal, is the sphere of influence that drives the plot. Mature always makes the screen sweat with his sexy brawny build, swarthy good looks, strong jaw line and the aura of his glistening obsidian hair.

The film opens with a sensational news headline ‘MODEL MURDERED’ right from the top Frankie is being grilled by the cops in the interrogation room. Burning white hot lights are up close in his face. He says to the shadow of Cornell (Cregar) who’s a bulky shadow shot with single source lighting) to his opaque figure, “You’re a pretty tough guy with a crowd around.”

The flashbacks begin. Frankie goes back to the first time he meets Vicki at the lunch room on 8th Avenue while eating with Larry Evans (Alan Joslyn) and Robin Ray (Alan Mowbray). Vicki asks “Is that all?” Lary Evans says “No, but the rest of it isn’t on the menu.” She handles his come on, “You couldn’t afford it if it was.” Frankie pours on the charm. He gets the notion to take Vicki and mold her into a celebrity. “You know I bet in 6 months I could take that girl and put her on top of the ladder.” Mature and Landis worked together in One Million Years B.C.

Has-been actor Robin Ray (Mowbray) and ruthless gossip columnist Larry Evans (Joslyn) decide to get involved in developing Vicki Lynn’s mystique and cultivate her glamour on the road to fame. Of course both men wind up having a yen for her. A cynical Ray (Mowbray) complains that all women are alike. Evans (Joslyn) tells him,“For Pete’s sake, what difference does that make? You’ve got to have them. They’re standard equipment.”

Frankie takes Vicki Lynn out into New York cafe society – All three schemers, the columnist, the washed up actor and Frankie, bring her to the cafe and make a big noise, grabbing the attention of Lady Handel (May Beatty) who invites them over to her table. In order give the impression that Vicki will now be a new sensation, Larry Evans brags in front of the table, that he’ll plug her In his column. They also think that it’ll help Vicki to get noticed if she’s seen on Robin Ray’s arm. The outing is a success. When they bring her home to her apartment building they meet the squirrly desk clerk Harry Williams (Elisha Cook), who takes his sweet time, getting up for Vicki. Frankie gives him a hard time after being so disrespectful. Williams sneers, “She ain’t nobody.”

Back to the present and Frankie’s still in the sweat box. They’re questioning Jill too. She’s telling the cops about Vicki’s plans. She’s got, “Grand ideas about becoming a celebrity.” They ask about Frankie’s involvement. Another flashback – the sisters are talking about Vicki’s new venture. Vicki tells Jill, “They’re gonna glamorize me.” Jill tells Vicki that she doesn’t trust Frankie’s promises, and apologizes for sounding stuffy. She warns Vicki about having unrealistic aspirations. Flashback even further. Frankie shows up at the cafeteria. Vicki keeps dishing out the wise cracks. He shows her the newspaper article about her making a splash at the El Chico Club.

“Why all the cracks you don’t even know me?” “I don’t know anything about art, but I know what I like.” Back at the present day, at the police station. Jill continues to tell the cops how successful Vicki’s climb was. Backwards once again-

Jill Lynn I don’t want to tell you your business, but don’t you think you’re making a fool of yourself?
Vicki Lynn What do you mean?
Jill Oh, this Frankie Christopher. People like that, what have they got to do with people like us?
Vicki Jill, they’re going to help me!
Jill In what way?
Vicki They’re gonna’ glamorize me. They may have started this thing as a gag, but, after taking one look at those million-dollar debutantes tonight, I realized I can give them cards in spades and still come out on top.
Jill Vicky, you’ll never come out on top by any shortcuts. One week your picture’s on the cover of a magazine, the next it’s in the ash can.

Frankie arrives at the girls apartment, and Vicki breaks the news to Frankie that she’s going away to Hollywood. She’d done a screen test and signed a long term contract. He’s angry. She went behind Frankie’s back after everything he did for her. She defends herself “Some people think I’m a pretty attractive girl. I’m no Frankenstein you know!” Frankie comments, “I wonder.”

Jill tells the cops she was pounding a typewriter breaking her finger nails, and Vicki did get the Hollywood contract, so she might have been right about taking the risk with an acting career and becoming a star.

Another flashback The three men are sitting around the bar..

Robin Ray [indignant] Can you imagine her walking out on me, after all that I’ve done for her? Me!

Larry Evans [slightly incredulous] “You’ve” done for her? What have *you* done for her?

Robin Well, I took her out to all the bright spots, I let her be seen with me everywhere… It made her feel important.

Larry Why, you parboiled old ham! You don’t think anybody thought there was anything between *you* two, do you? If it hadn’t been for my plugging in the column, people would’ve thought she was your trained nurse.

Robin Why, you ink-stinking word slinger! I was famous when they were changing your pants 20 times a day!

Jumping to the present again, Jill is still being questioned by the cops. They want to know if Vicki had anyone in her life. Jill remembers a peculiar thing that happened. She tells them she was sitting at the table in the cafeteria waiting for Vicki to get off work. The peeping prowling, Ed Cornell’s giant shape stares at Vicki through the window. He has a queer look on his face. Jill maintains her stare, holding her coffee cup, she is unable to put it down as she studies him, uncomfortably. Once he notices Jill catching him ogling Vicki, he skulks away. Mockeridge’s score undergoes a sinister change, emphasis on the rhythmic accents of a classic horror picture.

Jill tells her sister, “You seem to have an admirer there’s some guy looking through the window like the wolf looking for the 3 little pigs.” The girls are walking on the street, Cornell is leaning against a wall, Jill points out to Vicki that he’s the one. “He gives me the creeps” Vicki says, “You’ll have to get used to that, they’ve got more wolves in New York than they have in Siberia” She tells the cops she saw him several times after in odd places. He never said anything but watched Vicki, it frightened Jill. There was something strange about him, the way he looked at Vicki. Always turning up in strange places. The cops look skeptical about her “mysterious stranger.”

The cops think Jill is trying to protect Frankie “I just don’t believe he did it, that’s all” They ask if she’s involved with him, and accuse her of being in love with him and wanting Vicki out of the way. Jill demands to see someone in authority, so they tell Mac to get Cornell. Who walks in? The creep who watched Vicki through the plate glass!

Enter rabid, self-righteous homicide Detective Ed Cornell (Cregar). Once he sets his sights on Frankie he begins to mercilessly hound him to the ends of hell if necessary, going after him with a flaming vengeance, trying to pin the murder on him. Cornell knows that Frankie is innocent but he is determined to persecute him. Cregar made an all too short career out playing imposing characters. He died at 28 in 1944 due to complications from a crash diet, always struggling with his weight, striving to obtain leading man status.

Jill is startled, the room is smoky and this massive shape looms over her with his girth “That’s him, that’s the man!” They think she’s crazy. First it’s a mysterious stranger peeking through windows and now it’s Ed Cornell. “Thats my job to look at people.” Leaving the dark corner of the sweat box into the smoke factory with Frankie, things become more visible as Cornell emerges as a menacing force. She insists, “I did see you.” “Alright Alright I’m a peeping tom.”

Jill Relates what happened on the car ride with Frankie, the night he learned Vicki was leaving, and she tells him he’ll be glad to get rid of her, because Jill is in love with him. That Jill is just covering up her feelings. Frankie says Jill being in love with him, never entered his mind. Vicki is sure, “I know it’s much deeper than that. That’s why its so dangerous. Anything might happen.”

Cornell writes down everything in his pad. Jill says that Vicki didn’t mean the line about being glad to get rid of her, but he corrects her, “What she meant doesn’t count. It’s what she said.”

The night Jill found Vicki, as soon as she came out of the elevator she got a feeling something was wrong. There was  music blasting from the radio. Frankie was there already – ”Jill you don’t think I did it, do you?” Jill is in shock.

Cornell goes back into the interrogation room with Frankie and tells him he knows about Vicki’s ‘get rid of me’ statement. The obessed Cornell comes up with a scenario. Frankie’s mind got more and more inflamed with jealousy and hurt pride. Went up there and killed her in cold blood. Cornell loses his cool and lunges at Frankie, ”I’ve got a mind to kill you right now.”When Cornell gets rough, the other cops have to break it up. They all like Frankie and ask if he’s got any tickets to the fights. They ask Cornell “What’s the idea of riding him, so hard?” “I have years of experience in this racket. If that isn’t the look of a guilty man, I’ll take the rap myself.” The District Attorney winds up getting his back up with Cornell when he focuses so much on Frankie’s guilt.

The District Attorney (Morris Ankrum) apologizes to Frankie. Jill is in the office too, and tells him they think they know the identity of the killer. It’s the switchboard operator at the sisters’ apartment building. They think it’s Harry Williams. Jill leaves the police station and Frankie asks why they think it’s Williams. The D.A. tells him, William’s been missing since 5pm last night, probably hiding out scared and shaky.

Frankie is released and later that night, Mature wakes up to find the huge, menacing Cregar sitting beside his bed, “Well that’s the first time, I had a bad dream with my eyes open.” “Someday you’re going to talk in your sleep, and when that days comes I want to be around.” The scene hints at Cornell’s repressed homosexual passion.

Cornell tells him he’ll get all the evidence he needs and tie him up like a pig in a slaughter house. Frankie unrattled, tells him, ”You’re the bright boy” and reminds him that they think Williams murdered Vicki. Victor Mature is so smooth, so mellow when he’s playing at being sarcastic, He says, “You’re like something out of a museum you ought to have a magnifying glass and one of those trick hats with the ear flaps” Frankie throws Cornell out after he calls him cocky, and has had it his way too long. First with Vicki, then Jill. Cornell’s resentment is showing.

Jill finds Harry Williams who’s returned to the apartment building. She’s moving out, but he has already packed up her bags and taken them down to the lobby. Williams is a suspiciously hollow little insect who Jill finds strange. Frankie meets up with Robin at the police station. The cops show a reel of Vicki singing at a night club. Cornell watches her longingly which gives Frankie a window into Cornell’s longing for the dead girl. Cornell looks at Frankie with contempt.

The film of Vicki appears in the dark room filled with cigar smoke that makes wispy clouds float, and the rays of light from the projection booth. The light cast on Frankie’s eyes are like an illuminated mask, it accentuates his epiphany — that Cornell is obsessed with Vicki. He catches something in his stare. The light on Cornell’s face as HE stares back at Frankie, unmasks only half of his face, revealing the duplicity Cornell projects throughout the picture. It’s a brilliantly framed shot by Cronjager.

The film reel resurrects Vicki from the dead, like a ghost haunting the room. Robin Ray squirms in his chair and runs to get out. The door is locked. His behavior hints at his guilt. They put the lights on and bring him into the D.A.’s office. Ray tells them how he felt about her. She laughed at him. Called him “a has-been and didn’t want to hitch her wagon to a falling star.” He’s the one that arranged the screen test but she went down there alone. He is obsolete, they decided they didn’t need him. While he talks about her, Cornell looks out the window. Daylight casts patterns from the venetian blinds that cut across his face. Odd angle profiles tilt the two-shot of Cornell and Mac off kilter. Ray has an alibi. He was at a sanitarium. Cornell checked it out already and is gleeful that it rules out yet another suspect. He wants Frankie to fry for it. Cornell would have Frankie in the death house by now. “That won’t prevent you from going to the hot chair.” 

As Frankie is leaving the police station Cornell asks him for a lift uptown “Sure, always happy to oblige a goon”

Ed Cornell [bumming a ride in Frankie’s car] “I’m sorry to have to ask you to do this, but I’m a little short on cash lately. You see, I’ve spent so much of my own dough, trying to build up this case against you.”

Frankie Christopher (Victor Mature) Well, if there’s anything you need, just let me know.”

Ed Cornell Oh, I imagine they’ll make it right with me when I bring in the material for your trial. They usually do in these cases. I nick a guy on my own time and send him up to the chair, then I get back pay.”

Frankie Christopher “Must be a great life – like a garbage man, only with people!”

Ed Cornell “I got practically all the evidence I need now. I could arrest you today for that matter, but you might get some smart mouthpiece and get off with life instead of the chair. I won’t be satisfied until I’m *sure* it’s the chair.”

Frankie Christopher “You’re a gay dog, Cornell. You make me feel as if I’m driving a hearse!”

Ed Cornell Oh, I know your type. I’ve seen hundreds of them. I don’t scare you enough to make you commit suicide, but I worry you just the same. And when the day comes they all act different. Some scream, a few faint, some light a cigarette and try a wisecrack. But it sticks in their throats – especially when they’re hung.”

Cornell shows up at Jill’s new apartment to intimidate her. Jill “What’s the good of living without hope?” Ed Cornell signals his own personal torture- “It can be done.” He advises her to just play along, insisting that she’s not even sure Frankie’s innocent. Once he’s left, Jill pulls out a note from behind a framed painting on the wall. It’s from Frankie to Vicki, “After what you did last night, the sooner you’re out of the way the better it will be.”

Frankie takes Jill to the fights and then out on the town. She asks if he ever brought Vicki to the fights, and tells him it’s the first New York night club she’s ever been to. The El Chico club, he first took Vicki to. She sees how nice he is without all the flashy bluster and pretense. He’s actually very real. Cornell follows them. Frankie asks her why she suddenly called him, “The trouble with you is that you pretend you don’t care about things but you do. You were very upset about Vicki’s death weren’t You? He tells her he’d like to find the guy, “Save the State on it’s electric bill. She was a good kid” Jill doesn’t want him to be guilty. “Did you love her? “No, do you think if I’d loved her I would have tried to exploit her the way I did?… Vicki was pretty, gay and amusing She had lots to offer and I wanted to put her in the right place on the map. After all that’s my business But when a man really loves a woman, he doesn’t want to plaster her face all over papers and magazines. He wants to keep her to himself.”

Looking into her eyes, he tells her he’s in love with her. Larry Evans sees them together and calls in the story “Stepping out… Dancing on the grave.”

Frankie takes Jill to his favorite swimming spot. It’s a lovely scene, that brings some lightness to the external space in the story. She shows him the note he wrote to Vickie and he asks why she didn’t turn it into the police. Jill tells him she knew he was innocent and what the note meant, at the moment they were dancing at the nightclub. When they are back at the apartment, Cornell walks in and takes the note. They cuff Frankie. Cornell who is obviously framing him is just waiting for the chance to catch him. Frankie tells him anyone could have written a note like that. He was burned up when Vicki dropped the bomb that she was leaving. He finds out that Cornell has planted a set of brass knuckles in his apartment. Vicki was hit hard behind the ear with a heavy object. The depraved Cornell punches Frankie in the guts. “You’re like a rat in a hole.”

As Cornell is about to take him downtown, Frankie on the ground after Cornell’s hostile assault, Jill hits Cornell from behind, and helps Frankie escape. Big fat head bullying him, she says.

Frankie proposes, “Mind marrying a hunted man?” She tells him, “Most married men have a hunted look anyway.” He tells her his real name – Botticelli, the son of Italian immigrants. Then he shows her how to hide in the city. They duck into in an adult movie house, watching the same picture over and over. Then they decide to split up for the time being and she goes to the public library. The cops find her, and Frankie sees them taking her away. The newspaper headline says “Christopher eludes police dragnet.” Cornell stalks the streets. Frankie sneaks up on him. “Let Jill go”, and he’ll turn himself in. Ed Cornell (Laird Cregar) “I’ll follow you into your grave. I’ll write my name on your tombstone.” “You’re not a cop you’re crazy trying to frame an innocent man.” Frankie throws a tootsie roll at him and takes off. Cornell assures him, he’ll eventually get him. Always smirking like the devil.

Cornell tells the D.A. a parable about the African Butterfly and how to trap the male is to let the female free. He wants him to let Jill out of her box to lure Frankie. She goes home, sneaks out through the window, and surprises Frankie at the adult movie house. At the apartment she has found little cards from flowers that were sent to Vicki, and at the funeral. She shows them to Frankie. The message on the cards say, “Because I promised.”

They go to Rosedale Cemetery and when he meets the caretaker, Frankie pretends to be reporter and ask if anybody lately has been around Vicki’s grave. There were many flowers at the funeral, and the caretaker tells him that the grave’s been getting flowers each day since she died. Frankie learns where they were sent from, and goes to Keating Florist. It turns out the Larry sent them. Frankie confronts Larry who admits he was with Vicki the day she died. He had promised to send her flowers every day when she left for Hollywood, and he wanted to keep his word. Larry winds up giving Frankie a clue about the killer, and he goes to the old apartment and gets Mac to give him a half hour. He has a strong hunch.

The next scene is ripe with atmosphere when Frankie leans against the wall in Vicki’s old apartment. The lattice shadows fence Frankie in. Harry Williams is sleeping at the front desk. Vicki rings the desk and speaks in Vicki’s voice “Hello Harry, this is Vicki” He’s visibly shaken. Frankie watches his reaction. His eyes open wider as the buzzing mocks him, “Harry this is Vicki. Why did you do it Harry? Didn’t you love me?” Frankie confronts Williams. “You let yourself in with your pass key and waited for her. You loved her. She panicked and screamed.” William’s admits,  “I told the cop that when he chased me to Brooklyn. Cornell knew all along it was Williams. The dirty Cornell told him to just come back and keep his mouth shut. Mac hears the confession. Frankie tells him, he wants 5 minutes alone with Cornell.

He goes to his apartment finds a perverse and macabre shrine to Vicki. Her image is like a talisman in his sufficating little apartment. He discovers the prominent photograph of Vicki in an elaborate frame. Cornell unaware that Frankie is there, comes in and places fresh flowers underneath the photograph, as an offering. Frankie watches then emerges, “You knew. Why’d you want to fry me?”He tells Frankie, “I lost Vicki long before Williams killed her. You were the one who took her away from me” Cornell wanted to marry her. Had this furnished apartment set up. Bought her perfume. “Til he came along and put ideas in her head. She thought she was too good for me. He could had killed him then.” Frankie puts it to him, “Why didn’t ya?” “Cause I had the hook in your mouth and I wanted to see you suffer.”

Cornell resented Frankie’s closeness to Vicki, and inhabits a world that excludes him. In contrast to the suave Frankie Christopher, he is a lumbering and awkward outsider. To Cornell, Vicki will always be as unattainable as the first time he gazed upon her through the window. He was struck by her beauty, but she was completely and forever out of his reach. Cornell is like a lurking monster straight out of a classic horror movie. His uneasy presence lends to a surreal and menacing mood.

A Trailer a day keeps the Boogeyman away! I Wake Up Screaming (1941)

Continue reading “31 Flavors of Noir on the Fringe to Lure You In! Part 1”