Mildred Pierce (1945)

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Mildred Pierce (1945)

Mildred Pierce (1945). 111 minutes. Directed by Michael Curtiz. Starring Joan Crawford (as Mildred Pierce Beragon), Jack Carson (as Wally Fay), Zachary Scott (as Monte Beragon), Eve Arden (as Ida Corwin), Ann Blyth (as Veda Pierce Forrester), Butterfly McQueen (as Lottie), Bruce Bennett (as Bert Pierce), Lee Patrick (as Maggie Biederhof), Veda Ann Borg (as Miriam Ellis), Moroni Olsen (as Inspector Peterson), and Jo Ann Marlowe (as Kay Pierce). Music by Max Steiner.

Mildred Pierce is equal parts entrepreneurial narrative, film noir, and melodrama. In some regards, it is an earnestly liberal tale about a hard-working woman who divorces, establishes her own business, and becomes a restaurant mogul. But it is also a lurid and somewhat punishing soap opera about her downfall, which is intertwined with and inseparable from her devotion to her evil young daughter Veda. In the end, in order to get its point across, the movie relies on a fairly conservative understanding of rightful social order and … Read the rest

The Lodger (1927)

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The Lodger (1927)

The Lodger (1927). 91 minutes. Directed by Alfred Hitchcock. Starring Ivor Novello (as Jonathan Drew/the lodger), Marie Ault (as the landlady), Arthur Chesney (as her husband), June Tripp (as Daisy Bunting), and Malcolm Keen (as Joe Chandler).

Alfred Hitchcock’s silent thriller The Lodger is one of the earliest movies to express some of the director’s deepest preoccupations: the pursuit of an innocent man who is confused with a killer, the intersection of sex and murder, the experience of people who suspect someone in their circle of being a criminal, and the suffocating nature of crowds. As such, The Lodger is a rich repository of trademark Hitchcock elements, including his first cameo, and the director himself called it the first true Hitchcock film. At the same time, and paradoxically, the movie bears the marks of some of the other great European filmmakers of its time, such as F. W. Murnau and Fritz Lang. The Lodger is best understood as a transitional … Read the rest

The Maltese Falcon (Three Versions, 1931-1941)

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The Maltese Falcon

The following article is a review of three film adaptations of Dashiell Hammett’s novel The Maltese Falcon: the pre-Code Maltese Falcon (1931), the bizarre comedic Satan Met a Lady (1936), and the superb film noir version (1941).

Synopsis: The Maltese Falcon by Dashiell Hammett (1929)

Sam Spade is a private detective working in San Francisco. A woman identifying herself as Miss Wonderly appears in his office one day and asks for his help: she claims her sister is visiting the city in the company of a disagreeable man, and Wonderly wants the two separated. Spade’s partner Miles Archer takes over the case and agrees to shadow the man, Thursby, but that evening both Miles and Thursby are shot dead.

The next day, Spade meets up with Wonderly, who explains that she and Thursby were involved in a plot to capture an illusory, legendary, jewel-studded falcon statuette that has been smuggled around the world by treasure hunters through the ages. … Read the rest

Night Nurse (1931)

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Night Nurse (1931)

Night Nurse (1931). 72 minutes. Directed by William Wellman. Starring Barbara Stanwyck (as Lora Hart), Ben Lyon (as Mortie/Pal), Joan Blondell (as B. Maloney), Clark Gable (as Nick), Blanche Friderici (as Mrs. Maxwell), Charlotte Merriam (as Mrs. Ritchie), Charles Winniger (as Dr. Arthur Bell), Edward J. Nugent (as Eagen), Vera Lewis (as Miss Dillon), and Ralf Harolde (as Dr. Milton A. Ranger).

Night Nurse boasts many attractions: actresses Barbara Stanwyck and Joan Blondell in the bloom of youth, an almost baby-faced Clark Gable in one of his earliest speaking roles, and a screenplay based on Grace Perkins’s crime novel of the same name. But the main reason to see Night Nurse is because it is a prime example of the type of kinky movie made during what we now call the pre-Code Hollywood period (1929 to mid-1934), which spanned from the advent of sound films to the creation of the Production Code Administration, the internal censorship office of Hollywood’s … Read the rest

Little Caesar (1931)

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Little Caesar (1931)

Little Caesar (1931). 79 minutes. Directed by Mervyn LeRoy. Starring Edward G. Robinson (as Caesar Enrico Bandello/“Little Caesar”), Douglas Fairbanks, Jr. (as Joe Massara), Glenda Farrell (as Olga Stassoff), William Collier, Jr. (as Tony Passa), Sidney Blackmer (as Big Boy), Ralph Ince (as Diamond Pete Montana), Thomas E. Jackson (as Sergeant Flaherty), Stanley Fields (as Sam Vettori), Maurice Black (as Little Arnie Lorch), and George E. Stone (as Otero).

Little Caesar is a gangster movie from the early days of sound—so early, in fact, that it still includes title cards to announce major transitions in a few scenes. It was made before the Production Code was in place, which means that it is more risqué and more violent than movies produced only a few years later when the Code was enforced. The film made Edward G. Robinson a star, and its influence is wide-ranging. The climactic scene in The Godfather (1972) where Michael Corleone’s men gun down an enemy on … Read the rest

The Fallen Idol (1948)

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"The Fallen Idol" (1948)

The Fallen Idol (1948).  95 minutes.  Directed by Carol Reed.  Starring Ralph Richardson (as Baines), Bobby Henrey (as Philippe), Sonia Dresdel (as Mrs. Baines), Michèle Morgan (as Julie), and Denis O’Dea (as Chief Inspector Crowe).  Screenplay by Graham Greene.

The Fallen Idol is a companion piece to the The Third Man, a film that I have often alluded to on this site.  The two movies were released back to back, The Fallen Idol in 1948 and The Third Man in 1949; both were directed by Carol Reed with a screenplay by Graham Greene; both explore a male protagonist’s worshipful attitude towards his male companion, which is rooted in childhood; and in both movies, the companion turns out to be more nefarious than the protagonist at first thinks.  But while The Third Man’s childlike Holly Martins is an adult who has yet to let go of his youthful adoration of friend Harry Lime, The Fallen Idol’s main character Phil is … Read the rest

I Am a Fugitive from a Chain Gang (1932)

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I Am a Fugitive from a Chain Gang (1932)

I Am a Fugitive from a Chain Gang (1932). 93 minutes. Directed by Mervyn LeRoy. Starring Paul Muni (as James Allen), Glenda Farrell (as Marie), Helen Vinson (as Helen), Preston Foster (as Pete), and Allen Jenkins (as Barney Sykes). Based on the memoir by Robert Elliott Burns.

I Am a Fugitive from a Chain Gang is notable for being an early Hollywood social commentary film. Based on the memoir by Robert Elliott Burns, it tells the story of Burns (called James Allen in the movie), who after serving in World War One returns home to the United States with the dream of becoming a civil engineer but ends up doing hard time in a forced labor camp. The subject of forced labor had appeared in theaters previously in, among other things, a popular Disney short starring Mickey Mouse (“The Chain Gang,” 1930), and the 1932 movie based on Burns’s life was soon parodied in a short musical comedy (“20,000 Cheers … Read the rest

The Testament of Dr. Mabuse (1933)

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"The Testament of Dr. Mabuse" (1933)

The Testament of Dr. Mabuse (1933). 124 minutes. Directed by Fritz Lang. Starring Otto Wernicke (as Inspector Lohmann), Karl Meixner (as Hofmeister), Oscar Beregi, Sr. (as Professor Baum), Gustav Diessl (as Thomas Kent), and Rudolf Klein-Rogge (as Dr. Mabuse).

The Testament of Dr. Mabuse is the last film that Fritz Lang made before leaving Nazi Germany.  It begins by introducing the disgraced police detective Hofmeister, who in order to redeem himself in the eyes of his superior, Inspector Lohmann, has doggedly and independently investigated a criminal syndicate. Before he can reveal the name of the head of the syndicate to Lohmann, something happens to Hofmeister to make him go mad, and he is subsequently placed in an asylum. In the same asylum, we find the criminal mastermind Dr. Mabuse, who is insane and rapidly writing strange instructions (his “testament”) on how to carry out illegal activity. Dr. Mabuse is supervised by the psychiatrist Professor Baum, who considers the crime boss … Read the rest

Double Indemnity (1944)

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"Double Indemnity" featured image

Double Indemnity (1944). Directed by Billy Wilder. Starring Fred MacMurray (as Walter Neff), Barbara Stanwyck (as Phyllis Dietrichson), and Edward G. Robinson (as Barton Keyes). Screenplay by Raymond Chandler.

Double Indemnity manages to do something many may have thought impossible: it makes the insurance business seem sexy, exciting, and dangerous. In this film noir, insurance salesman Walter Neff (played by Fred MacMurray) drops by the house of Phyllis Dietrichson (played by Barbara Stanwyck) to renew her husband’s auto policy one afternoon, and eventually, due to his sleazy infatuation with Mrs. Dietrichson, he consents to forging new life insurance papers for her husband that she can use to cash in on an enormous sum once she has tidily eliminated him. It does not take long for the seemingly decent Neff to succumb to Mrs. Dietrichson’s wiles, and soon he is masterminding the plot not only to kill Mr. Dietrichson but to do it in the most profitable way: via a double … Read the rest

Scarface (1932)

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Detail from Movie Poster for the Film "Scarface"

Scarface (1932). 94 minutes.  Directed by Howard Hawks.  Starring Paul Muni (as Tony Camonte), Osgood Perkins (as Johnny Lovo), George Raft (as Guino Rinaldo), Boris Karloff (as Gaffney), Ann Dvorak (as Cesca Camonte), and Karen Morley (as Poppy).  Produced by Howard Hughes.

“Oh, I knew Luciano and Costello, and even Capone, and lesser lights.  It was easy to be in movies and not know them, but almost impossible to be in show business—Broadway—without knowing them, unless you never went out at night to a nightclub and never knew anybody in any form of show business.  Unless you were the Lunts or Katharine Cornell, it was virtually impossible not to get to know them—they were so anxious for you to.  Capone used to take four rows at the opening night for every play in Chicago and come backstage and see everybody.  You couldn’t get to a nightclub without Costello sending over a bottle of champagne, or sit in Lindy’s without Luciano Read the rest