Friday,
August 28th – Thursday, September 3rd, 2015
Film
Noir Foundation founder and president Eddie Muller introduced this year's
Saturday screenings. The day’s film noirs
were rooted in the writing of Cornell Woolrich. I was able to attend the first
two presentations. Besides the Woolrich connection, both of these noirs feature disoriented war veterans
and fragmented narrative structures.
First
up was the Film Noir Foundation 35mm restoration of THE GUILTY (1947, Monogram Pictures, 71 m), a little-known B-noir completed on what must have been a
microscopic budget. Battle of the Bulge war veterans Mike Carr (Don Castle) and
Johnny Dixon (Wally Cassell) are roommates in a tenement dwelling. Each is
romantically entangled with the twin sister set represented by Estelle and
Linda Mitchell (both portrayed by Bonita Granville). The respective
relationships might best be described as "it's complicated" since
Johnny dropped Estelle for Linda, and now Estelle sees Mike. Of course the
Mitchell sisters embody distinct female archetypes (virgin/whore). The interconnected
relationships are plagued by jealousy and set up to combust in everyone's face,
especially with Johnny showing serious symptoms of post-traumatic stress
disorder. So when Linda does not make it home one night, Detective Heller
(Regis Toomey) takes an understandably hard look at Johnny.
THE GUILTY (1947)
Presumably
the production of THE GUILTY had its
inspiration in director Robert Siodmak's THE
DARK MIRROR (1946), which famously starred Olivia de Havilland in a dual
role. Although the limited resources are all-too apparent, THE GUILTY at times works on a certain raw level. The uncomfortable
morgue sequence with Heller and Mike demonstrates that emotionally-charged
sequences can be created out of very little. Credit director John Reinhardt (HIGH TIDE [1947]) and cinematographer
Henry Sharp (MINISTRY OF FEAR
[1944]) for the construction of a downbeat urban scene with minimal building
materials. Robert Presnell Sr.'s screenplay was based on the Woolrich story HE
LOOKED LIKE MURDER. Though undeniable gritty and accomplished in its own way,
the film did not connect with me quite the way I hoped it would, through no
fault of the restored presentation, which looked and sounded just fine.
The
second feature of the day blew the doors off the first. A 35mm restoration
courtesy of Martin Scorsese's The Film Foundation and the Franco-American
Cultural Fund, THE CHASE (1946, Nero
Films, 86 m) boasts a terrifically perplexing narrative structure. A wild ride
even by oft-convoluted noir
standards, Muller describes the film as something David Lynch might have
directed had he come along in the 1940s. That's a reasonable assessment; there
were a couple of times during THE CHASE
I thought I may have witnessed the seeds of Lynch's crazed LOST HIGHWAY (1997).
The
hand of fate is at work during the opening sequence, when an improbably lost
wallet leads downtrodden Navy veteran Chuck Scott (Robert Cummings) to the elaborate
lair of ruthless gangster Eddie Roman (Steve Cochran) and his associate Gino
(Peter Lorre). Chuck earns a gig as Eddie's chauffeur, which leads to Chuck's problematic
interest in Lorna Roman (Michèle Morgan), the discontented wife of the
tyrannical Eddie. Lorna enlists Chuck to help smuggle her to Havana. To say
much more would betray the film's incredible dreamlike narrative, which
overflows with tense situations within recognizably dangerous noir environments. Perhaps the best of
many highlights culminates in a deadly wine cellar.
THE CHASE (1946)
What
can be expressed without giving too much away is THE CHASE is a standout film of the robust era of mid-40s noir, notable for the surreal daring of
director Arthur Ripley (THUNDER ROAD
[1958]), expressive cinematography by Franz Planer (CRISS CROSS [1949], 711
OCEAN DRIVE [1950], 99 RIVER STREET
[1953]) and exceptional performances. The efficient screenplay was adapted by
Philip Yordan from the Woolrich novel THE BLACK PATH OF FEAR.
"The
Czar of Noir" Muller was very
generous with his time between films as he shared his vast knowledge of films
and stars with eager noir fans of all
ages—definitely a class act. Based on Muller's enthusiasm for the Argentine noir anthology No Abras Nunca esa Puerta
/ Si
Muero Antes di Despertar (1952, 151 m) that was scheduled to follow THE CHASE, I probably should have
remained in the area for the rest of the day. I already regret the fact that I
did not.
Twentieth
Century-Fox Productions, 95m 50s (British version: 100m 46s)
Not
many actors could match the film noir
pedigree of Richard Widmark. After he created the template for the unbalanced noir psychopath in his feature debut KISS OF DEATH (1947), he quickly
followed up with THE STREET WITH NO NAME
(1948) and ROAD HOUSE (1948), all
worthwhile film noirs. He proved he
could play the straight guy in PANIC IN
THE STREETS (1950), but he was at his best playing petty crooks and cheap
con men, i.e. NO WAY OUT (1950) and PICKUP ON SOUTH STREET (1953). Probably
his most fondly remembered film noir,
all of which were produced by Twentieth Century Fox, is the essential NIGHT AND THE CITY, recently made
available in an eminently collectible Blu-ray edition via The Criterion
Collection. Widmark offers a bravura performance bursting with nervous energy
and boundless enthusiasm for life-changing money, complete with his occasional
trademark chuckle that suggests some cognitive issues. Always on the run, his
American protagonist is like a laboratory mouse in the noir maze of London's back alleys, sleazy night clubs and crowded
arenas.
The
narrative begins as it ends, with chiseler Harry Fabian (Widmark) desperately
trying to maintain some distance from those in close pursuit of him. His
money-making schemes continuously land him in trouble; apparently any lessons
learned are forgotten quickly. After he enters the apartment of his significant
other Mary Bristol (the always radiant Gene Tierney), he is about to steal from
her purse before she busts him. It is obvious Mary has gotten accustomed to
this predictable routine of covert behavior. In what has become another overly
familiar exercise, Harry talks with confidence of an exciting income opportunity,
but naturally lacks the start-up funds. Mary just wants to live a simple life
with Harry, but that is not his aim. He wants to "be somebody" and
cannot concentrate on anything other than “a life of ease and plenty.”
With
forever an open eye for the next mark, Harry blends into London's underbelly
like a human chameleon, though his schemes are wearing thin. He dreams he is on
his way to the big time when he meets Gregorius (Stanislaus Zbyszko), an aging
but proud Greco-Roman wrestler, and Nikolas (Ken Richmond), his young and
sturdy protégé. Gregorius despises the entertainment-oriented wrestling his
shady son Kristo (Herbert Lom) promotes. Harry attentively notices the dynamics
of the father-son relationship, and sees a golden opportunity to compete with
Kristo's circus-style wresting shows. Gregorius believes Harry truly admires
the skill and dignity of competitive wrestling, but of course all Harry really
cares about is financial freedom. Harry's materialistic drive is shown to be
destructive to himself and everyone who crosses paths with him. In his own way,
Harry is ambitious and hard-working, but lacks the resources and alliances
necessary to succeed on the very competitive playing field he has chosen. He is
reprehensible alright, but not a totally unlikable guy.
NIGHT AND THE CITY supports Marxist
concerns about the dark side of capitalism, especially in the context of the
urban jungle's thriving night life and sprawling city streets connected by cab
rides, stairways, docks and the Hammersmith Bridge. It is an unforgiving milieu
where you do not dare attempt to escape your existing position in society. The
mere thought of such an endeavor is laughable. In one of the film's greatest
sequences, potential backer Philip Nosseross (Francis L. Sullivan steals every
scene in which he appears) laughs uncontrollably when Harry describes his plan
to become a successful professional wrestling promoter. Thanks to an especially
strong performance from Widmark, Harry earns our sympathy during this awkward
exchange. Despite his best efforts, however, Harry proves himself completely
outmatched in the insiders business world dominated by ruthless creeps like
Philip and Kristo. Another serious problem is Harry is the wrong match for the
honorable man Gregorius, an anachronism in a dishonest world of moral decay and
forgotten values. It is with disgust Gregorius sees that his own son thrives in
this environment of fakery and corruption; a place where the drunken goon
wrestler The Strangler (Mike Mazurki) takes center stage amid appreciative
cheers.
One of
the film's central locations of corrupt capitalism is the wrestling arena,
where diametrically-opposed wrestling styles represent a war that pits art
(morality) vs. business (immorality). In an impromptu bout, Gregorius defeats
The Strangler, but so outdated are the values embodied by the elder wrestler
that he expires shortly after the contest. His only consolation is the brief
moral victory in a rigged system that will continue long after his final gasp.
His passing serves as a death sentence for Harry, who hardly would have
succeeded as a promoter of wrestling in the first place. As so often happens
within the boundaries of the film noir,
fate brings people together to devastating effect. Like Gregorius, Harry overlooks
the simple truth that times have changed, and in fact there is no mainstream
audience for the tradition of Greco-Roman wrestling. Harry proves even more a
fossil than Gregorius when the only way he can provide for Mary as he always
wanted is to sacrifice himself. How fitting his only successful scheme would be
his last.
A
gentleman's club of some sort, The Silver Fox is the other major focal point of
organized corruption and dirty money. It is a place where you never know who
your allies are, and relationships are based on selfishness and deceit,
especially within the incredibly dysfunctional union of marriage as evidenced
by Helen Nosseross (Googie Withers) and her husband Philip. The two appear
condemned to each other, with neither deriving any satisfaction. The oft-used noir motif of the framed portrait finds
repeated use in NIGHT AND THE CITY,
where idealized imagery contrasts with the reality of deceptive relationships
void of potential.
NIGHT AND THE CITY is based on the
novel of the same title by British author Gerald Kersh. Obviously the original
work's title makes a terrific film noir
title, since it describes the setting so typical of film noir drama. The screenplay was adapted by Jo Eisinger (GILDA [1946]). Like Widmark, director
Jules Dassin is associated with some of the very finest film noir has to offer. The road to NIGHT AND THE CITY was paved with BRUTE FORCE (1947), THE
NAKED CITY (1948) and THIEVES'
HIGHWAY (1949). Arguably Dassin's masterpiece was RIFIFI (1955), one of the all-time great heist films.
The superb compositions of cinematographer Mutz Greenbaum
This
new dual-layered Blu-ray version of NIGHT
AND THE CITY comes to us by way of an outstanding 4K digital restoration of
the US theatrical presentation director Dassin preferred. I had always held
this film in high regard, but thanks to the folks at Criterion, I now recognize
NIGHT AND THE CITY as an undisputable
masterpiece of film noir. Also
selectable and of significant interest is the British version of the film,
though it was not the object of the same careful restoration work that distinguishes
the US cut. The British rendition runs approximately 5 minutes longer than the
US version, but the differences between the two are not limited to additional
footage; both versions feature footage absent from the other. Key scenes unique
to the British cut include:
•An
alternate introductory sequence with Harry and Mary.
•An attempt
by Helen to steal from Philip.
•Harry
and Helen embrace in view of Philip.
•Mr.
Hoskins (Edward Chapman) confronts Harry about unpaid hotel accommodations.
•Kristo's
legal representation Fergus Chilk (Aubrey Dexter) and goon Yosh (Russell
Westwood) grill Adam (Hugh Marlowe) and Mary about Harry's whereabouts.
•A
romanticized conclusion between Adam and Mary.
Some of
the above additions lighten the British film's tone in comparison with the
grittier US version. The entirely different scores also contribute to the
slightly different viewing experience each version provides.
All
remaining supplements were culled from The Criterion Collection DVD released in
2005. In "Two Versions, Two Scores" (23m 55s) film music scholar
Christopher Husted compares and contrasts the approach employed by the
respective composers involved in the two versions of the film. Franz Waxman
handled the LA-based score composition for the US version, while Benjamin
Frankel's score for the British version was conceived in London (director
Dassin was blacklisted by the time the film entered post-production). The scores
differ dramatically. Husted also calls attention to the various differences of
the two versions of the film in terms of scenes included and not included.
Recorded
in 2004, the audio commentary track features author Glenn Erickson, who obviously
prepared very well for his discussion of the film, which he notes was
"heavily transformed" from its source material. Erickson confirms
this Hollywood production shot in London was the result of the politics and
blacklisting associated with the emergence of the House Un-American Activities
Committee (HUAC). Dassin never forgave his contemporaries Elia Kazan and Edward
Dmytryk for naming names. Where Erickson and I differ is his take on the
"immature" Harry Fabian, who Erickson views as a character without
any redeeming value. That is a fair assessment, but I see Harry as more of a
tragic figure, hopelessly out of his league. If nothing else, he is no worse
than those who surround him.
Other
extras include an interview with director Jules Dassin (17m 52s). Filmed in
2004, Dassin recalls how Darryl Zanuck—fully aware of the politics of the
time—pushed him to get the most expensive sequences filmed in London early to
discourage anyone from pulling the plug on the project. Dassin talks about the
era of McCarthyism and its impact in excerpts from a 1970 interview that
appeared on the French television show L'INVITÉ
DU DIMANCHE (25m 26s). There is also a vintage trailer (2m 22s) and a
booklet with an excellent essay by critic Paul Arthur.
NIGHT AND THE CITY was remade in 1992
with Robert De Niro in the role of Harry Fabian.
In this
case of the boldly ambitious noir
criminal, Johnny Muller (Paul Henreid) possesses both street smarts and formal
education. Having served some prison time, he is about to crash-land back into
mainstream society, where a tedious desk job awaits him in LA. That is not a
good fit for Muller, and the warden (Charles Trowbridge) knows it. He tells
Muller, "You'll be back here. You're a smart man..." In other words,
intelligent guys don't line up for braindead paper-shuffling jobs. As expected,
Muller proves anxious to resume his depredations instead. He devises a plan to
rob $200K from a casino operated by Rocky Stansyck (Thomas Browne Henry,
uncredited). Muller’s old gang is a little ambivalent, especially Marcy
(Herbert Rudley), who seems keenly aware of the likely outcome of such an
operation.
Johnny Muller (Paul Henreid) in planning mode
After a
narrow escape from the robbery, Muller finds himself looking over his shoulder.
He needs to disappear for awhile, and reluctantly accepts that office job most
anyone would detest. But with Stansyck's ruffians closing in, Muller needs to
disappear permanently. A convenient option presents itself when Muller learns
he has a doppelgänger in psychoanalyst Dr. Victor E. Bartok (also played by
Henreid). The only discernible visual difference between the two men is a scar
that distinguishes Bartok's countenance. So with the aid of a photograph and a
mirror, Muller performs surgery on himself. Disfigured facial features inform a
number of film noirs, such as DARK PASSAGE (1947), NORA PRENTISS (1947), THE BIG HEAT (1953) and CRY VENGEANCE (1954). Often scars symbolize
some aspect of a personality that no longer exists, but there is more than that
going on in HOLLOW TRIUMPH.
The
most pure film noirs contain an
existential moment of recognition when the lead protagonist realizes everything
that could go wrong has gone wrong. HOLLOW
TRIUMPH is noted for one of the best instances of this defining noir trope when Muller is stunned to
discover he scarred the wrong side of his face! That is about as dark as noir gets; he makes the one mistake possible to make from an appearance emulation
standpoint. But the real irony—and there are many in this noir—comes when Muller learns he has become unequivocally accepted
as Bartok. The mirror utilized to create Muller's scar provides the clue to
what really transpires. Muller transforms into a literal mirror image of Bartok, which implies a difference between
the two. As it turns out, that difference merely involves the manner in which
each owes something to a casino. Muller's brother Frederick (Eduard Franz)
correctly generalizes, "...sooner or later it always catches up with
you."
On a
level of plausibility, some might consider HOLLOW
TRIUMPH unwatchable. Though it is true some of the plot maneuvers may seem
preposterous on the surface, the film holds up if observed within the deeper
context of the indifferent noir city.
The entire narrative is constructed around the notion that city people never
look beyond their own personal circles. They are too caught up in their own
affairs to be concerned with what is going on with others. The casino heist is
engineered around this assumption, as is the substitution of Muller for Bartok.
The film's conclusion only emphasizes the individual's sense of alienation
within the noir city, as passers-by
either do not notice or do not care that a defeated man lies near death. The
alienating structure of urban society constitutes the film's “hollow triumph”
over the individual.
Director
of photography John Alton's contribution to the high-contrast
"chiaroscuro" noir look
cannot be underestimated. His well-choreographed interplay between darkness and
light is persistent throughout this photoplay. In his introduction of HOLLOW TRIUMPH that aired on Turner
Classic Movies recently, founder and president of the Film Noir Foundation
Eddie Muller noted that Alton often was the highest-paid crew member of each
film he worked on, and that includes the respective actors. Alton also handled
the cinematography on T-MEN (1947), RAW DEAL (1948), HE WALKED BY NIGHT (1948), THE
CROOKED WAY (1949), BORDER INCIDENT
(1949), MYSTERY STREET (1950) and
one of the greatest film noirs ever, THE BIG COMBO (1955).
HOLLOW TRIUMPH was based on the
novel by Murray Forbes, adapted for the screen by Daniel Fuchs (CRISS CROSS [1949], PANIC IN THE STREETS [1950]). Director
Steve Sekely also helmed the cult sci-fi film THE DAY OF THE TRIFFIDS (1963). Joan Bennett always strengthens any
film she appears in, and her Evelyn Hahn delivers an oft-quoted line of noir dialog in this one: "It's a bitter little world full of sad
surprises and you don’t go around letting people hurt you." If Herbert
Rudley looks familiar to noir fans,
he is absolutely unforgettable as a walking dead man in the early moments of DECOY (1946). Also look for Jack Webb
in one of his earliest roles.
HOLLOW TRIUMPH is a public domain
title. The DVD release from Film Chest was the source of the above screen captures.
