Female Trouble: ONCE A THIEF (United Artists 1950)


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I devote a lot of time and space on this blog writing about ‘B’ Movies, those frequently overlooked quickies from days past made on the cheap for the bottom of a double feature bill. Some are highly innovative, others less so, but they served as a kind of on-the-job-training ‘film school’ before there was such a thing. Most (but not all) of them have something to offer, whether a performance by a cast member on their way up (or down) or an early effort by a future director of note. Recently, I watched ONCE A THIEF, and while it certainly broke no new ground, I found it a tight little ‘B’ noir featuring in this case a female protagonist trapped in that familiar downward spiral.

‘B’ Movie Queen June Havoc (sister of famed ecdysiast* Gypsy Rose Lee) is the troubled gal in question, a down on her luck lady named…

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SUNSET BOULEVARD (Paramount 1950): Film Noir or Hollywood Horror Story?


“Sunset Boulevard” airs tonight on TCM at 8:00pm EST

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“I AM big. It’s the pictures that got small”

  • -Gloria Swanson as Norma Desmond in SUNSET BOULEVARD

I hadn’t seen Billy Wilder’s SUNSET BOULEVARD for quite some time until a recent rewatching. I’ve told you before how much I love a good Hollywood behind-the-scenes movie, and this one is no exception. But as I watched the tale unfold, I began to see the film in a different light. SUNSET BOULEVARD is always called a film noir classic, but this go-round found me viewing it through a lens of horror.

It’s certainly got all the elements of film noir. There’s protagonist William Holden, trapped in a bottomless downward spiral. Gloria Swanson is the femme fatale who ensnares Holden and pulls him into her dark web. The cinematography of John F. Seitz portrays a shadow-world of despair. And we’ve got Billy Wilder directing, the man behind noir masterpiece DOUBLE INDEMNITY, working…

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Silk Purse: MY NAME IS JULIA ROSS (Columbia 1945)


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Columbia Pictures cranked out 52 films in the year 1945, mostly ‘B’ movies with titles like LET’S GO STEADY, I LOVE A MYSTERY, EVE KNEW HER APPLES, ROCKIN’ IN THE ROCKIES, TEN CENTS A DANCE, and THE ADVENTURES OF RUSTY, along with their continuing series featuring Blondie, Boston Blackie, The Crime Doctor, The Durango Kid, and The Whistler. They were programmers, budget jobs, designed to fill a double bill  and a theater’s seats, bread-and-butter movies with no pretenses to reach any artistic heights.

MY NAME IS JULIA ROSS was one of those programmers, a quickie cashing in on the success of the previous year’s hit GASLIGHT. Whereas MGM’S psychological thriller boasted stars Ingrid Bergman and Charles Boyer directed by George Cukor, Columbia headlined their contract players Nina Foch and George Macready , good, competent actors but hardly box office draws. And in place of Cukor, Joseph H. Lewis sat in…

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Cleaning Out the DVR #17: Film Noir Festival 3


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To take my mind off the sciatic nerve pain I was suffering last week, I immersed myself on the dark world of film noir. The following quartet of films represent some of the genre’s best, filled with murder, femme fatales, psychopaths, and sleazy living. Good times!!

I’ll begin chronologically with BOOMERANG (20th Century-Fox 1947), director Elia Kazan’s true-life tale of a drifter (an excellent Arthur Kennedy ) falsely accused of murdering a priest in cold blood, and the doubting DA (Dana Andrews ) who fights an uphill battle against political corruption to exonerate him. Filmed on location in Stamford, CT and using many local residents as extras and bit parts, the literate script by Richard Murphy (CRY OF THE CITY, PANIC IN THE STREETS, COMPULSION) takes a realistic look behind the scenes at an American mid-sized city, shedding light into it’s darker corners.

Andrews is solid as the honest…

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Halloween Havoc!: ALIAS NICK BEAL (Paramount 1949)


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The worlds of supernatural horror and film noir collided to great effect in ALIAS NICK BEAL, John Farrow’s 1949 updated take on the Faust legend. The film wasn’t seen for decades due to legal complications, but last August the good folks at TCM broadcast it for the first time. I have been wanting to see this one for years, and I wasn’t disappointed! It’s loaded with dark atmosphere, a taut screenplay by hardboiled writer/noir vet Jonathan Latimer , and a cast of pros led by a ‘devilish’ turn from Ray Milland as Nick Beal.

The Faust character this time around is Joseph Foster, played by veteran Thomas Mitchell . Foster is an honest, crusading DA with political ambitions. When he says aloud he’d “give my soul” to convict racketeer Hanson, Foster receives a message to meet a man who claims he can help. Summoned to a seedy tavern on…

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Little Tin God: SHIELD FOR MURDER (United Artists 1954)


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Edmond O’Brien  is big, burly, and brutal in 1954’s SHIELD FOR MURDER, a grim film noir about a killer cop trapped in that ol’ inevitable downward spiral. It’s a good (though not great) crime drama that gave the actor a seat in the director’s chair, sharing credit with another first timer, Howard W. Koch. The film, coming at the end of the first noir cycle, strives for realism, but almost blows it in the very first scene when the shadow of a boom mike appears on an alley fence! Chalk it up to first-timer’s jitters, and a budget that probably couldn’t afford retakes.

O’Brien, noted for such noir thrillers as THE KILLERS , WHITE HEAT, and DOA, stars as crooked cop Barney Nolan, who murders a bookie in that alley I just mentioned and rips him off for 25 grand. Apartently, this isn’t the first time Nolan’s killed, with the…

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Roomful of Mirrors: Orson Welles’ THE LADY FROM SHANGHAI (Columbia 1947)


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For my money, THE LADY FROM SHANGHAI is the perfect film noir, a tour de force by producer/writer/director/star Orson Welles that assaults the senses and keeps the viewer enthralled at all times. All this despite the meddling of Columbia Pictures czar Harry Cohn, who demanded Welles reshoot scenes and ordering its 155 minute running time cut down to 87. The version we see today, released in the states in 1948 (it was first run in France six months earlier), is still a brilliant piece of filmmaking thanks to the immense talents of Welles and his cast and crew.

Orson Welles scared the pants off American radio listeners with his Oct. 30, 1938 “Mercury Theatre on the Air” broadcast of H.G. Wells’ WAR OF THE WORLDS. Signed to an unprecedented contract by RKO, Welles’ first feature was of course CITIZEN KANE (1941), now considered by many the greatest film ever made. The film didn’t light…

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