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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Soapy Noir: A KISS BEFORE DYING (United Artists 1956)


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A KISS BEFORE DYING is part soap opera, part film noir, and 100% 50’s kitsch! Based on the best selling debut novel by Ira Levin (who went on to give us ROSEMARY’S BABY and THE STEPFORD WIVES), it’s also the debut of director Gerd Oswald (who went on to give us AGENT FOR HARM and BUNNY O’HARE !).  Lawrence Roman’s screenplay has some suspense, but his characters are all pretty dull and dumb, except for Robert Wagner’s turn as a charmingly sick sociopath.

Wagner is college student Bud Corliss, from the wrong side of the tracks, dating rich but naïve Dorie Kingship (Joanne Woodward) to get his hands on dad’s copper mine loot. And when I say naïve I’m not just whistling Dixie; this girl’s downright dense! Bud, after learning she’s pregnant, decides the best thing to do is not marry her, but bump her off. He whips up some poison…

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Familiar Faces #3: Esther Howard, Grand Dame of Film Noir


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Esther Howard (1892-1965) graced the screen in over 100 appearances, but it’s her work in the shadowy world of film noir for which she’s best remembered. A deft comedienne, Esther was also a member in good standing of Preston Sturges’ stock company, cast in seven of his films. Her matronly looks and acting talent allowed her to play a rich, haughty dowager or drunken old floozy with equal aplomb. Esther may not have been a big star, but her presence gave a lift to any movie she was in, big or small.

Esther in 1931’s “The Vice Squad” (w/Judith Wood)

She was already an established stage actress when she entered movies in 1930. Talkies were all the rage, and Esther began her screen career appearing in Vitaphone shorts opposite the likes of Franklin Pangborn. Her first feature was 1931’s THE VICE SQUAD, a Pre-Code drama starring Kay Francis and Paul Lukas…

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