Happy Birthday Bette Davis: THE LETTER (Warner Brothers 1940)


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Film noir buffs usually point to 1940’s STRANGER ON THE THIRD FLOOR as the first of the genre. Others cite 1941’s THE MALTESE FALCON as the film that launched the movement. But a case could certainly be made for William Wyler’s THE LETTER, released three months after STRANGER, but containing all the elements of what would be come to called film noir by future movie buffs. THE LETTER also features a bravura performance by Miss Bette Davis , who was born on this date in 1905, as one hell of a femme fatale.

The movie starts off with a bang (literally) as Bette’s character Leslie Crosbie emerges from her Malaysian plantation home pumping six slugs into Geoff Hammond under a moonlit night sky. The native workers are sent to fetch Leslie’s husband, rubber plantation supervisor Robert, from the fields. He brings along their attorney Howard Joyce, and it’s a…

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Pre Code Confidential #23: Marlene Dietrich in BLONDE VENUS (Paramount 1932)


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Director Josef von Sternberg and his marvelous muse Marlene Dietrich  teamed for their fifth film together with BLONDE VENUS, a deliciously decadent soap opera that’s a whole lot of fun for Pre-Code lovers. Sternberg indulges his Marlene fetish by exploring both sides of her personality, as both Madonna and whore, and Dietrich plays it to the hilt in a film that no censor would dare let pass just a scant two years later.

How’s this for an opening: a group of schoolboys hiking through the Black Forest stumble upon a bevy of naked stage chanteuses taking a swim! The girls scream and try to hide, and beautiful Helen (Marlene) tries to shoo them away. Ned Faraday refuses until Helen agrees to meet him later. Flash forward to a scene of Helen and Ned now married with a young son named Johnny. Ned, a chemist by trade, has been poisoned by…

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Lisa Reviews An Oscar Nominee: The Razor’s Edge (dir by Edmund Goulding)


Oh, 1919!  What a year.  The Great War had ended, leaving much of Europe devastated.  American soldiers were coming home and, scarred by the horrors they had experienced, becoming members of a lost generation.  The Spanish Flu was infecting millions, on the way to eventually wiping out 3% of the world’s population.  It was a grim time so it’s no surprise that many chose to close their eyes and pretend like everything was fine.  Only a few people were willing to look at the world and say, “There has to be something more.”

The 1946 film The Razor’s Edge tells the story of one such man.  Before the war, Larry Darrell (Tyrone Power, Jr.) was like most of his friends back in Chicago.  He was carefree.  He was wealthy.  He was engaged to marry the beautiful but self-centered Isabel (Gene Tierney).  But then he went off to fight in World War I and the experience changed him.  On the final day of the war, another soldier sacrificed his life to save Larry and Larry is now haunted by that man’s death.  No longer sure about his place in the world, Larry announces that he’s rejecting his former life.

Of course, that’s an easy thing to do when you’re rich.  Larry is lucky enough to have an inheritance that he can live off for a few years.  All of his former friends think that Larry’s just struggling to adjust to being back home and they expect that he’ll get over it soon enough.  Isabel’s uncle, Elliott (Clifton Webb), thinks that Larry’s acting like a total fool.  For Larry’s part, he no longer cares what any of them think.  He’s going to travel the world, seeking enlightenment.

While Larry’s searching, life goes on without him.  Isabel ends up marrying one of Larry’s friends, Gray Maturin (John Payne).  Larry’s best friend from childhood, Sophie (Anne Baxter), suffers a personal tragedy of her own and, when Larry next meets her, she’s living as a drunk on the streets of Paris.  Larry keeps searching for the meaning of it all.  He works in a coal mine.  He discusses philosophy with a defrocked priest.  Eventually, he ends up in the Himalayas, where he studies under a Holy Man (Cecil Humphreys).

It’s an intriguing idea and still a relevant one.  Unfortunately, the movie doesn’t really work because Larry tends to come across as being a little bit full of himself.  I could imagine someone like Henry Fonda working wonders with the role but Tyrone Power seems totally miscast as Larry.  When you look at Power, you find it hard to believe that he’s ever had a bad day, much less a need to spend months hiding in the Himalayas.  He comes across as the last person you would necessarily want to take spiritual advice from.  The fact that Webb, Tierney, Payne, and Baxter are all perfectly cast only serves to enforce just how miscast Power is.  It’s a well-intentioned film with nice production values but it’s never quite compelling.

The Razor’s Edge was based on a novel by W. Somerset Maugham.  Interestingly, the film features Maugham as a character, played by Herbert Marshall.  Even more interesting is the fact that the film was apparently remade in 1984, with Bill Murray cast as Larry Darrell.  I’ve never seen the remake so I have no idea if Murray is an improvement on Power.

(Also, since I’ve been pretty critical of Power in this review, let me recommend Witness For The Prosecution, in which Power is much better cast.)

The Razor’s Edge was nominated for Best Picture but lost to another film about returning vets, The Best Years of Our Lives.

Windmills of Your Mind: Alfred Hitchcock’s FOREIGN CORRESPONDENT (United Artists 1940)


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(When Maddy Loves Her Classic Films invited me to join in on the Alfred Hitchcock Blogathon, I jumped at the chance! I’ve just completed the Ball State/TCM 50 YEARS OF HITCHCOCK course, and have been knee-deep in his movies for a month now!)

Alfred Hitchcock’s second American film found the Master of Suspense back in the spy game with FORGEIGN CORRESPONDENT, this time with American star Joel McCrea caught up in those familiar “extraordinary circumstances” we’ve all come to love. Like REBECCA that same year, this film was nominated for Best Picture, an extraordinary circumstance indeed for a director new to these shores. Offhand I can only think of three other directors to hold that distinction – John Ford (also in ’40), Sam Wood (1942), and Francis Ford Coppola (1974). Good company, to say the least! (And please correct me if I’m wrong, any of you film fans out there).

Crime beat reporter…

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Heel with a Heart: Dan Duryea in THE UNDERWORLD STORY (United Artists 1950)


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Hollywood’s favorite heel Dan Duryea got a rare starring role in THE UNDERWORLD STORY, a 1950 crime drama in which he plays… you guessed it, a heel! But this heel redeems himself at the film’s conclusion, and Duryea even wins the girl. Since that girl is played by my not-so-secret crush Gale Storm , you just know I had to watch this one!

The part of muckraking tabloid journalist Mike Reese is tailor-made for Duryea’s sleazy charms. He’s a big-city reporter who breaks a story about gangster Turk Meyers spilling to the D.A., resulting in the thug ending up murdered on the courthouse steps in a hail of bullets. DA Ralph Monroe (Michael O’Shea )  puts the pressure on Mike’s editor, and Reese becomes persona non grata in the newspaper game. Seeing an ad for a partner at a small town newspaper, Mike gets a $5,000 “loan” from crime boss Carl…

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Halloween Havoc!: THE FLY (20th Century Fox 1958)


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THE FLY is one of those films you’re probably familiar with if you’re a horror/sci-fi fan. I’ve seen it many times, but was under the impression it was a black & white movie (probably due to early viewings as a young’un, deprived of color TV). So when I rewatched it again in glorious Technicolor, I was pleasantly surprised. This tale of science gone wrong has held up well, and its iconic scene of The Fly’s unmasking still manages to jolt the viewer (even if you know it’s coming!).

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The film’s framing device finds us witnessing Helene Delombre murdering her husband Andre by squishing his head and arm under a huge hydraulic press (and it’s a pretty gruesome demise), then calling her brother-in-law Francois to tell him. Francois is stunned, to say the least, and gets ahold of his friend Inspector Charas. They drive over to the Delombre Freres (the movie’s set in Montreal)…

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Devil in Disguise: ANGEL FACE (RKO 1952)


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I saved ANGEL FACE for last in this week’s look at RKO/Robert Mitchum films because it’s been  hailed as a near-classic by many film noir fans. It’s certainly different from HIS KIND OF WOMAN and MACAO; much darker in tone, and features an unsympathetic performance by Mitchum. It’s more in the noir tradition of bleak films like DETOUR and BORN TO KILL. But better than the other two? That depends on your point of view. Let’s take a look:

An ambulance screams its way to the Tremayne home in ritzy Beverly Hills. The wealthy Mrs. Catherine Tremayne has been subjected to a gas leak of unknown origin. One of the ambulance drivers, Frank Jessup, comes across beautiful Diane playing the piano. She bursts into hysterics, and Frank smacks her, receiving one in return.  After she calms down, Frank and his partner Bill head home. Frank has a date with his girl Mary…

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