30 More Days Of Noir #12: No Man’s Woman (dir by Franklin Adreon)


This 1955 film tells the story of a murder.

When we first meet Carolyn Elleson Grant (Marie Windsor), she refuses to give her husband, Harlow Grant (John Archer) a divorce, despite the fact that they’ve been separated for several years and Harlow now wants to marry Louise Nelson (Nancy Gates) and Carolyn is now involved with an art critic named Wayne Vincent (Patrick Knowles).  Carolyn only married Harlow for his money and, while she has other rich lovers, she just enjoys making Harlow’s life as difficult as possible.  It’s hard to blame her because Harlow is kind of whiny.

However, Carolyn has grown bored with Wayne Vincent and she’s now decided that she would rather get involved with Dick Sawyer (Richard Crane), who is rich and owns a boat.  However, Dick is engaged to Carolyn’s personal assistant, Betty (Jill Jarmyn).  Carolyn thinks it would be perfectly amusing to not only seduce Dick but to also destroy Betty’s happiness.

Why?

As one character put it, Carolyn is “a witch!”

(Someone then adds that Carolyn is a word that “rhymes” with witch.  They don’t actually say the word because this film was made in 1955 but still….)

With Carolyn casually trying to destroy everyone’s lives and happiness, is it really a shock when some unseen person shows up at her art studio late at night and shoots her?

With Carolyn dead, it falls to Detectives Colton (Louis Jean Heydt) and Wells (John Gallaudet) to figure out the identity of the murder.  They immediately suspect that it had to have been Harlow Grant.  Not only does he have the motive and the opportunity but his name is Harlow Grant and I defy you to find anyone named Harlow Grant who hasn’t subsequently turned out to be involved in something shady.  Harlow, however, insists that he’s innocent and the investigation is about to get a lot more complicated….

Well, okay, maybe not a lot more complicated.  To be honest, it’s really not that difficult to figure out who the murderer actually is No Man’s Woman but that’s okay.  The investigation itself only takes the last third of this 70-minute film.  No Man’s Woman is a like a low-budget version of Gosford Park.  The murder is less important than all of the drama surrounding it.

And make no mistake, there’s a lot of drama!  This is a fun movie, specifically because Carolyn is such a wonderfully evil character and Marie Windsor has so much fun playing her.  Carolyn doesn’t really have any deep motivation for why she does the terrible things that she does.  She just does them because she can and she believes that she can get away with it.  A good deal of the film’s entertainment comes from just seeing how bad Carolyn can be.  In fact, you’re a bit disappointed when she’s murdered because Carolyn is the most enjoyable character in the movie.  She’s someone who is literally willing to do and say anything and she makes an apologies for her actions.  You wouldn’t necessarily want to work with her but she’s fun to watch.

The rest of the cast is adequate.  John Archer and Nancy Gates are a bit on the dull side as the “good” characters but I liked the performances of the other suspects.  Richard Crane and Jill Jarmyn, in particular, are memorable as Dick and Betty.  I loved how going out on someone’s boat was apparently the height of decadence in 1955.

No Man’s Woman is an entertaining mix of noir and soap opera.  Find it on Prime!

Diamond Among the Coal: Bela Lugosi in BOWERY AT MIDNIGHT (Monogram 1942)


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I’ve written about Bela Lugosi’s infamous ‘Monogram 9’ before, those ultra-cheap spectacles produced by the equally ultra-cheap Sam Katzman for low-budget Monogram Pictures. These films are all Grade Z schlock, redeemed only by Lugosi’s presence, giving his all no matter how ludicrous the scripts or cardboard the sets. BOWERY AT MIDNIGHT is a cut above; still schlock, but the pulpy premise is different from the rest, and Bela gives what’s probably his best performance out of the whole trashy bunch.

Lugosi plays kindly Karl Wagner, a benevolent soul who runs the Friendly Mission down on the Bowery. But wait – it’s all a front for recruiting down-on-their-luck criminals into Wagner’s gang of thieves. And when he’s done with them, he bumps them off and gives the corpses to ‘Doc’, a dope fiend ex-medico who uses the bodies for his own nefarious purposes!

But wait again! Wagner’s not really Wagner, he’s…

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Hell Bent for Vengeance: Randolph Scott in DECISION AT SUNDOWN (Columbia 1957)


gary loggins's avatarcracked rear viewer

I seem to have gained some new channels along with my new DirecTV receiver. I’m not sure why, but I won’t argue…  at least until I see the bill! One of them is Sony Movie Channel, featuring the Columbia Pictures catalog, and I recently viewed DECISION AT SUNDOWN, the third of seven Western collaborations between star Randolph Scott  and director Budd Boetticher. The plot and setting are simple, yet within that framework we get a tense psychological drama about a man consumed by vengeance and hatred.

Scott, still cutting a dashing figure at age 59, plays Bart Allison, who along with his pal Sam, ride into the town of Sundown on the day of Tate Kimbrough’s wedding to Lucy Summerton. Bart’s not there to offer his congratulations though; he announces his intention to kill town boss Tate. The reason: Bart holds Tate responsible for his wife’s suicide three years ago. Bart and Sam then hole up…

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Embracing the Melodrama Part II #21: Emergency Hospital (dir by Lee Sholem)


Emergency Hospital

Right now, on Netflix, you can find Emergency Hospital, a low-budget film from 1956.  Emergency Hospital, which probably was made to be the second feature on a double bill, covers the course of one night at a hospital.  Patients come in.  Crimes are investigated.  Two doctors — one a man and one a woman and since this film was made in the 50s, that leads to all sorts of confusion — deal with all of the patients.  The film manages to stuff a lot of incidents into just 61 minutes of running time.

If you look at the poster above, you’ll see that it implores us to “STOP THE MANIAC!  He menaces women in a thrill-crowded city of violent and lust!”  I’m not really sure which of the film’s many subplots that is meant to refer to.  At one point, the son of a police detective is brought in after crashing his car.  He briefly attempts to hold a nurse hostage with a scalpel but, in the end, he doesn’t turn out to be much of a maniac.

In fact, if there’s anything that really distinguishes Emergency Hospital is just how low-key it is.  For the most part, the film emphasizes the fact that everyone at the hospital is focused on doing her or his job.  The patients all come in with their own individual melodramas but, for the most part, the doctors and the police all react calmly and rationally.  It’s interesting to compare Emergency Hospital to something like Magnificent Obsession.  Whereas Magnificent Obsession truly embraces the melodrama, Emergency Hospital invites the melodrama to pull up a chair and then tells it to calm down.

Perhaps because it was such a low-budget and obscure film, Emergency Hospital gets away with taking a look at and talking about issues that you normally wouldn’t expect to be so openly explored by a film made in the 50s.  And, interestingly enough for a film made in a culturally reserved time, the doctors and nurses at Emergency Hospital take a rather open-minded and nonjudgmental approach to their patients.  An anxious mother comes in with her bruised baby and is confronted about being an abusive parent.  A teenage girl comes in after being raped and the doctors try to convince her father (who thinks his daughter’s reputation will be ruined) to call the police.

Now, make no mistake about it: Emergency Hospital is not a secret masterpiece.  It’s an extremely low-budget movie that looks like an extremely low-budget movie.  But, taking all that into consideration, it’s still a lot better than your typical 61 minute second feature.

Emergency Hospital can currently be watched on Netflix.

Horror on TV: Twilight Zone 2.28 “Will The Real Martin Please Stand Up?”


 

TheTwilightZoneLogo

Tonight’s episode of The Twilight Zone examines what happens when a freak snow storm breaks out, a bus makes a stop at a late night diner, and reports come in of a UFO landing somewhere in the area. The fun starts once the bus driver realizes that he has an extra passenger. Who is the alien? Or, any other words: Will the real Martian please stand up? This episode is a classic example of how a group of strangers trapped in one location can be used to generate a lot of suspense. It has a great ending as well!

This episode was originally broadcast on May 26th, 1961. It was written by Rod Serling and directed by Montgomery Pittman.