30 More Days of Noir: The Killer Is Loose (dir by Budd Boetticher)


Film noir comes to the suburbs!

The Killer is Loose opens with the robbery of a savings and loan.  At first, it seems like meek bank teller Leon Poole (Wendell Corey) behaved heroically and kept the robbery from being far worse than it could have been.  How meek is Leon Poole?  He’s so meek that his nickname has always been Foggy.  People have always made fun of him because of his glasses and his bad eyesight.  Everyone assumes that Poole is just one of those quiet people who is destined to spend his entire life in obscurity.

However, the police soon discover that Leon Poole is not the hero that everyone thinks that he is.  Instead, he was involved in the robbery!  When Detective Sam Wagner (Joseph Cotten) leads a group of cops over to Poole’s house to arrest the bank teller, Poole’s wife is accidentally shot and killed.  At the subsequent trial, Poole swears that he’ll get vengeance.  And then he’s promptly sent off to prison.

Jump forward three years.  Leon Poole is still in prison.  He’s still deceptively meek.  He still wears glasses.  Everyone still assumes that he’s harmless.  Of course, that’s what Poole wants them to believe.  He’s still obsessed with getting his vengeance.  Meanwhile, Detective Wagner and his wife, Lila (Rhonda Fleming), are living in the suburbs and have a somewhat strained marriage.  Lila wants Wagner to find a less dangerous and less stressful job.  Wagner wants to keep busting crooks.

When Poole see a chance to escape from prison, he does so.  That’s not really a shock because even the quietest of people are probably going to take advantage of the chance to escape from prison.  What is a shock is that Poole ruthlessly murders a guard while making his escape.  He then kills a truck driver and steal the vehicle.  He then tracks down his old army sergeant and guns him down while the man’s wife watches.  Always watch out for the quiet ones, as they say.

Now, Poole has just one more target.  He wants to finish his revenge by killing Lila Wagner.

The Killer is Loose is a tough and, considering the time that it was made, brutal film noir.  (Seriously, the scene where Poole kills his former sergeant really took me by surprise.)  While both Rhonda Fleming and Joseph Cotten give good performances in their roles, it’s Wendell Corey who really steals the film.  Corey plays Poole not as an outright villain but instead as a man who has been driven mad by years and years of taunts.  After spend his entire life being told that he was a loser, Poole finally decided to do something for himself and, as a result, his wife ended up getting killed by the police.  Now that Poole’s managed to escape from prison, he’s willing to do anything just as long as he can get his final revenge.  Corey plays Poole with a smoldering resentment and the performance feels very real.  (If the film were made today, it’s easy to imagine that Poole would be an anonymous twitter troll, going through life with a smile on his face while unleashing his anger online.)  It brings a very real spark and feeling of danger to a film that would otherwise just be a standard crime film.

The Killer Is Loose also makes good use of its suburban setting, suggesting that both Fleming and Cotten have allowed themselves to get complacent with their life away from the obvious dangers of the big city.  You can buy a new house, the film seems to be saying, but you can’t escape the past.

Halloween Havoc!: THE MUMMY’S CURSE (Universal 1944)


cracked rear viewer

Okay, how the hell did Kharis and Ananka get from Mapleton, Massachusetts to the Bayous of Louisiana? That question is never answered in THE MUMMY’S CURSE, though I suppose it doesn’t really matter. The Mummy series needed an injection of something, and despite the unexplained change of scenery, this last entry is better than the previous two.

The Federal government is determined to drain the local swamp (how’s THAT for a switch!) down in Cajun Country, when two representatives of the Scripps Museum, Drs. Jim Halsey (Dennis Moore) and Ilzor Zandaab (Peter Coe ) arrive, sent to retrieve the two mummies lost there in our last episode (even though the swamp was in Mapleton then!). Project leader Pat Walsh (Addison Richards) protests, but there’s nothing he can do about it. One of the workers is found murdered, and the rest of the superstitious lot suspect Kharis has returned (“The devil’s…

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Lisa Cleans Out Her DVR: High Noon (dir by Fred Zinnemann)


(I am currently in the process of cleaning out my DVR!  I recorded the 1952 best picture nominee, High Noon, off of Retroplex on January 28th.  This review is scheduled to posted at 12 noon, central time.  Clever, no?)

High Noon is a testament to the power of simplicity.

It’s a famous film, one that continues to be influential and which is still studied today.  It’s known for being one of the greatest westerns ever made but it’s also a powerful political allegory.  Even people who haven’t seen the film know that High Noon is the moment of the day when someone shows their true character.  Just as everyone knows the plot of Star Wars, regardless of whether they’ve actually watched the film, everyone knows that High Noon is about a town marshal who, after the entire town deserts him, is forced to face down a gang of gunmen on his own.

And yet, it really is a surprisingly simple movie.  It’s the quintessential western, filmed in black-and-white and taking place in the type of frontier town that you would expect to find hiding on the back lot of an old movie studio.  Though wonderfully brought to life by a talented cast, the majority of the characters are familiar western archetypes.

There’s the aging town marshal, a simple man of integrity.  Gary Cooper won an Oscar for playing the role of Will Kane.  When we first see Will, he’s getting married in a frontier courtroom.  All of the town leaders have come to his wedding and all of them wish him luck in the future.  Will is retiring and everyone agrees that the town would never have survived and prospered if not for Will Kane.  After all, Will is the one who captured the notorious outlaw, Frank Miller.  When the news comes that Miller has been pardoned and will be arriving back in town on the noon train, everyone tells Will that he should just leave town and go on his honeymoon.  However, the new marshal will not be arriving for another day and Will is not willing to abandon the town.  However, the town is more than willing to abandon him.

Will’s new wife is Amy Fowler (Grace Kelly).  Amy is a Quaker and a pacifist.  Amy begs Kane to leave town but Kane says that he’s never run from a fight.  Amy tells him that she’ll be leaving on that noon train, with or without him.  Helen Ramirez (Katy Jurado) is the former girlfriend of both Kane and Miller.  She is one of the few people in town to call out everyone else’s cowardice but she is still planning to leave before Miller arrives.  As she explains it to Amy, she would never abandon Kane if he were her man but he’s not her man anymore.

The townspeople, who first appear to be so friendly and honest, soon prove themselves to be cowards.  None of them are willing to stand behind Will.  The Mayor (Thomas Mitchell) publicly castigates Will for staying in town and putting everyone else in danger.  Deputy Harvey Pell (Lloyd Bridges) says that he’ll only help Will if Will recommends him as his replacement.  The town minister (Morgan Farley) is more concerned with why Will was married by the justice of the peace, instead of in the church.  The town judge (Otto Kruger) leaves early, saying he can be a judge in some other town.  One of the few people to show Will any sympathy is the former marshal (Lon Chaney, Jr.) but, unfortunately, he is too old and crippled by arthritis to provide any help.

Though it all, Frank’s gang sits at the train station and waits for Frank to arrive.  One gang member is played be Lee Van Cleef.  He looks really mean!

With a brisk running time of 84 minutes, High Noon unfolds in real time.  Throughout the film, as Kane grows increasingly desperate in his attempt to find anyone brave enough to stand with him, we see clocks in the background of nearly every scene.  We hear the ticking.  We know that both noon and Frank Miller are getting closer and closer.  We know that, soon, Will will have no other option but to stand on the street by himself and defend a town that doesn’t deserve him.

It’s simple but it’s undeniably powerful.

It’s been said that High Noon was meant to be a metaphor for the blacklist.  Frank Miller and his gang were the fascists that, having been defeated in World War II, were now coming back to power.  Will Kane was a stand-in for all the men and women of integrity who found themselves blacklisted.  The townspeople represented the studio execs who refused to challenge the blacklist.  That’s the theory and it’s probably true.  But, honestly, the political metaphor of High Noon works because it can be applied to any situation.  Will Kane is anyone who has ever had to face down the forces of totalitarianism.  He is anyone who has ever had the courage to take a lonely stand while everyone else cowered in the corner.

It’s a powerful metaphor and it’s also a genuinely entertaining movie.  The gunfight is thrilling.  The romance between Will and Amy feels real.  Even the town feels like an actual place, one that has its own history and culture.  It’s a simple film but it’s a great film.

Like a lot of great films, High Noon was nominated for best picture.  And, like a lot of great films, it lost.  In High Noon‘s case, it lost to a film that is almost its exact opposite, The Greatest Show on Earth.  However, Gary Cooper did win an Oscar for his unforgettable performance as Will Kane.

I think we tend to take classic films for granted.  Don’t do that with High Noon.  See it the next chance you get.

Horror on TV: Thriller 1.1 “The Twisted Image”


Tonight’s excursion into televised horror is the very first episode of Boris Karloff’s Thriller!

Thriller was an anthology series that lasted from 1960 to 1962.  Each episode presented a new story of horror and/or suspense.  What makes this series especially memorable is that each episode was introduced by none other than Boris Karloff!  I’ve seen a few episodes of Thriller (the entire series is on YouTube) and, to be honest, it’s kind of a hit-or-miss show.  But Karloff and that mischievous twinkle in his eye makes it all worth it!

This episode originally aired on September 13th, 1960.  It’s called The Twisted Image and stars Leslie Neilsen as a man being stalked by two mentally disturbed individuals.  This episode was well-directed by Arthur Hiller and, if it’s more of a suspense story than a horror story, it still has its creepy moments.

Enjoy!