Dick O'Clock

Casino manager Johnny O'Clock (1947) (Dick Powell) awakens to a mess of trouble. Nelle Marchettis (Ellen Drew), the wife of his business partner,a Pete (S. Thomas Gomez) has sent him an expensive watch with a tender endearment engraved on it. Harriet Hobson (Nina Foch), the hat check girl in his casino, is distraught -  her lover, police detective Chuck Blayden (Jim Bannon) has tired of her. Add to this, Police Inspector Koch (Lee J. Cobb) is nosing around his hotel lobby. Johnny's difficulties are just beginning.

This is a film that requires the kind of concentration that you have in a movie theatre, which makes watching it on a television a bit of a commitment. Several of us commented that we did appreciate the opportunity to run the film back and rewatch certain scenes to clarify our questions. But the plot is dense, and though it all ties together in the end, there are periods when you feel like something has been dropped from the action.

Dick Powell is excellent as the titular hero of the piece, a man with a heart who camouflages it with brusque repartee. This was his third appearance as a noir leading man, and he commands the screen. The introductory scenes to the film outline the complexity of the man who now calls himself Johnny O'Clock - there is a subtlety to this opening that negates the fact that these are the background aspects of of the film.

Evelyn Keyes  is also convincing as Nancy Hobson, the sister of the sad Harriet. We felt that during much of the film, Ms. Keyes was able to keep you in doubt as to her motives and next actions, which worked well for the character.  Her autobiography noted the constant changes that were being made to the script by first time director Robert Rossen (TCM article). We wondered if Mr. Rossen's neophyte status as a director (and the ongoing alterations) caused some of the density in the storyline (AFI catalog).

The film opens with Lee J. Cobb visiting the hotel residence of Johnny but it's really not clear WHY he is there. We learn that Johnny, though possessing a slew of aliases, has never had any real problems with the law; and the series of crimes that occur within the film have not yet happened. It's not clear if Inspector Koch is aware of Detective Blayden's side deals, but having Koch there does give us much of that background information that the director/screenwriter Rossen want to convey to the audience. Mr. Cobb is good in the part (though Ms. Keyes noted that he had a penchant for stealing scenes by chomping on his ever present cigar).

Several other actors deserve mention. Ellen Drew is fiendish as the straying wife who has her eye on Johnny; she reminds one of a wild cat - purring one minute and snarling the next. She's given excellent support by Thomas Gomez as her braggart husband - and Johnny's partner. His passion for his wife is evident - as is his jealousy for her obviously wandering eye.  

John Kellogg as Charlie, Johnny's friend and major domo is also worthy of a mention. Charlie seems on the up-and-up, and like Ms. Keyes, keeps his real motivations a secret until the end of the film.  Mr. Kellogg spent much of his movie career in small, often uncredited parts.  He moved easily into television in the 1950s, where he worked until 1990 (he'd started his film career in 1940, after doing some stage work) in shows such as Bonanza, Gunsmoke, and The Untouchables. He died of Alzheimer's Disease in 2000 at the age of 83.

Nina Foch has such a tiny part, but she is quite lovely as the sad-eyed Harriet. She'd made My Name is Julia Ross (a starring role) two years earlier, but that was a B movie, and Ms. Foch rarely got the opportunity to star in A movies. She makes the most of her small amount of screen time - you remember the character throughout the film, thanks to her excellent performance.

Bosley Crowther was unimpressed by the film in his New York Times review: "another of those smoldering exhibitions of gambling-joint jealousy and greed...", while a more recent review Richard Brody in The New Yorker called it "terse and taut film noir." Perhaps had director Rossen had a tad more experience, he would have been able to tighten the film a bit; the nearly two hour length leads to some redundancy that we found unnecessary. 

Lux Radio Theatre did an episode in May of 1947, with Dick Powell and Marguerite Chapman. In summary, we enjoyed the film, in spite of its faults; it's an opportunity to see some good actors, portraying very intriguing characters.  We'll leave you with a trailer:

Charlie's Home Invasion

Aloysius T. McKeever (Victor Moore) has just arrived at his winter home in New York City - the mansion of multi-millionaire Michael J. O'Connor (Charles Ruggles), who is currently in Virginia at his winter home. Mr. McKeever, it seems, has been inhabiting the O'Connor home for several winters now, all unknown to the home's owner. When McKeever happens upon Jim Bullock (Don DeFore), a homeless vet, he invites Jim to stay at the house as well. But things get out of control when Trudy O'Connor (Gale Storm) arrives at the house, and Jim invites his buddies Whitey Temple (Alan Hale, Jr.) and Hank (Edward Ryan, Jr) and their wives (and a baby) to stay at the O'Connor home. It Happened on 5th Avenue (1947).

Victor Moore and Charles Ruggles walk away with this movie as the opposing force and the immovable object, with the dynamic of servant and master completely reversed. The two men bicker and argue throughout the film, but the audience watches as O'Connor grows to like McKeever, despite his laissez-faire attitude towards life and work. 

Victor Moore's Broadway career began in 1906 - he would ultimately appear in 23 Broadway productions, through 1957 (when he appeared as the Starkeeper in Carousel). His film career began in 1915, and continued until 1955. He's probably best remembered as Fred Astaire's pal, Pop in Swing Time (1936) and as the husband being forced to separate from his wife of 50 years in Make Way for Tomorrow (1937). The Victor Moore Bus Terminal in Queens was named for him - he'd funded construction on a bus station there to help local performers get into Manhattan more quickly.  Mr. Moore died in 1962 at the age of 86. 

Frank Capra had originally planned to direct the film, but he eventually passed on it, and the director role was passed onto Roy Del Ruth. Gale Storm found working with Mr. Del Ruth to be somewhat of a problem, as he refused to allow her to sing, even though she was a trained singer (TCM article). Regardless of the lack of her real singing voice, she's enjoyable as Trudy, a plucky young woman who is willing to leave her luxurious life style and take on a job in a music store. Ms. Storm is best remembered today for her television series, My Little Margie and The Gale Storm Show (originally called Oh, Susanna). Later in her career, she would guest star in an episode of The Love Boat, which likely took some of its inspiration from The Gale Storm Show.

Like Gale Storm, Don DeFore (Jim Bullock) is remembered today primarily for his television work - specifically Hazel, in which he played the harried husband. This is one of the few film lead roles he got the opportunity to play, and he's earnest as the young veteran intent on making a better life for himself and his colleagues. His scenes with Ms. Storm are very nice; they make an appealing couple.

Ann Harding (Mary O'Connor), as always, is excellent as the rejected wife who is trying to reconnect with her husband. She'd not been appearing in a lot of movies by this point in her career (mostly appearing in one or a two film a year), but she makes the most of her limited screen time in this film.

Some extra footage was shot in New York City, which adds a verisimilitude to the film (AFI Catalog). We noticed that the house (which you can see is located on the corner of 79th Street and 5th Avenue) looks very much like the Cooper-Hewitt Museum (which was originally the home of Andrew Carnegie). The location of the O’Connor home is currently the site of the Ukrainian Institute of America (and was the home of Harry F. Sinclair).

The New York Times review by Bosley Crowther was positive - most of his praise centered on Victor Moore.  The story was aired on the Lux Radio Theatre in May 1947 with Mr. Moore, Mr. DeFore, and Mr. Ruggles reprizing their roles.

With Christmas coming, this is a delightful film that deserves to be included in the season's festivities.  We'll leave you with Victor Moore arriving at his winter home. However you celebrate, have a safe, healthy and happy holiday season!

Humphrey Gets a New Face

Vincent Parry (Humphrey Bogart) has escaped from San Quentin; he tries to hitch a ride, but the driver, Baker (Clifton Young) realizes Vincent is an escapee. Vincent knocks him out and abandons the car down the road. He finds Irene Jansen (Lauren Bacall) painting in the countryside. She knows who he is and offers to help him. Against his better judgement, Vincent accepts her assistance. This week, we're looking at Dark Passage (1947).

While Lady in the Lake is credited as the first film to use the subjective camera technique, Dark Passage, released the same year, takes the idea and uses it to better effect.  Not all of the film is subjective, and the motivation for not showing our protagonist becomes apparent when Vincent is taken to a plastic surgeon. Even when Vincent still has his original face (seen in a newspaper article - the photo is of actor Frank Wilcox), the film uses shadows to hide his face.  That we do eventually get to see Humphrey Bogart in the latter part of the film is a benefit to the audience; the first view of his expressive eyes (when he is bandaged following the surgery) is something we've all been waiting for. Regardless, Jack Warner was not amused that for 40 minutes, his expensive star's face was nowhere to be seen (Eddie Muller intro and extro).

Bogart and Lauren Bacall had been married for less than two years (TCM article); this was their third (of four) screen pairings. Howard Hawks, who had discovered her and nurtured her for the beginning of her career, had become disinterested in her once she became involved with Mr. Bogart. He sold her contract to Warner Brothers and Ms. Bacall found herself asked to work in parts that she found inappropriate - for the first five years of that contract, she was in five films - three of them with her husband (Los Angeles Times obituary). She's wonderful in this film, taking on an almost impossible part and making it believable - the unlikely premise of her willingness to take in a convicted murderer becomes quite acceptable in her able hands. And her growing love for her charge is reflected in her every movement. Yet, she still maintains a strength and sensibility that makes Irene memorable.   

The actress who walks away with the film is Agnes Moorehead (Madge Rapf).  William Hare said that in the role "the traditional femme fatale role was turned on its head...she is overbearing, domineering, and thoroughly ruthless" (Pulp Fiction to Film Noir: The Great Depression and the Development of a Genre) . She inserts herself into everyone's lives - her former fiance, Bob (Bruce Bennett); Irene, and, it turns out, the late Mrs. Parry. We dislike her from the minute she appears in Irene's apartment, but we can't take our eyes off her. 

There are a remarkable number of excellent character actors in the film: Tom D'Andrea (Sam the Cabby), like Ms. Bacall, adds to our trust of Vincent in his willing acceptance of the escapee's innocence. Sam's open and friendly personality is believable because of Mr. D'Andrea's performance. Similarly, Houseley Stevenson (Dr. Walter Coley) brings just the slightest bit of menace to his role as the plastic surgeon who helps Vincent alter his appearance - will he disfigure him? Turn him in? His performance dances on the head of a pin.  Finally, there is Clifton Young, who, from first glance is horrifyingly creepy. Baker is a heel of the first water, and Mr. Young plays him that way. We know he is going to be a key factor in Vincent's life, and Mr. Young does not disappoint.

If there is a weak link in the film, it's Bruce Bennett as the man romantically pursing Irene. Mr. Bennett, as we've mentioned before, is not a favorite actor. He's dull and fades immediately into the background. The plus to having him in the film is that one can imagine Madge bossing him around.  What you can't believe is that he would have the gumption to break up with her, or that Irene would have even the slightest interest in him.

Based on a novel by David Goodis; later, Mr. Goodis, and his the estate sued United Artists for copyright infringement - stating that The Fugitive was based on Dark Passage (Mr. Goodis' estate won the suit, but the monetary amount was minimal).  Like the novel, the film was set in San Francisco, and some scenes were shot on location (AFI catalog); the city and its hills are very important to the story.

Some reviews were indifferent - Bosley Crowther's New York Times review liked the scenery better than the story. He did have high praise for Agnes Moorehead who "is also quite electric in a couple of scenes as a meddlesome shrew."  Variety's, review, on the other hand, was more complimentary, saying that the "dialog frequently crackles."

We very much enjoyed the film, and recommend it highly. Here's a trailer for a taste of what's to come:

P.I. Robert Celebrates Christmas

Just before Christmas, private detective Philip Marlowe (Robert Montgomery) is invited to the office of Adrienne Fromsett (Audrey Totter) to discuss a mystery story he has written. When he gets there, he finds that Ms. Fromsett has something else on her mind - hiring Marlowe to find  Chrystal Kingsby, the missing wife of her boss, Derace Kingsby (Leon Ames). Our film this week is Lady in the Lake (1947), part of the 2nd Happy Holidays Blogathon, hosted by the Pure Entertainment Preservation Society. 

 

Lady in the Lake is remembered today for its innovative use of the subjective camera. With the exception of two framing scenes, the film is told entirely through the eyes of our hero, Philip Marlowe. The camera acts as his eyes; we only see Mr. Montgomery when he looks into a mirror. It's an interesting conceit, though some members of our group found it a bit off-putting. 

The plot in the film is also very dense - many subplots, many characters that seem irrelevant as you proceed. While the movie very carefully ties everything together at the end (and very neatly too), as you are watching you have to pay very close attention to what is going on - if you lose concentration at all, you can miss an essential plot point.

Audrey Totter has the hardest job in the film - verbally dueling with and making love to a camera. Most of her scenes involve just her and Robert Montgomery; but we rarely see him - we see her, and she does a magnificent job of making you believe that Philip Marlowe is standing just behind the audience. With a script full of taut, witty dialog, Ms. Totter makes Adrienne into a tough lady that you don't want to cross, but wouldn't mind having at your side - she's strong, realistic, and sexy, but an intelligent sexy.  At one point, Lana Turner was being considered for Miss Fromsett (AFI Catalog); frankly, it's hard to imagine anyone but Audrey Totter in the role.

This was Robert Montgomery's first credited directing role, and he decided to use the subjective camera technique. It was an idea Orson Welles had toyed with; new, lighter cameras and the crab dolly made the concept viable (Voices in the Dark: The Narrative Patterns of Film Noir by J.P. Telotte). MGM was not thrilled with the idea, and insisted on a prologue to the film, so audiences would get to actually SEE their star (Eddie Muller commentary), but they let him do it and used their marketing expertise to engage the audience, who were now part of the story. Mr. Montgomery emphasized that acting TO the camera was the most difficult part of the film for the actors - they were trained to NOT look at the camera; here, the camera was itself a character (TCM article).

 

Certainly, being off-screen for much of the action assisted Mr. Montgomery in his role as director, but he is excellent as the voice of the hard-bitten Marlowe - though it does seem like he spends a lot of the movie unconscious. His best scenes, not surprisingly, are with his good friend, Ms. Totter, who turned down the lead in The Killers (1946) in order to appear in this film.  

We are used to seeing Lloyd Nolan (Lt. DeGarmot) play a good guy.  Here, he gets to let his inner villain out, portraying a really bad police detective.  It's clear from the start that Lt. DeGarmot is not to be trusted - how bad he actually is becomes apparent as the film progresses. Mr. Nolan came to film from Broadway; he would ultimately appear in 9 productions, including The Caine Mutiny Court-Martial, in which he appeared as Lt. Com. Philip Francis Queeg (the role that would eventually go to Humphrey Bogart in the film). His career was primarily B films, though he was often a supporting actor in films like A Tree Grows in Brooklyn (1945) and The Man I Married (1940). He moved into television, and is best remembered for Julia, in which he played Dr. Morton Chegley to Diahann Carroll's nurse. His first marriage to Mell Efrid lasted from 1933 to her death in 1981 (they had two children); he remarried in 1983.  He was worked to fund autism research (his son Jay was severely autistic). In 1985, he died of lung cancer at the age of 83.

One other actor worth noting is Jayne Meadows  (Mrs. Falbrook) in her second film appearance. It's a small, but pivotal role and she is quite convincing playing a woman with a number of different aliases.

Whether this is a Christmas movie is for the viewer to decide (rather like Die Hard) - it was released in January, but the music and parties make it a contender for a Christmas film. We're voting for it as a Christmas movie. It's worth noting that the setting for the book was NOT Christmas, and Raymond Chandler was not amused by the alteration.

The New York Times review by Thomas M. Prior (T.M.P.) was positive: "The picture is definitely different and affords one a fresh and interesting perspective on a murder mystery." In February of 1948 the story was recreated with a Lux Radio Theatre production starring Mr. Montgomery and Ms. Totter.

While not the best detective film ever made, this is well worth seeing (though you really have to concentrate). It's certainly an interesting addition to the pantheon of Christmas movies! We'll leave you with the trailer:

This blog post is part of the 2nd Happy Holidays Blogathon, hosted by the Pure Entertainment Preservation Society. 

 

Jimmy is a Bootlegger

The First World War has ended. Eddie Bartlett (James Cagney) returns to New York City to find all the jobs gone - taken by the men who remained home during the war. As The Roaring Twenties (1939) begin, Eddie falls into a new career - bootlegging - and enters into the world of organized crime.

Let's start by admitting that, no matter who else we discuss in this space, this is James Cagney's movie. Period. When he is on the screen, it's him you are watching. Don't get me wrong, I'm a huge Bogart fan, but this is one where Cagney shines. His Eddie Bartlett is a man of depth. We watch him change because of the circumstances of his life; we don't like most of those changes, but because it is Mr. Cagney playing him, we understand them. Director Raoul Walsh encouraged Mr. Cagney to improvise a bit, which adds to his impact (including a scene where he punches out two men with one throw!)  (TCM article).  From beginning to end, James Cagney is the linchpin of the film. 

 

Humphrey Bogart (George Hally) also provides a fascinating character - he's a monster from the moment we see him. Unlike Eddie, he seems to have no reason for doing the things he does. He enjoys inflicting pain and death. There are no shades to George's character - he is a murderer who we would like to forget (and do, when he disappears immediately after the war). What Mr. Bogart brings to the role is someone you can genuinely hate - Bogart is not afraid to make George horrific, with no attempts to gain the audience's sympathy.

A great deal of our conversation centered on Jean Sherman (Priscilla Lane). I, for one, find her hard to like or sympathize with. From the start, we discover she is a liar (she'd misled Eddie into thinking she was a woman in her twenties, when she is actually a high school student). She's self-centered, caring only for her career, and very willing to use Eddie to get ahead. She's well aware that he loves her. She tells him she doesn't love him, yet she takes expensive gifts from him, while she carries on a relationship with Lloyd Hart (Jeffrey Lynn). Because she is played by Ms. Lane, who is an engaging actress, you want to like her, but Jean is a passive person, who floats from man to man.  One wonders why all these men are smitten with her; it is perhaps because they are that we get distracted from the reality of Jean - that she is a thoughtless woman who likes Eddie because of what she can get from him.  Perhaps the character needed a firmer hand in the writing; as written, she's not a person that one can countenance.

Gladys George, however, is perfect as Panama Smith. She was not the first choice for the part - it was originally intended for Ann Sheridan; Lee Patrick and Glenda Farrell had also been cast at various points  (The Films of James Cagney by Homer Dickens). It is hard to imagine any of them playing the character. Panama's love for Eddie is selfless - she is truthful with him, even when he doesn't want to hear it (especially about Jean). With her husky voice, it's easy to accept her as a "tuneless canary" (the name given to her by a minor character); she also is the epitome of the tough broad after which she was patterned - Texas Guinan. 

Also worth noting is the performance of Frank McHugh (Danny Green). A gentle man who gets pulled into bootlegging  through his friendship with Eddie, he's too kind for the business and eventually pays the price. Mr. McHugh gives him a simplicity and sympathy that makes him believable.  Jeffrey Lynn (Lloyd Hart), on the other hand, has the thankless task of being "the other man." Like Jean, Lloyd works with Eddie, while protesting his distaste for the business. It's not a great part because the character is very underwritten.

New York reporter Mark Hellinger wrote the 1938 story The World Moves On, on which the film is based.  He was writing about real people that he had encountered (AFI catalog). Mr. Hellinger also served as a producer on the film.

The New York Times review by Frank S. Nugent was not enthusiastic, however he praised both Mr. Cagney and Ms. George (who "breathed poignance into the stock role of the night club hostess") for their work. Given that it was released in 1939 (and had stiff competition), no Oscar nominations were given, but Mr. Cagney won the National Board of Review for Best Actor.  On a side note, Carol Burnett did her own take on the story as "The Boring Twenties." As always, Ms. Burnett (as Panama Smith) is hysterical. 

This is an engaging film; if you are an admirer of Mr. Cagney or Ms. George, it is an essential. It was also one of my father's favorite films. We'll leave you with a trailer to introduce you to the action: