Review Roundup – Film Noir

Posted on December 1, 2024December 1, 2024 by fenrisfil

November is over, but I have three more Film Noirs I watched this month to review. That means you get another triple bill review round up! These reviews don’t get as many views as the horrors or recent releases, but that’s not why I do them. I do them because Film Noir is great and I want more people to watch it! Some of the best film makers of the last 40 years were influenced by these movies. That influence is starting to wane and it shows in the movies being released. Another factor is a lot of people just won’t watch black and white movies. This is a shame because some of the best films ever made were black and white.

So for your consideration, I give you the movies “Slightly Scarlet” from 1956, “The Fallen Sparrow” from 1943 and “Murder By Contract” from 1958. This is an interesting mix. We have a Film Noir actually in colour and we have a movie shot in 7 days. We have spies, we have assassins, and we have kleptomaniacs. These all score a 6 or above so are all recommendations. But you’ll likely notice I rarely score a Noir lower than 6. There are bad ones of course, but time has not been kind to those, so chances are if I’m watching it, it is at least above average.

Slightly Scarlet (1956)

This is one of the very few film noir from the fifties that is actually in colour. That makes it somewhat debatable as a Film Noir but all the other elements are here. The title refers to the two redhead sisters the plot revolves around and so you can see why they opted for colour. The film stars John Payne, Rhonda Fleming and Arlene Dahl with support from Kent Taylor and Ted de Corsia. Experienced director Allan Dwan takes the directing chair and has the benefit of the legendary John Alton for cinematography. Alton’s impeccable eye helps make the movie still work within the genre, despite not being black and white. The screenplay is by Robert Blees based on the novel “Love’s Lovely Counterfeit” by James M. Cain.

The movie revolves around the manipulative and ambitious Ben Grace (Payne) and his attempts to manipulate his way to the top of the mob. His plan involves seeing off current boss Solly Casper (de Corsia), controlling the mayor and installing his friend as chief of police. To achieve these ends he must gain influence over mayoral candidate Frank Jansen (Taylor). To do that he targets Jansen’s girlfriend and secretary June Lyons (Fleming). His leverage there comes in the form of June’s troubled sister Dorothy (Dahl), recently released from prison for a spate of shop lifting offenses. Things go to plan up until a point, but the somewhat unhinged Dorothy can’t but avoid to throw a spanner into the works. The house of cards may then very well fall down.

Seeing Red

It is strange watching a 50’s noir in colour and outside of actually seeing the ladies red hair I’m not sure there was any benefit to it. However, Alton does make it work and there is plenty of his trademark painting with light and shadows. Plus the two ladies do look rather good. It mostly works visually. Thematically it is very much a noir though, with the ambitious schemes of a morally questionable man working towards his own undoing. Dorothy isn’t exactly a femme fatale, instead she has more in common with Carmen Sternwood from The Big Sleep. Basically, a headcase that causes trouble for everybody else. June on the other hand is the “Good girl”, though in my view is a bit too easy to be manipulated by Ben.

The story works relatively well. Ben gains some semblance of a conscience by the end and matters resolve pretty much how you would expect. The big problem with this though is none of the characters are really that likable. This is a common problem with modern movies, but in this era you could usually find some degree of charm. June comes close, but I never felt that invested. The performances from the cast are decent, especially from Payne, but nothing really elevates the movie. Ultimately this is a fairly average noir that just happens to be in colour. Fortunately, average for a noir is still worth watching so this is a 6/10.

The Fallen Sparrow (1943)

Our second movie takes us back to the early days of Film Noir, before the end of World War 2. The war was very much on the minds of those making movies in those days (Especially with so many in Hollywood in those days being Jewish immigrants that fled Nazi persecution). So it’s no shock to hear spy movies were quite popular in the early forties. Film Noir would tend to have it’s own spin on spy stories and this is no exception. “The Fallen Sparrow” is director Richard Wallace from a screenplay by Warren Duff. This is based on the novel by the same name by Dorothy B. Hughes (Writer of “Ride The Pink Horse” and “In a Lonely Place”). Roy Webb provides the score and was nominated for an Oscar for doing so. Nicholas Musuraca provides cinematography.

The movie stars John Garfield, Maureen O’Hara and Walter Slezak. Garfield plays Spanish civil war veteran John McKittrick, returning from a period of rehab to his hometown to investigate the murder of his friend. McKittrick was imprisoned in Spain for two years and was tortured constantly but never revealed his secrets. The source of a lot of that trauma is the sound he would hear of a man with a limp, whom he never saw but was certain was his chief tormentor. Now it seems the death of his friend may be tied to the machinations of his former captors and the secret which McKittrick still holds. It seems it is time to confront his chief tormentor… If he can figure out who that is.

Drip Drip Drip

This is more of a psychological movie than a straight spy movie. Indeed the actual spy elements are somewhat disappointing. The big secret is ultimately not really important, what is important is McKittrick’s suffering while a captive and the trauma he has been forced to carry with him. This is really his story of overcoming trauma and facing those that traumatized him. This is him regaining his humanity and his masculinity. For the story to work from this angle the weight is on the shoulders of Garfield, Wallace, Webb and Musuraca. Garfield was one of the most underrated actors in the history of Hollywood and he really does sell the trauma well. Wallace, Webb and Musuraca meanwhile provide a tapestry of nightmares woven out of the reality surrounding McKittrick. Every drop of water, every footstep and every shadow seems to conspire to remind the war veteran of his trauma.

The movies weakness is in the plot. There is a bit of a muddle of characters and distractions that fluff up a very straight forward plot. The villain of the story effectively reveals himself at the start and you never really doubt where this is going, yet the film still wants you to think it is a mystery. At some points you find yourself questioning how much is in McKittrick’s head and yet that is quickly dismissed by events going on around him. The muddled plot is balanced out by how good the rest of it is landing this movie as a somewhat above average Noir. This is a 6.5/10.

Murder By Contract (1958)

For the final movie of my Noirvember Reviews, I’m covering Irving Lerner 1958 Film Noir “Murder By Contract”. I saved the best for last. This is a film with a bit of a reputation, largely thanks to Martin Scorsese citing it as perhaps his largest influence. Ben Simcoe provides the screenplay and apparently Ben Maddow had an uncredited hand in it too. Lucien Ballard provides cinematography and Perry Botkin the score. Vince Edwards stars as “Claude” the hitman, Herschel Bernardi and Phillip Pine provide the main support as his minders “George” and “Marc”. The movie was shot in just over just seven days.

Claude is a cool, yet peculiar young man with a single ambition, to buy a beach house. But he wants to achieve this in an unusual way. He wants to be a contract killer and he is cool as a cucumber about it. He has an in with a local crime boss and makes the most out of his opportunity. Eventually becoming a highly sort after hitman. When the opportunity comes up to make $5000 on one hit he jumps at it, but the job has one complication: The target is a woman. Claude doesn’t do hits on women, not for any kind of moral code though as Claude doesn’t have one of those. He just finds them too unpredictable; Women always mean trouble. This one turns out to be particularly difficult to kill.

Women Are Always Trouble

From the opening scene you know you are on to something here. A nice bit of guitar music (Reminds me a bit of “The Third Man”) accompanies a simple scene of Claude getting ready for for his big interview with the crime boss. We get a similar scene shortly after as he waits for the call for his first jobs. These are nice sections and we haven’t even started the plot yet. Actually that is one of the films trademarks, it doesn’t rush to get to any part of the plot. Instead it allows you to spend time to enjoy the characters. specifically Claude with his relaxed charm and occasional intense monologues, but also his constantly frustrated handlers, George and Marc. A good portion of the film is just the three of them hanging out. It helps the dialogue is very good. The scenes manage to be amusing and compelling.

All the characters are a little quirky, but not unbelievably so and it makes the basic interactions strangely compelling. While Scorsese may have claimed this has his biggest influence I would put money on this being a favourite of the Cohen Brothers too and perhaps It’s not just the characters though, the movie has good cinematography throughout. Most of it is actually shot in the day, but there’s a few of the trademark noir shadows. Really the visuals are particularly impressive with the short run time. The movie is sort of bare bones, but everything important is there. The back and forth with the attempts at assassination and the final moments where Claude accidentally remembers he is human are all compelling story telling and very Film Noir.

Conclusion

This is an impressive Film Noir. Not just because it is good, but because it achieves a lot with a little. Most of the action happens off screen and is implied with sound effects. The music is sparse but effective (There’s pretty much just two guitar tunes and a lot of silence) and there’s more dialogue than action. But it works. If the movie has a flaw it is in the swiftness of it’s ending, but considering the Hays codes requirements on stories about criminals, it was to be expected. They made the most out of the ending and it does work for the character. Claude ends up one of the most interesting characters from Film Noir and this is one of the genres better films. I am giving this an 8/10.

Really, I should have done this as a separate review given the score, but November is already over and I had three reviews to get out, so it’ll have to make do in a triple bill. That’s it for this years Film Noir wind down from the madness of the October Challenge. December will be fairly quiet on the review front, but I will have at least one roundup and the year in review to give you. Until then, I hope you enjoyed these reviews. My hope is that I can encourage people that may not normally watch old movies to give some of these Noirs a chance.

The Bad Seed (1956)

Posted on October 30, 2022 by fenrisfil

Today’s review is for the 1956 movie about a child psychopath, “The Bad Seed”. This was based on the play and novel by the same name and directed by Mervyn LeRoy. Despite the warning at the credits not to spoil the ending for other viewers, I will absolutely be spoiling it, since the ending factors in to my score. So if you feel the need to avoid those for this nearly 70 year old film you may want to skip this one (or come back to it after you’ve watched). Let’s dig in.

October Review Challenge – Day 30

The movie starts with a very traditional 50’s style family scene with parents Kenneth (William Hopper) and Christine (Nancy Kelly) doting on their 8 year old daughter Rhoda (Patty McCormack). Rhoda tells them and their neighbour/landlady Monica (Evelyn Varden), about a writing medal that she should have won, but some boy won instead. Rhoda has a mini tantrum over this but cheers up quickly to say goodbye to her father who will be away on business for an extended period. She then heads off for her schools picnic at the lake.

Tragedy strikes during the picnic as one of the boys dies on the old pier, an area where the children were not meant to be. The boy in question is “Claude”, the one that won the writing medal, which he had with him on the trip. Though it was not recovered. Rhoda returns home but seems in a buoyant mood, not at all impacted by the loss of her classmate. Indeed her main interest is in the fact that they didn’t get to have the picnic and so she wants feeding.

The Little Terror

Christine finds from Rhoda’s teacher that she was apparently the last person seen with Claude and was apparently trying to steal his medal off him. Meanwhile the creepy caretaker Leroy Jessup (Henry Jones) is teasing Rhoda about the boys death saying he knows she did it, assuming she used a stick and saying that water won’t wash off blood and the police will find it. Rhoda then asks her mother if this is true, which confuses Christine.

Later Christine finds the medal in Rhoda’s room and starts to suspect. Something that comes to a head when she catches Rhoda attempting to dispose of her shoes and she admits that she killed the boy. Christine also realises that she killed an old neighbour of theirs too because she wanted to inherit a snow globe the old woman had promised her. Christine is distraught but determined to protect her girl. She tells her to put the shoes in the furnace and says she will dispose of the medal (Which she later tells Rhoda she did at the lake).

Death and Judgement.

Leroy teases Rhoda again, this time Rhoda reveals she used her shoes and not a stick and that she burned them, to which the caretaker claims to have rescued the shoes from the furnace. To which Rhoda gets made and threatens him if he does return them. It finally dawns on Mr. Dalgie that she isn’t just playing along with him but is actually a killer. Scared, he admits he doesn’t have the shoes, but Rhoda doesn’t believe this. This of course spells the end for Dalgie as Rhoda sets his makeshift bedding alight as he slept in the basement and locked him in.

This turns out to be the final stray for Christine that decides the only thing to do is to kill her daughter. She tricks her into taking an overdose of sleeping pills and then heads to her room and shoots herself. Unfortunately her neighbours hear the shot and save both their lives. However while Christine is recovering in hospital. Rhoda goes down to the lake during a stormy night to try and find her medal and is struck by lightning.

Ironically her characters desire for an award she didn’t deserve wasn’t enough to get the actress one she did.

Oscar Worthy?

First and foremost we have to talk about Patty McCormack and Rhoda. The little 11 year old actress puts on an incredibly convincing performance of a psychopathic 8 year old child. Children in horror isn’t totally unheard of at the time (Night of the Hunter was only a year earlier) however, the idea of a child as the villain in a horror was as far as I can tell unheard of. That would make Rhoda a ground breaking character and even more impressive for the performance of McCormack who would have had no frame of reference. By the 1970’s we’d have Village of the Damned, The Omen and The Exorcist, but those were a long way off when The Bad Seed came around.

While Harvey Spencer Stephens was only 6 when he played Damien Thorn in The Omen, I can’t help but feel that role was a lot simpler, most of the time he just had to look moody while the effects dealt with the actual horror part. McCormack however actually isn’t seen doing any of the crimes, so selling her evil is entirely down to her actions and dialogue on screen and her performance was top notch. Linda Blair on the other hand had a few extra years of maturity before she played the possessed Regan (She was 14 I think, which is probably still too young for what that role required). Rhoda isn’t as scary as Regan, but the fact that The Bad Seed feels like something that could happen in real life means the film is on some levels more unsettling.

Minor Issues

However you frame it, it was a very impressive performance and one for which she was nominated for a Oscar as best supporting actress. I’ve not seen “Written on the Wind” so I can’t just say if Dorothy Malone (the winner of best supporting actress that year) deserved it more than Patty McCormack, but this is another performance that certainly was good enough for a win. One of the things I noted in the film was how much more convincing her performance was than her nemesis’ the families handy man “Leeroy”, played by Henry Jones. In their scenes together 11 year old Patty is acting rings around the 44 year old man. Fortunately Nancy Kelly as lead holds up better and the pair had a great chemistry together.

The story itself is mostly good but isn’t without problems. Rhoda has clearly been evil for a while, but the film relies on her mask slipping just over the period of the film, so much so that her mother starts to suspect her. While there is a trigger event and a few of the other character suspect she’s not what she pretends to be, the amount the mask slips during the film makes it hard to believe it hasn’t slipped before (and regularly). On top of that Christine’s side plot with her fears of being adopted fits uneasily into the story by trying to find a genetic cause for Rhoda being a sociopath. Of course this thread leads to the name of the film and possibly Christine’s final solution, but it could probably have been dealt with faster.

Crime Does Not Pay, at least not between 1934 and 1968 Anyway.

The Hays Code And The 1950’s Audience.

Speaking of Christine’s solution, the ending of the film unfortunately has “The Hays Code” written all over it and in an unfortunate way. The code would have called for Rhoda to be punished for her crimes. That, I don’t especially have an issue with but how it was done felt false and tacked on. They actually had a perfect ending already in the bag but instead of allowing the very sad ending of a mother killing her own child and then herself, they played it out, then had both miraculously survive and then had the movie end with Rhoda randomly get killed by lightning while trying to retrieve the medal she was so covetous of. As satisfying as it was to see Rhoda basically get blown up, it felt a painfully contrived.

This then is followed up by a cast parade and a little scene where Rhoda gets a spanking from her mother. Clearly they wanted to remind people this was only fiction. Clearly the film was considered too dark and that is likely too why they had both characters survive Christine’s murder/suicide. I understand that in 1956 this may have been shocking to the audience but for me it just seemed sloppy. I can’t help but feel if they didn’t want Christine to succeed but did want Rhoda to die they should have found a more natural way for one of her schemes to backfire. I mean the Hays code had been in place for a long time by now, so they must have known the ending was an issue going in.

Conclusion

Overall, this is a pretty good film, but one severely limited by the time it was made. Had it come out 12 years later it wouldn’t have been restricted by the Hays Code and wouldn’t have had the messy ending. The movie is ahead of it’s time, but there is a point where you can be too ahead of your time (Sega Dreamcast anyone?) and The Bad Seed is at the very least right up against that line. However, despite the ending and some minor pacing issues (and some bad acting from the supporting cast), this is a compelling story with great performance from Patty McCormack, a very gifted eleven year old (Who is now in her late 70’s of course) along with a strong lead performance from Nancy Kelly. Even with the Hays code stuff, this is still a strong 6.5/10