Noir Films

[ChiO]

Yes, I own them. How? Whenever Mrs. ChiO pleads with me, "Please don't go to the Film Noir Underground meeting tonight," like Victor Laszlo, I reject the plea.

The print of GUILTY BYSTANDER is pretty bad. The print of UNE SI JOLIE PETITE PLAGE is near pristine.

[knitwit45]

um, where does Mrs Lazlo, er, ChiO go while you are at those meetings??? Maybe you ought to stay home now and then....as time goes by, you'll be happy you did.....

[ChiO]

Yes, but Victor got Ilsa, didn't he? See, you can go to Film Noir Underground meetings and get the girl.

Life is good.

[knitwit45]

ah, but did she go willingly, or out of a sense of duty????

[ChiO]

If I have Ilsa, and Rick has Renault, I'm not taking the time to question her motive. Just looking to see whether she's wearing gray or blue.

[CineMaven]

But do u want her that way? Gosh, I hope she never slips and says "Rick..." Victor.

[ChiO]

It's the typical love story.

Dora (Cleo Moore) is pulled out the water. She berates her rescuer for ruining her life by saving it. Dora is a down-on-her-luck escort/showgirl, without a job and no money for paying the rent on her dingy apartment.

Joe (John Agar) dies at 5 a.m., just a few hours away. At the gallows. He's a serial strangler of women, angry at the law, the warden, and Life. He refuses to see his sister. He refuses to see the Roman Catholic priest. But Joe has a final request: he wants a woman -- you know, one I can have fun with. I'll tell you where they are if you don't know. -- and some music.

The prison officials have some difficulty. It seems that the working women of the evening don't want to spend a few final hours with a woman strangler. Except Dora. Why should i care. The $200 will pay for a nice funeral. And the remaining three-quarters of the movie is spent watching Joe and Dora in his cell, first angry and frustrated with Life and each other, then revealing their life stories, finally dancing until 4:30 a.m....from a submission to death when he at first put his hands around her neck, to a bond for life -- what little may remain.

The warden and priest appear. Joe has one more request. He asks the priest to perform a wedding ceremony. He does. And as Joe is taken to the gallows, Dora goes to the chapel. And as the prison bell tolls five times, Dora is kneeling at the cross...praying for a miracle.

Written, produced and directed by Hugo Haas. HOLD BACK TOMORROW (1955). Chiaroscuro cinematography by Paul Ivano (QUEEN KELLY, THE SHANGHAI GESTURE, BLACK ANGEL, Family Affair). A Meditation on Life and Death.

[moira finnie]

Sounds good, ChiO. Where did you find a copy of this movie?

Ever since seeing his take on schizophrenia, Lizzie (1957), which I liked better than The Three Faces of Eve from the same year, I've been interested in Haas' movies. Here's a nifty paean to Cleo Moore on film, with a very young Tony Bennett tendering a bluesy tribute to match the images:
[youtube][/youtube]

Maybe it's that dang chiaroscuro, but imagine my shock when it appears that Ms. Moore may NOT be a natural bleached blonde in Hold Back Tomorrow in this video.

[CineMaven]

Saw the "Hold Back Tomorrow" trailer you posted Moira. I think Cleo Moore, as a brownette, resembles a softer version of Mayo Methot.

...And as a blonde she makes me think of Carroll Baker and Cecelia Parker. No doubt, Cleo was a bombshell.

[RedRiver]

Chio, are you on medication? This sounds like a fascinating, if troubling, story. Some of the obscure B features you describe remind me of 1950's comic books. Tales of irony, with twist endings. Characters who just might get what they ask for. Heaven help them!

I'll PM you the name of my therapist!

[ChiO]

Moira asked:
Where did you find a copy of this movie?

A dealer located via the internet. One of the worst prints I've ever had the good fortune to find. C'est la vie.

[MissGoddess]

I like Cleo, and have enjoyed several of her little noirs. I hope I can watch Hold Back Tomorrow one day.

Moira, I prefer Lizzie to The Three Faces of Eve, too! In fact, I wish I had it on DVD.

Of course, the fact that Richard Boone is the doc and not Lee J. Cobb has absolutely, positively nothing to do with my preference.

[feaito]

Yesterday night I watched "Raw Deal" (1948) and I was swept away by this brilliant Noir, especially by Claire Trevor's maginificent performance (including her moody/atmospheric voiceovers).

The film tells the story of a convict (Dennis O'Keefe) who escapes from prison with the help of his moll (Trevor) and in the process kidnaps the good-hearted social worker who's been visiting him -trying to reform him- while in prison (lovely Marsha Hunt). I was absolutely blown away by John Alton's fantastic cinematography; the beautiful close-ups of the characters -especially the three leads, who all give multilayered performances-, showing not only their faces, but transmitting their feelings. The realistic bond that develops between O'Keefe and Hunt and Trevor's gradual realization of what's going on is wonderfully achieved by Anthony Mann.

On the other hand, the handling of Raymond Burr's nasty, sadistic character as well as John Ireland's add spice to the proceedings.

A total winner!

[RedRiver]

A total winner!

Is it ever! When we talk of the great film noirs, and the perfect examples of the genre, this superb piece of filmmaking is high on the list. Mann's finest effort in the field? I think so. It's hard to beat HE WALKED BY NIGHT. But this dark, moody tale of desperate people doing whatever it takes is unforgettable. If anything, it's almost too unpleasant. That's not a criticism. It's a great movie. But if there's a reason I prefer a few other crime films to this one, it's that, occasionally, somebody smiles! They have a little fun. Mann's people are miserable.

Fine movie, though.