kingrat wrote:DEAD RECKONING (1947, John Cromwell) is a classic noir, with all the expected elements. Good acting and directing, notable cinematography from Leo Tover. TCM showed it as part of an evening devoted to noirs which use flashbacks. Humphrey Bogart runs into a church to escape some bad guys, then tells his story to a priest. At one point, however, he leaves, and the film then continues to the end in present time. Very neatly done. The cut from the priest in bright light to Lizabeth Scott in bright light is a great touch. But is she as trustworthy as the priest?
Of course not!! She's a woman. She's Lizabeth Scott. Ergo, she is probably not going to be completely trustworthy. Or it wouldn't be film noir, would it?
kingrat wrote:Capt. Rip Murdoch...The mutual attraction of Rip and "Mike" is front and center, with plenty of time devoted to the twists and turns of the relationship. If you're interested in the way women are portrayed in film noir, Rip has quite a speech where he says he wishes women were four inches tall and you could put them in your pocket until you want them to be full-size again. "Mike" interprets this as meaning that he loves her!
First of all, I can't believe that anyone could be called "Rip Murdoch" and expect to be taken seriously, but like that speech about the four inch woman that has always made me cringe, it was the way of the world back then. That kind of wiseacre imagery when it comes to women also gave the leading man a clever way to needle someone and show an off-hand affection simultaneously which were two ways of showing feeling that Humphrey Bogart excelled at during that stage of his career. No one seems to have done much analysis of John Cromwell's movies, much less his attitudes toward women in the films he made, but his movies sure gave the ladies some good parts from The Fountain (one of the few movies I know that he liked) to Since You Went Away to Caged.
Perhaps a minor offering in the film noir cannon, A Dangerous Profession starring once again George Raft, Pat O'Brien and Ella Raines. I preferred Red Light which also starred Raft as the story didn't confuse me quite as much The bailbond business isn't one I'm fimiliar with apart from in American movies, do bailbond businesses still exist? Somewhere towards the end I got a bit lost, with the pay off, I didn't really understand why one guy was paying up. It was worth watching for Raft and O'Brien but by no means one of the best noirs I've seen.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
How was Ella Raines in it, Alison. Anything to contribute...or was she just "the girl"?? Sometimes movies are hit and misses...but I don't think one can go wrong watching them to find out.
I must say, I could posssibly become addicted to British crime dramas after having seen "MAN BAIT." Let me get my thoughts together...
Great review KRat. I love that film, but it's not very much liked by some other buffs and critics. I don't know why, because I've seen it twice with excellent results. The primary cause of criticism is Lizabeth Scott's performance and comparisons with Ms. Bacll, which I find unfair. I like Lizabeth Scott. I like Lauren Bacall too. They're a similar type of woman (in the '40s), but they have their unique talents and traits.
[u]FEAITO[/u] wrote:Great review KRat. I love that film, but it's not very much liked by some other buffs and critics. I don't know why, because I've seen it twice with excellent results. The primary cause of criticism is Lizabeth Scott's performance and comparisons with Ms. Bacll, which I find unfair. I like Lizabeth Scott. I like Lauren Bacall too. They're a similar type of woman (in the '40s), but they have their unique talents and traits.
I like her as well Feo. You know, I know Lizabeth Scott is probably not ev'ryone's cuppa tea in the neon-lit, rain-soaked world of Noir. But I think she's really got something. The hair, the husky voice, the pouty mouth and the persona of damage is just a perfect fit in that dark dark world. ( Fave role: Toni Marichek, good kid in "THE STRANGE LOVE OF MARTHA IVERS." ) I'm really hopeful, that TCM can convince Lizabeth Scott to appear at the 2013 film festival. I'm tellin' you...she would be very well-received. (Has Bacall ever played a stone-cold b**** in the movies? She sure had the looks to turn a big lug into roadkill).
Oh...and Brother Rat (Mr. Moderator), I just wanted you to know that based on your recommendation:
[u][color=#400080]KING RAT[/color][/u] wrote:-In NIGHT SONG Merle Oberon pretends to be blind to get closer to a blind composer and pianist (Dana Andrews). Sounds awful, doesn't it? John Cromwell, who did such a good job with THE ENCHANTED COTTAGE, does it again here. Music is extemely important in this film.
I have ordered and received "NGHT SONG" and hope to watch it some time over the weekend. I'll have you to thank or blame...on Monday morning.
KIngrat, John Cromwell was indeed a much better director than he's been credited; besides the films you mentioned she directed Ann Harding in two of her best films IMO; beautifully acted, adult, with smart dialogue, subtle performances....: "Double Harness" (1933) and "The Fountain" (1934); Davis' "Of Human Bondage" (1934); the very interesting "The Silver Cord" (1933) in which Irene Dunne, Frances Dee and Laura Hope Crews give noteworthy performances; "The Prisoner of Zenda" (1937) (the best version with Colman); "Made for Each Other" (1939) -Jimmy Stewart and Lombard are superb; "So Ends Our Night" (1941), a haunting film with Maggie Sullavan, Anna Sten, Fredric March, Frances Dee, Glenn Ford; etc..
He's also James Cromwell's father (by actress Kay Johnson), who, among many other roles, played Prince Philip in "The Queen" for which Helen Mirren won an AA.
Theresa, Love your Dandridge avatar.
Lizabeth Scott has a je ne sais quois. She's unique. I'm very fond of Martha Ivers and I also think it's one of her very best!
CineMaven wrote:I have ordered and received "NGHT SONG" and hope to watch it some time over the weekend. I'll have you to thank or blame...on Monday morning.
Keep your eye on Hoagie Carmichael and Ethel Barrymore's byplay in this one. They do a lot with a few glances and their minimal but pithy dialogue. The two had chemistry.
It's not a bad love story for Merle and Dana either.
CineMaven wrote:How was Ella Raines in it, Alison. Anything to contribute...or was she just "the girl"?? Sometimes movies are hit and misses...but I don't think one can go wrong watching them to find out.
I must say, I could posssibly become addicted to British crime dramas after having seen "MAN BAIT." Let me get my thoughts together...
She was just the girl, nothing to write home about, any number of women could have played her.
I'll have to look out for Man Bait, it's not a film I'm fimiliar with, who's in it?
Lizabeth Scott, I admit to being quite cold towards her on my first few viewings, she looks like Bacall but isn't at all like her, it's not that, I just don't think I tuned into her but as my expereince with her films has continued I'm getting more used to her and she doesn't grate anymore( I was the same with Jennifer Jones but grew to love her) I don't know if I will ever love her but she is memorable, whatever film I've seen her in she has an impact, unlike some noir babes who don't come across to this little lady from across the pond.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
[u][color=#800000]MICHIGAN J[/color][/u] wrote:For some inexplicable reason I had a hankering to see a Diana Dors film so watched the British noir from Hammer, Man Bait (1952). Dors is quite good as the girl-gone-bad, who works at a bookstore. (Unfortunately nobody comes in looking for a rare Ben-Hur.) Intrigue, blackmail, murder are all handled well by director Terrence Fisher, and years before he'd direct many of the best of Hammer's horrors, Fisher provides a wonderful scare, that had me jump. Some clunky diologue, with lots of exposition, didn't bother me in the least from enjoying this low budget noir.
Ha! They all went to Pop Leibel’s book store.
[u][color=#0000BF]MISS GOODESS[/color][/u] wrote:I watched this last week for the first time, too, and I thought it was pretty good. I like Diana, she looked so young yet so comfortable before the camera.
I’ll say.
[u]FEAITO[/u] wrote:Theresa, Love your Dandridge avatar.
Thank you 'Nando. Just trying to keep myself entertained I guess.
[u][color=#000080]MISS GODDESS[/color][/u] wrote:T, I'm looking forward to your review of Man Bait...
Thanxx April. Here it is:
I enjoyed “MAN BAIT” but boy did the turn of events keep me on the edge of my seat.
I have to admit, the British can really weave a tale. And this story had good bones. It’s well-plotted tale unfolds events that induced anguished delight. My anguish stems from my least favorite, most galling plot-line: blackmail. “Man Bait” stars George Brent being blackmailed by Diana Dors who is coerced to do this by cad Peter Reynolds while Marguerite Chapman waits patiently in the wings for Brent.
PETER REYNOLDS - I hate cads. I despise ‘em; don’t try and convince me of their redeeming properties b’cuz they haven’t any. And Reynolds plays him well. A penny ante crook recently released from prison, he roughs up, loves, up, mooches off of women. Aaaah, big man on campus. We can spot ‘em a mile off can’t we, but some girls just love to play with fire. The cad drops a lie into the mailbox that sets the plot in motion. Gosh, I hated him so much I guess he did a really good acting job. He gets uglier and sneakier as the plot rolls on. He's got a good thing and he won't let go. He’d have made weasly Richard Widmark proud.
MARGUERITE CHAPMAN - She plays Brent’s secretary. Should I know her? Is she from the 30’s? Why does she look familiar. I know the name but...I dunno. She reminds me a little of Esther Williams, Marjorie Reynolds, Joan Bennett and a touch of Margaret Lockwood all rolled into one. Looking at her filmography, I see I don’t know her. In “Man Bait” I like her maturity and gravitas. I want to see more of her. I liked her in this part; you know, the Girl Friday who suffers in silence. I liked the little nod she gives to express unrequited love by the way she opens up the office mail...the subtle disappointment she slashes open a letter with (nice choice); tells it all right there. Who is this actress? In the film, she waits in the wings for the married Brent, while another co-worker waits in the wings for her. I liked her confrontation with the co-worker. She believes in her man like Ella Raines would, and puts herself in great danger too. A nail biter.
GEORGE BRENT - Any number of older Hollywood stars went to England to extend their waning careers. George is on that list, but at least the story was worth it. I love my Georgie Porgie. He’s my favorite wooden Indian statue of an actor. No, no...that’s not a put-down. It is what it is: GeorgeBrent. And maybe I love him for his immobility. (To each her own). It seems to serve him well as the deranged unfeeling serial killer in “The Spiral Staircase.” In “Man Bait” Brent's character is given some very baaad news, but that doesn’t stop him from showing any emotion. (Oh Georgie). But that’s George Brent for ya. I must say, even at his Brentiest, he does show the desperation of a man trapped by circumstantial evidence. And he certainly does know how to kiss Diana Dors.
DIANA DORS - Our own American bombshells were spectacular: Marilyn, Kim, Jayne. And the French had theirs: (hot) Bardot, (cool) Deneuve. We cannot leave out the Italians with Sophia, Gina and Silvana (and more currently Monica Bellucci). Here in "Man Bait" jolly ol' England weighs in with one of their own as well, and she makes a very good show of it in her first film: Diana Dors. Bombshell, no doubt; actress...yes. She pretty much carries the first part of the movie. Her looks work in her favor as the character in the bookstore, getting away with accustomed mild scoldings for being tardy. Her looks belies her experience though. She gets in over her head with a cad. Her innocent blabbings cause her to get reeled into an extortion plot. Before she knows it she’s implicated in the web of this cad not knowing how to escape. And as cads do, once they use you, you become his victim as well. I thought Dors was very self-possessed as an actress here; subtle too. Later on in her career, she turns up the bombshell heat full blast, but this early Diana is curvaceous but sweet. I don't know what her reputation and persona was by the British who saw her. By the time she made “Berserk” with Joan Crawford, the die had been cast, hardened; a caricature of "the blonde. But in her beginning, and probably underneath it all, I think she is a good solid actress.
“Man Bait” moves along nicely. Bread crumbs of plot are dropped along the way that delightfully show up later. A flirtatious kiss leads to blackmail. And you know what blackmail leads to. Suspense. Watch the film and see how it all plays out. I think you'll be "notoriously" "roped" in.
On a separate note:
Please take a look at this when you have a moment. Robert Wagner and Diana Dors appear on a morning British talk show in 1983. Be warned, the print is horribly out of synch. But please stick with it. The body language between Wagner and Dors is very interesting to see. They sit apart at the beginning of the interview, but become closer as the interview continues. You can feel the warmth and attraction between the two. Even near the end of her life, you can see that Diana Dors still has It.
What a marvelous review of Man Bait, Maven! I can see I'[m going to have to get on this pronto and watch it.
Personally, I really like Berserk, and I can't figure out why everyone always acts as if it is the dregs of movie making. I was so pleasantly surprised at it, it doesn't seem like an exploitation film, or a one off/cash-in-on-a-star's-prestige type thing at all. I think the performances make the movie, and Dors is just great, along with Crawford, Geeson, Hardin, Hardy, and Gough. I love it!
[u][color=#0040BF]JackFavell[/color][/u] wrote:What a marvelous review of Man Bait, Maven! I can see I'[m going to have to get on this pronto and watch it.
Thank you. Ooooh, you really ought to Wendy. Please see it. You have such a way with words...I'd love to read what you make of it. (What'd you think of the Wagner/Dors interview?)
Personally, I really like Berserk, and I can't figure out why everyone always acts as if it is the dregs of movie making.
Yeah. That would be "TROG." Ack!!!
I was so pleasantly surprised at it, it doesn't seem like an exploitation film, or a one off/cash-in-on-a-star's-prestige type thing at all. I think the performances make the movie, and Dors is just great, along with Crawford, Geeson, Hardin, Hardy, and Gough. I love it!
You know people. They want to be so "cineaste-ier than thou" about their cinema tastes. But just think where Joanie came from with "The Women" "Mildred Pierce" "Possessed" etc. "Berserk" might be just on the lower rung of the Movie Queen ladder. For me, "Berserk" doesn't bother me. She still treats the job with respect. She doesn't phone it in...and she had great gams even at that stage of her career. And you know, I think the film was lucky to have a star of her caliber in it.
Well...I might be too late for breakfast...but there's always lunch:
The bailbond business isn't one I'm fimiliar with apart from in American movies, do bailbond businesses still exist? Somewhere towards the end I got a bit lost, with the pay off, I didn't really understand why one guy was paying up. It was worth watching for Raft and O'Brien but by no means one of the best noirs I've seen.
Thank you. Ooooh, you really ought to Wendy. Please see it. You have such a way with words...I'd love to read what you make of it. (What'd you think of the Wagner/Dors interview?)