Steve Cochran

[moira finnie]

Okay, I know what you're thinking. Steve Cochran?
The guy with the slick, malevolent manner and even slicker black hair?


Yeah, ya wanna make something out of it?

I can't explain it, but after years of thinking he was just a flash in the pan guy wearing an insolent manner and a sharp suit--so often with his signature look of dark suit, black shirt and white tie(which seemed to come straight from wardrobe still warm from Dan Duryea wearing the outfit)--he has grown on me.



I think he may have been a better actor than I realized. He 's consistently, strangely entertaining, playing guys who may not be heroes, but his characters have a certain perverse honesty as they pace around on the fringes of society, just beyond the fire's glow of the straight life of hearth and home that was so idealized in American movies of the period. My exposure to him in last few years that has changed my attitude include films as different as The Best Years of Our Lives, Inside the Walls of Folsom Prison (a fantastic collection of strangely enjoyable prison movie cliches on TCM today), Highway 301, The Damned Don't Cry, Storm Warning, The Lion and the Horse, Come Next Spring, Private Hell 36, Il Grido, and best of all--my new favorite Cochran movie, Tomorrow Is Another Day.

Does anyone else find themselves liking this actor?

[charliechaplinfan]

He's a name I've heard of but I'm not sure I've ever caught him on screen apart from Best Years of Our Lives. I'd love to know where to start, your pictures are enough to make me want to give his movies a try.

[moira finnie]

Like you, I think that the first time I saw Cochran was as that creep making time with Virginia Mayo in BYOL, Alison. I hated him, but not as much as I did a few years later when he did it again in White Heat (1949)--except this time it was Jimmy Cagney, not Dana Andrews, that he was cheating on with Mayo (she got around!). Big mistake, of course, since "Big Ed" Somers was no match for the certifiably insane Cody Jarrett. I would definitely recommend seeing White Heat and The Damned Don't Cry for two of Cochran's better, early bad guy roles. In the latter movie, he plays a hotshot young gangster (perhaps based in some details on Bugsy Siegel) whose recklessness and possessiveness knows few boundaries.

After that, I'd recommend the interesting (if somewhat timid) Storm Warning, in which he played a Neanderthal married to Doris Day and nursing a yen for her sister, Ginger Rogers. Just in case you think this sounds like Streetcar Named Desire (you're right), the story is really about a Klan-like organization terrorizing a small town (except that the filmmakers were too scared by the McCarthyites to show the KKK for what it was and consequently there are no clearly identified Blacks, Jews or Catholics being harassed in the movie). Despite this, Cochran played his character in a convincingly lustful, stupid and insecure enough manner; evoking revulsion and pity from a viewer. I wrote about this here too.

I would also encourage you to see Tomorrow Is Another Day and Come Next Spring for roles that allowed the actor to display more "normal" individuals who evoke sympathy. In the first movie he plays a 30 year old man just released from prison after his incarceration at the age of 13 for killing his abusive father. He is a lost and somewhat dangerous soul, without the formative experience or understanding of life on the outside to protect himself from harm. I'll try to put some notes I have into better shape about this movie soon.

In Come Next Spring Cochran plays a n'er do well husband and father who returns to his Arkansas family after his wanderlust caused him to turn his back on them for years. He and Ann Sheridan are outstanding and touching as a contrite but weak husband trying to earn his wife's trust and love again. He is excellent in both movies. Slander, a movie in which Cochran plays a man who is based on the publisher of the notorious Confidential magazine, is also very well done, albeit on a shoestring. The strongest relationship in the film is between Cochran's character H.R. Manley and his mother (very well played by Marjorie Rambeau). H.R. Manley compartmentalizes his life and work, making a fortune destroying the lives of show biz people with a past, evoking a good performance from Van Johnson, whose ability to express self-pity was particularly effective in this role.

I hope that others might suggest some films too.

[ChiO]

Yes, Moira, I too saw him as a beefcake version of the Dan Duryea-type, just tougher and without the whine. But I've turned around -- he is the real deal. He has a fire that looks like it'll blow into a powder keg at any moment.

CCF: In the Noir category, Moira named most of the key films:

WHITE HEAT (Raoul Walsh 1949)
HIGHWAY 301 (Andrew Stone 1950)
THE DAMNED DON'T CRY (Vincent Sherman 1950)
TOMORROW IS ANOTHER DAY (Felix Feist 1951)
STORM WARNING (Stuart Heisler 1951)
INSIDE THE WALLS OF FOLSOM PRISON (Crane Wilbur 1951)
PRIVATE HELL 36 (Don Siegel 1954) -- this may be my favorite Cochran performance & movie

To those I would add:

THE CHASE (Arthur Ripley 1947) -- based on a Cornell Woolrich story and starring one of Moira's favorite actors (I'm shocked she left this off her list)
SLANDER (Roy Rowland 1957) -- Cochran makes watching Van Johnson more bearable than usual
THE BEAT GENERATION (Charles Haas 1959) -- a cast for the ages, including Mamie Van Doren and Ray Danton

[moira finnie]

To those I would add:

THE CHASE (Arthur Ripley 1947) -- based on a Cornell Woolrich story and starring one of Moira's favorite actors (I'm shocked she left this off her list)
SLANDER (Roy Rowland 1957) -- Cochran makes watching Van Johnson more bearable than usual
THE BEAT GENERATION (Charles Haas 1959) -- a cast for the ages, including Mamie Van Doren and Ray Danton

Thanks for the reminder of The Chase, which "something" caused me to try to forget. I love the scene with Cochran in the back seat with the accelerator and Robert Cummings a patsy trying to be a conscientious chauffeur. Only Cornell Woolrich's fevered imagination could have created the labyrinthian twists in this story. I mentioned Slander briefly above. I think Cochran was very good in that movie.

I've never seen The Beat Generation, but I can imagine that a movie in which Ray Danton and Steve Cochran both oiled their way across the screen must be amusing.

[knitwit45]

According to our Larry, he had some unusual, um, features, that were supposedly LEGENDARY....

[ChiO]

Amusing? Gracious.

My review, posted in February in the "Noir Films" thread:

Upon seeing the title, THE BEAT GENERATION (Charles Haas 1959), and that it was produced by Albert Zugsmith (HIGH SCHOOL CONFIDENTIAL! (1958), COLLEGE CONFIDENTIAL (1960), SEX KITTENS GO TO COLLEGE (1960)), one might expect a teen/beatnik exploitation movie. But he also produced: WRITTEN ON THE WIND (1956), THE INCREDIBLE SHRINKING MAN (1957), THE TARNISHED ANGELS (1957), and a little something called TOUCH OF EVIL (1958). And what one gets with THE BEAT GENERATION is a Film Noir disguised as a teen/beatnik exploitation movie.

Married women in L.A. are being raped in their homes by a young smooth-talking coffee shop devotee, Stan Hess (Ray Danton). He shows up at a home, identifies himself as Arthur Garrett, says her husband helped him by loaning him $10 and he wants to write a check in repayment. Once in, he feigns a headache, pulls out some aspirin and asks for a glass of water. When she's getting that, he puts on leather gloves, takes her from behind, and assaults her. The detectives on the cases are Dave Culloran (Steve Cochran) and Jake Baron (Jackie Coogan). Culloran is suspect of the women, blaming the victim...until his wife, Frances (Fay Spain), becomes a victim. Now he is conflicted between women as tramps and his wife, who is near-virginal (but, we learn in a nearly off-hand comment by Baron that Culloran had been married before...to a tramp).

Hess asks his pal Art Jester (James Mitchum), to follow his modus operandi to confuse the cops. His target is Georgia Altera (Mamie Van Doren). The assault does not come to fruition because her ex-husband, Harry (Ray Anthony, married to Ms. Van Doren at the time), happens to pop in before Jester can surprise her. Georgia is uncooperative with Culloran because she hates Harry, is intrigued by (translation: hot for) Jester, and -- after all -- was not a victim. This confirms Culloran's thesis that women are tramps. But, as Baron points out, is that any different than "Garrett"'s attitude toward women? Hmmmm.

As if this isn't enough, Frances is pregnant. Who's the father? Culloran says he doesn't care because terminating the pregnancy "is against the law. It's against the law in every state." Frances says she doesn't care because she can't love this child. Until she talks to Mrs. Baron's across-the-street neighbor, a Roman Catholic priest (William Schallert). Now she will have the baby. But her husband is never around because he's obsessed with catching the Aspirin Kid. Culloran's conflicts -- the status of women generally, the status of his wife vis-a-vis women as a class and as a victim and as a mother, his status as a cop vs. protecting his wife's status (which is what?), his status relative to the lunatic rapist -- keep his wife off-balance and keep this movie alive and moving.

What a wonderful amalgam of adult melodrama, noir and beatnik exploitation. The exploitation aspect is relatively minimal, fortunately, until, unfortunately, the last 15-20 minutes. Prior to that, the few coffeehouse scenes are parody played straight. Near the end, the parody turns into slapstick and, given contemporary eyes, Camp, which distracts from the major narrative thread's continuing Noir theme. One of the more interesting subtexts is that the only woman who isn't a victim of sexual assault is the woman who is not married (Georgia Altera), she is saved from the assault by her ex-husband (the others' husbands weren't around when the assaults happened, but the ex- is), and she is the only one who is openly sexual. There's some discussion points.

For fun, some of the other cast members are: Sid Melton, Vampira, Maxie Rosenbloom, Louis Armstrong, Charles Chaplin, Jr., and (you may not recognize the name, but you would the face and body) Norman Grabowski.

For CineMaven's eyes only: The ending is an underwater fight between Danton and Cochran. Both are clothed, but it may be of interest because they're wet. There is, however, a much earlier scene of the Culloran and Baron families enjoying a day at the beach. Both Cochran and Coogan are in swim trunks. Coogan is also wearing a shirt. Just so you know.

Everybody but Whit Bissell.

[moira finnie]

According to our Larry, he had some unusual, um, features, that were supposedly LEGENDARY....

I'm shocked, shocked to read this knitster. I believe that Mr. Cochran's off-screen activities were...uh, legendary...but actually detracted from his being taken seriously as an actor. They sure couldn't have called him lazy if you look at the sheer number of movies the guy made. But I do believe that he was easily distracted...

ChiO--thanks for reproducing your review of The Beat Generation. [Maybe it's just me, but threads with generic labels like Noir Films always make it harder for me to find earlier mentions of subjects and too much gets lost in the shuffle]. It sounds a bit as though Cochran is playing the kind of straight arrow role that Howard Duff had in Private Hell 36, except of course, for the underwater fight.

I LOVE it when movies are set in coffee houses and beatniks are around. Have you ever seen The Subterraneans (1960), "based on"--well, very loosely--Jack Kerouac's novel? Since this is a beatnik movie made by MGM, the sets are beautiful and they include the surprisingly well-groomed and lovely-looking George Peppard, Leslie Caron, Jim Hutton and even Arte Johnson (!) among the alienated youth. A snarky, truth-telling Roddy McDowall was around to make catty remarks about everyone's hang-ups. But I digress.

[mongoII]

I always thought that Steve Cochran should have reached star status. He was outstanding in "White Heat", "Storm Warning" and "The Damned Don't Cry".
Was also a cunning con in films he made with Virginia Mayo, an actress he tried to romance but she would have none of it.
My sister Marion had a big crush on him.

[ChiO]

According to our Larry, he had some unusual, um, features, that were supposedly LEGENDARY....

Large, clown-like feet?
An abnormally big opposable thumb?
A prehensile tail?

I give up. Flip over all the cards, Mr. Daly.

[Jezebel38]

Oh man... Steve Cochran... the epitome of tall, dark, handsome & hirsute (sorry Sean Connery). Have we ladies not discussed him before here? If not, what an oversight. Yeah, I think he is a darn good actor too! I just recently watched his last film - self-produced and directed - TELL ME IN THE SUNLIGHT which can be found on Youtube.

[CineMaven]

I see. She finally cracked. The heat...her neighbor...her listening to music through a Sony Walkman. She's cracked. Why? Because:

Okay, I know what you're thinking. Steve Cochran? The guy with the slick, malevolent manner and even slicker black hair? Does anyone else find themselves liking this actor?

I DO!! I DO!!



Sorry. ( ) Sorry to be so vociferous on that score, but even though I haven’t seen a lot of his movies...I’m crazy for the ruggedly handsome hirsuitish brute.

Thanks for the reminder of The Chase, which "something" caused me to try to forget. I love the scene with Cochran in the back seat with the accelerator and Robert Cummings a patsy trying to be a conscientious chauffeur. Only Cornell Woolrich's fevered imagination could have created the labyrinthian twists in this story.

LOL!!

He's a name I've heard of but I'm not sure I've ever caught him on screen apart from Best Years of Our Lives. I'd love to know where to start, your pictures are enough to make me want to give his movies a try.

Oh Alison...you must seek him out. He’s in “White Heat” also. A pix worth a thousand words. So here's another thousands words:

Virginia Mayo appears impressed with Steve Cochran's forest
Photo courtesy of MongoII

As opposed to Dana Andrews' little brother.

I remember reading this from the great Chi-town poster, many many months ago:

Few things are more exhilarating than stumbling upon Noir treasure: HIGHWAY 301(Andrew Stone 1950). The Warners backlot has seldom looked so nightmarish. Legenza, portrayed by real-life Bad Boy Steve Cochran with an intensity that is a cross between George Raft and Lawrence Tierney at their most malevolent, exudes a pervasive menace. Every encounter he has convinces you that someone -- and probably not him -- is about to die. For those who really like their boys bad ( yes, I'm talkin' to you CM & JF ), this one would either cure you from the affliction or truly tickle your fancy ( just before the slug hits you in the back )...

...and then ordering the dvd only to have it just sit next to my tv. I see it's time to pull it out and have it next to me. And speaking of...

Large, clown-like feet?
An abnormally big opposable thumb?
A prehensile tail?

I give up. Flip over all the cards, Mr. Daly.

The answer is: He does want to be a member of a club that would have him as a member. Forrest Tucker and I've read Milton Berle is in that club as well. ( Why do I keep thinking Dorothy Kilgallen is a charter member... ) Well, a man's not a man without his thumb.

I LOVE it when movies are set in coffee houses and beatniks are around. Have you ever seen The Subterraneans (1960), "based on"--well, very loosely--Jack Kerouac's novel?

Have you ever seen BUCKET OF BLOOD with Dick Miller? Beatniks galore in that one.

I would also encourage you to see Tomorrow Is Another Day and Come Next Spring for roles that allowed the actor to display more "normal" individuals who evoke sympathy. In the first movie he plays a 30 year old man just released from prison after his incarceration at the age of 13 for killing his abusive father. He is a lost and somewhat dangerous soul, without the formative experience or understanding of life on the outside to protect himself from harm. I'll try to put some notes I have into better shape about this movie soon.

I look forward to reading that. I'll chime in on that film as well. He did an excellent job.

[charliechaplinfan]

I've added a couple of movies to the rental list, there's only a couple listed. Did he ever play good guys?

[ChiO]

In a round-about way, Cochran might respond (courtesy of IMDb):

With this puss of mine, I could play a corpse and be accused of overacting. The big secret in playing a gangster in movies is to really believe that the character you are playing is doing no wrong.

And any fellow who could allegedly have had affairs with Mae West, Mamie Van Doren, Barbara Payton, Jayne Mansfield, Merle Oberon, Joan Crawford and Ida Lupino must have been a good, (correction) a very good, guy.

[knitwit45]

must have been a good, (correction) a very good, guy.

see previous post.... those opposable thumbs will do it every time.....