Monday, December 12, 2022

DARK CITY--AN INFORMATION COMPANION--CHAPTER 4

Dark City: The Lost World of Film Noir, by Eddie Muller (Revised and Expanded Edition, 2021, Running Press, 448p.--E-BOOK VERSION)

EACH BLOG POST REPRESENTS A CHAPTER IN THE BOOK. 

FILM ANNOTATIONS ARE IN THE ORDER OF THEIR DISCUSSION IN THE BOOK. 

CLICK ON ANY T.O.C. LINK (COLOR AND UNDERLINE) TO LINK TO THE ANNOTATIONS FOR THAT CHAPTER. 

CHAPTERS THAT HAVE LINKS HAVE BEEN COMPLETED OR ARE IN PROCESS. 

CHAPTERS IN LARGE TYPE WITHOUT LINKS ARE THE CHAPTER YOU ARE LOOKING AT. 

CHAPTERS THAT ARE NOT LINKED ARE CHAPTERS THAT HAVE NOT YET BEEN ANNOTATED

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TABLE OF CONTENTS

INTRODUCTION 




C 4: "Hate Street: Randy region of ruined relationships"


C 6: "Shamus Flats: Lost someone? Gumshoes for hire"

C 7: "Vixenville: Fiefdom of the femme fatale"

C 8: "Blind Alley: Crossroads of coincidence and Fate"

C 9: "The Psych Ward: Where vexed veterans are quarantined"

C 10: "Knockover Square: Deluxe district of heists and holdups"

C 11: "Losers Lane: Street of sorry psychopaths"

C 12: "The Big House:  Last stop on a wayward course"

C 13: "Thieves Highway: The risky road out of town"

C 14: "The Stage Door: Enjoy a show... before it's too late 

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C 4: "Hate Street: Randy region of ruined relationships"

*=Blacklisted. For further information see the Introduction.
**=Trailer Available at Internet Movie Database (IMDb)

For other source notes, see the Introduction.

Films based on literary work of James M. Cain

12 of Cain's novels were movie sources, and he wrote stories, dialog, or screenplays for 5 others (AFI)

Films based on The Postman Always Rings Twice, by James M. Cain 

Before the film of the same title was made in Hollywood in 1946, it was made in France in 1939 and in Italy in 1943.

France:

87: Le Dernier Tournant (Compagnie Cinematographique de France/Gladiator Films, 1939) (Pierre Chenal) (WIK)

Note: This was the first film adaptation of Cain's famous novel.

Note: Chenal, because he was Jewish, was forced to flee France to South America and did not return until after the War. Corrine Luchaire, (Wikipedia) the first "Cora", was 18 when she starred in the film. Her father was a pro-Vichy newspaper publisher who was executed for collaboration in 1944. Corrine, due to her association with collaboration, was banned from film making for 10 years. She never made another film. succumbing to tuberculosis at age 28.  The Postman rang twice for her.

Cinematographers Christian Matras (Internet Encyclopedia of Cinematographers [IEC]; Claude Renoir (WIK). Matras has 138 IEC credits in a career that spanned 46 years (1926-1972). He was Director of Cinematography for La Grande Illusion (1937, Jean Renoir--Senses of Cinema--James Leahy)and several films directed by Max Ophuls. 

Renoir, grandson of the painter Pierre-August Renoir and nephew of Jean Renoir, worked under Matras on La Grande Illusion and was mentored by Matras and Boris Kaufman (Internet Encyclopedia of Cinematographers [IEC])--Academy award for 1954 On the Waterfront, Elia Kazan), brother of the famous Soviet Director and early Film Theorist Dziga Vertov (Senses of Cinema--Jonathan Dawson). Renoir has 100 Cinematographer and Camera credits at IMDb in a career spanning 49 years (1932-1981). He was noted for his post 1950 work with color cinematography.

Note: Jean Wiener (WIK) composed the music. He has 167 IMDb credits in a career that spanned 60 years (1922-1982). 



Frenchfilms.org (James Travers)

Wikipedia WIK 

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Italy

88. Ossessione (Industrie Cinematografiche Italiane 1943) (Luchino Visconti (Senses of Cinema--Jeremy Caar)

Note: This  was the second film adaptation of Cain's famous novel.

Note: Many film historians consider this to be the first Italian Neo-Realist film.

Note: The film was censured by the Fascists, hacked to pieces, and only the fact that Visconti had sequestered a copy insured its survival. It was not released in the US until 1977 (due to copyright issues). (Senses of Cinema, Alexandra Heller-Nicholas, linked from RT).

Note: Cinematographers Domenico Scala (IMDb); Aldo Tonti (Internet Encyclopedia of Cinematographers [IEC] 

Scala has 76 IMDb credits in a 36 year career (1931-1967).  Tonti has 144 IEC credits in a 49 year career (1934-1983). 

Note: Giuseppe Rosati (IMDb) composed the music. He has 9 IMDb credits 
from 1938-51.




WIK 

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89. The Postman Always Rings Twice (MGM, 1946) (Tay Garnett) (New York Times Obituary--Richard F. Shephard--Oct. 19, 1977, P. B2)

Filmsite Film Review and extensive story (more than a synopsis, less than a script)

Note: For links to information about other John Garfield* Films see the link to Chapter 2 of the Blog (John Garfield Side Bar-- #28-32). The link can be found above or below.

While there is no DVD Commentary Track, there is an introduction by Film Scholar Richard Jewell. 
Note: on mobile phones you will need to scroll down quite a way to the information. 

Cinematographer Sidney Wagner (WIK) has 71 AFI credits in a career that lasted 23 years (1924-1947). He earned 2 Academy Award nominations: 1940, Northwest Passage, King Vidor, and 1944, Dragon Seed, Jack Conway and Harold S. Bucquet. Wagner's career was cut short when he fell ill and then suddenly died on his way to work one day. He was 46 years old.

Note: George Bassman* (WIK) compsed the music. He has 46 AFI credits in a career that lasted from 1937-1993. He was blacklisted in 1948 and was out of the film industry until 1953. He also worked in Theatre and later in TV. He composed music for part of The Wizard of Oz (1939, Victor Fleming)--background music for the tornado, poppy, and selected Emerald City scenes).

Note: The Postman Always Rings Twice tied for 14th Top Grossing US Film of 1946 ($4,000,000--$61 million in 2023), out of the top 60 that grossed at least $2,250,000--$34 million. John Garfield tied for 15th Top Grossing Star ($4,000,000). Top grossing film in 1946 was Bells of St. Mary's (Leo McCarey) ($8,000,000--$122 million). Top (average) Grossing Actor: Bing Crosby: 3 films, $18,000,000--$274 million, Average: $6,000,000--$91 million). 
(Variety, January 8, 1947, P. 8).




WIK 

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Double Indemnity, by James M. Cain

90. Double Indemnity (Paramount, 1944) (Billy Wilder) (Senses of Cinema--Richard Armstrong)

Script: (Stands4 Network).

Filmsite Film Review and extensive story (more than a synopsis, less than a script)

DVD Commentary Tracks by Film Historian Richard Schickel and Screenwriter Lem Dobbs & Film Historian Nick Redman

Note: Double Indemnity was nominated for 7 Academy Awards

Best Picture: Lost to Going My Way
Best Director: Lost to Leo McCarey--Going My Way
Best Best Actress: Barbara Stanwyck: Lost to Ingrid Bergman--Gaslight (George Cukor)

Best Writing: Screenplay: Billy Wilder and Raymond Chandler: Lost to Frank Butler and Frank Cavett--Going My Way

Best Cinematography--Black and White: John F. Seitz : Lost to Joseph LaShelle--Laura (Otto Preminger)

Cinematographer John F. Seitz (International Encyclopedia of Cinematographers [IEC]) has 148 AFI credits in a career that spanned 43 years (1917-1960). He earned 7 Academy Award nominations. 

Note: Double Indemnity was tied for 28th on the American Society of Cinematographers [ASC] 1894-1949 Best Shot Films list. 

Best Music--Scoring: Miklos Rozsa: Lost to Max Steiner--Since You Went Away (John Cromwell)

Miklos Rozsa (Miklos Rosa Society--Christopher Palmer; John Fitzpatrick) has 85 AFI credits in a career that spanned 45 years (1937-1982). He earned 17 Academy Award nominations and won 3 times: 1945, Spellbound, Alfred Hitchcock; 1947, A Double Life, George Cukor; and 1959, Ben-Hur, William Wyler.

Best Sound--Recording: Loren Ryder: Lost to Edmond H. Hansen--Wilson (Henry King) 

Note: Double Indemnity is listed on 6 of AFI's "Top" lists: 

1998: (#38) and 2007: (#29) 100 Years--100 Movies
2001: (#24) 100 Years--100 Thrills
2002: (#84) 100 Years--100 Passions
2003: (#8--Phyllis Dietrichson) 100 Years--100 Heros and Villains 

Note: The two screen writers had little positive to say about each other. According to AFI: 

Chandler on Wilder: "working with Billy Wilder...was an agonizing experience and has probably shortened my life, but I learned from it about as much about screen writing as I am capable of learning, which is not very much."

Wilder on Chandler: "[Chandler] gave me more aggravation than any writer I ever worked with."

Note: In my opinion, DI is one of a handful of essential Noirs, along with, so far The Big Heat (see Chapter 3 Post--#63). Every facet of classic Noir style, subject matter, and exposition is on display, as well as one of the greatest femme fatale performances you'll see. Oh, and Edward G. Robinson is also in the film.

Note: According to IMDb, DI grossed $5,720,000--$96 million.  




WIK 

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91. Apology for Murder (Producers Releasing Corporation, 1945) (Sam Newfield) (Senses of Cinema--Wheeler Wilson Dixon)

Note: This was a "blatant rip off" (WIK) of Double Indemnity. Paramount sued PRC, delaying its release. According to Muller, Cain tried, without success, to organize screen writers to get more control over their product.

Note: One of the most interesting things about the plagiarism of this film has to do with one of the most symbolic fetishes in the Noir canon, the incessant cigarette smoking that pollutes every one of these films. In this case, compare the use of the lighting of cigarettes in Double Indemnity with that in Apology for Murder. It is astonishingly astonishing.

Note: The combination of Hugh Beaumont (later Ward Cleaver on TV's Leave it to Beaver) with Ann Savage (Los Angeles Times) (later vicious femme fatale on the legendary B Noir Detour--London Guardian) (1945, Edgar G. Ulmer) is a bit jarring for those of us who grew up with the Beaver on our black and white screens.

Note: Director Sam Newfield, a prolific B Director, according to Senses of Cinema, was the most prolific Director in the history of Hollywood films (more than 250 feature films under the names Sherman Scott, Peter Stewart, and Sam Newfield). He has 19 AFI Directing credits for 1942 and 17 for 1943. He has AFI Directing credits for 15 or more films in 1937, 1938, 1940, 1942, 1943, and 1946. His career spanned 35 years, beginning in 1923. 




WIK 

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Humphrey Bogart--Early Noirs 

Senses of Cinema #1: California Dreamin': High Sierra, by Luke Goodsell

Roger Ebert: The Great Films: The Maltese Falcon

Bright Lights Film Journal: Casablanca: The Romance of Propaganda, by Tanfir Emin Tunc

Senses of Cinema: They Drive by Night, (see #107 below, under Ann Sheridan) by Stephen Gaunson

92. High Sierra (Warner Brothers, 1941) (Raoul Walsh) (Senses of Cinema--Tag Gallagher)

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive)

Note: Although Ida Lupino (Senses of Cinema--Wheeler Winston Dixon) got top billing, this was Humphrey Bogart's breakout performance.

Note: This was the first collaboration between Humphrey Bogart and John Huston (who collaborated on the screenplay).

Note: Cinematographer Tony Gaudio (WIK) has 95 AFI credits as Photographer or Director of Photography in a career that lasted from 1912-1949. He was nominated for 6 Academy Awards and won for Anthony Adverse (1936, Mervyn LeRoy).

Note: Music Director Leo F. Forbstein (WIK) has an astronomical
543 AFI credits in a career spanning 19 years (1929-48). All of his credits from 1936-49 were as Music Director, when he was head of the Warner Brothers Music Department. As such, he was part of Academy Award nominations for 4 films. The music was composed by Adolph Deutsch (allmusic.com),
who has 80 AFI credits in a career that spanned 24 years (1937-1961). He earned 5 Academy Award nominations and won 3 times: 1950, Annie Get Your Gun, George Sidney; 1954, Seven Brides for Seven Brothers, Stanley Donen, and 1955, Oklahoma!, Fred Zinnemann.  

Note: Willie Best (WIK) (earlier credited as "Sleep 'n' Eat"--which in itself is telling about Hollywood's reflection of US racial attitudes in the early mid-20th Century) played a mostly stereotypical role in this film, until his final scene. He has 106 AFI acting credits, accumulated between 1930 and 1951. This was one of 10 credits in 1941. He also had 10 credits in 1938. Best was well aware of the characters he was playing. In a 1934 interview, he said "I often think about these roles I have to play. Most of them are pretty broad. Sometimes I tell the director and he cuts out the bad parts... But what's an actor going to do? Either you do it or get out." Mitchell Leisen (Senses of Cinema) a Director with 41 AFI credits, and Art Director with 18 AFI credits, called him "the most natural actor I've ever seen." At a time when African American actors with larger parts went without credits, one can only imagine the work he might have done under more enlightened circumstances. His last scene in this film illuminates that, in my opinion.  

Note: According to WIK, High Sierra had a Box Office Gross of $1,500,000--$30 million.




WIK 

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93. The Maltese Falcon (Warner Brothers, 1941) (John Huston) (Senses of Cinema--Bruce Jackson)

Script (Simply Scripts): 

DVD Commentary Track by Bogart Biographer Eric Lax

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive)

Filmsite Film Review and extensive story (more than a synopsis, less than a script)

Note: This was John Huston's Directorial debut.

Note: This was Sydney Greenstreet's American Film debut.

Note: This was Humphrey Bogart's second collaboration with Huston.

Note: The Maltese Falcon was nominated for three Academy Awards: Best Picture, Best Supporting Actor (Greenstreet), and Best Adapted Screenplay (Huston).

Note: The film is on 5 of AFI's 100 years... lists.

1998 and 2007--AFI's 100 Years...100 Movies: #23 and #31

2001--100 Years...100 Thrills: #26

2005--100 Years...100 Movie Quotes: "The stuff that dreams are made of": #14
 
2008--10...Top 10: #6 Mystery Film

Note: Cinematographer Arthur Edeson Cinematographer [ASC]: Wrap Shot Casablanca, by David E. Williams) enjoyed a 35 year career (1914-1949) in silent and sound film. He has 102 AFI credits as photographer, Director of Photography, or Cinematographer. He photographed one of Hollywood's earliest 70 millimeter films, The Big Trail (1930, Raoul Walsh--also John Wayne's first major film). The process was called "Grandeur Film (WIK). Edeson also earned three Academy Award nominations, In Old Arizona (1928, Raoul Walsh), All Quiet on the Western Front (1930, Louis Milestone), and Casablanca. In addition to Casablanca, All Quiet on the Western Front was 16th on the top 50 ASC 1894-1949 list, The Maltese Falcon (see above, #93) was 20th, Mutiny on the Bounty (1935, Frank Lloyd) tied for 40th, Frankenstein (1931, James Whale) tied for 43rd, and The Invisible Man (1933, James Whale) tied for 45th. 

Edeson also shot 3 of Douglas Fairbanks' best known films: The Three Musketeers (1921, Fred Niblo), Douglas Fairbanks in Robin Hood (1922, Alan Dwan), and The Thief of Bagdad (1924, Raoul Walsh). He was also one of the founders of the American Society of Cinematographers in 1919.

Note: Music Director Leo F. Forbstein (WIK) has an astronomical
543 AFI credits in a career spanning 19 years (1929-48). All of his credits from 1936-49 were as Music Director, when he was head of the Warner Brothers Music Department. As such, he was part of Academy Award nominations for 4 films. The music was composed by Adolph Deutsch (allmusic.com), who has 80 AFI credits in a career that 
spanned 24 years (1937-1961). He earned 5 Academy Award nominations and won 3 times: 1950, Annie Get Your Gun, George Sidney; 1954, Seven Brides for Seven Brothers, Stanley Donen, and 1955, Oklahoma!, Fred Zinnemann.  

Note: According to WIK, The Maltese Falcon had a Box Office Gross of $1,800,000--$36 million. 




WIK 

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94. Casablanca (Warner Brothers, 1942) (Michael Curtiz) (Senses of Cinema--Jeremy Caar)

Script: (The Daily Script)

DVD Commentary Track by Film Critic Roger Ebert

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive) 

Filmsite Film Review and extensive story (more than a synopsis, less than a script)

Note: Casablanca was voted 94th best film of all time in the Sight and Sound 2002 poll. It was 84th 2012 Poll. In the 2022 Poll it tied for 63rd with Goodfellas (1990) and The Third Man (1949).

Note: Casablanca was nominated for 8 Academy Awards and won 3: Best Picture, Best Director, and Best Screenplay (Julius J. Epstein, Philip G. Epstein, and Howard Koch). 

Humphrey Bogart was nominated for Best Actor but lost to Paul Lucas (Watch on the Rhine, Herman Shumlin). Claude Rains was nominated for Best Supporting Actor but lost to Charles Coburn (The More the Merrier, George Stevens). Arthur Edeson was nominated for Best Cinematography--Black and White but lost to Arthur C. Miller (The Song of Bernadette, Henry King). Owen Marks was nominated for Best Film Editing but lost to George Amy (Air Force--Howard Hawks). Max Steiner was nominated for Best Musical Scoring but lost to Alfred Newman (The Song of Bernadette).

Note: Casablanca was named #7 of the 50 Best Shot Films 1894-1949 by American Cinematography [American Society of Cinematographers) 

Note: Cinematographer Arthur Edeson Cinematographer [ASC]: Wrap Shot Casablanca, by David E. Williams) enjoyed a 35 year career (1914-1949) in silent and sound film. He has 102 AFI credits as photographer, Director of Photography, or Cinematographer. He photographed one of Hollywood's earliest 70 millimeter films, The Big Trail (1930, Raoul Walsh--also John Wayne's first major film). The process was called "Grandeur Film (WIK). Edeson also earned three Academy Award nominations, In Old Arizona (1928, Raoul Walsh), All Quiet on the Western Front (1930, Louis Milestone), and Casablanca. In addition to Casablanca, All Quiet on the Western Front was 16th on the top 50 ASC 1894-1949 list, The Maltese Falcon (see above, #93) was 20th, Mutiny on the Bounty (1935, Frank Lloyd) tied for 40th, Frankenstein (1931, James Whale) tied for 43rd, and The Invisible Man (1933, James Whale) tied for 45th. 

Edeson also shot 3 of Douglas Fairbanks' best known films: The Three Musketeers (1921, Fred Niblo), Douglas Fairbanks in Robin Hood (1922, Alan Dwan), and The Thief of Bagdad (1924, Raoul Walsh). He was also one of the founders of the American Society of Cinematographers in 1919.

Note: Music Director Leo F. Forbstein (WIK) has an astronomical
543 AFI credits in a career spanning 19 years (1929-48). All of his credits from 1936-49 were as Music Director, when he was head of the Warner Brothers Music Department. As such, he was part of Academy Award nominations for 4 films. The music was composed by Adolph Deutsch (allmusic.com), who has 80 AFI credits in a career that 
spanned 24 years (1937-1961). He earned 5 Academy Award nominations and won 3 times: 1950, Annie Get Your Gun, George Sidney; 1954, Seven Brides for Seven Brothers, Stanley Donen, and 1955, Oklahoma!, Fred Zinnemann. 

Note: Arthur "Dooley" Wilson (Texas State Historical Association--Peggy Hardman), had a large speaking and singing role. He had a more than 40 year career as a singer and musician, as well as theatre, radio, TV, and film actor. He played in one of the first African-American situation comedies, Beulah (1951-2), He also served on the Board of Directors of the Negro Actors Guild of America.

Note: Casablanca was the 6th Top Grossing US Film of 1942 ($3,700,000--$67 million), out of the top 95 that grossed at least $1,000,000--$18 million. Top grossing film in 1942 was Mrs. Miniver (William Wyler) ($6,000,000--$109 million).  million).  (Casablanca--Variety, January 5, 1944, P. 54) (Top Grosser--Variety, January 6, 1943, P. 58)




WIK 

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95. Conflict (Warner Brothers, 1943) (Curtis Bernhardt) (WIK)

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive)

Note: Cinematographer Merritt B. Gerstad (WIK) has 77 AFI credits in a career that spanned 25 years (1920-1945). This was his final film. 

Note: Music Director Leo F. Forbstein (WIK) has an astronomical
543 AFI credits in a career spanning 19 years (1929-48). All of his credits from 1936-49 were as Music Director, when he was head of the Warner Brothers Music Department. As such, he was part of Academy Award nominations for 4 films. The music was composed by Frederick Hollander (Frederick Hollander Music) who has 109 AFI credits (not including his German film credits) in a 38 year American career (1933-1971). He composed the famous song "Falling in Love Again" for Der Blaue Engel (The Blue Angel, 1931, Joseph Von Sternberg). This was the film that catapulted the career of Marlene Dietrich as well as ended the career of Emil Jannings. Hollander earned 4 Academy Award nominations.

Note: this film was made in 1943 but not released until 1945.

Note: According to the AFI annotation, Bogart detested the script, and only did the film after being threatened with suspension. According to Muller (P. 106) "It was a role Bogart didn't want to play, as the on-screen marriage was uncomfortably close to his own hellish union with actress Mayo Methot."

Note: According to WIK, Conflict had a Box Office Gross of $3,707,000--$61 million.




WIK  

===

Other Films of Curtis Bernhardt (WIK)

One of the most interesting things about Muller's book, is that he uses different "hooks" to connect one film to another. Here we see a Director connection from Conflict to a couple of other quite interesting films by Noir stylist Curtis Bernhardt.  

96.  High Wall (MGM, 1947)

Note: Lester Cole* (1--WIK) (2--Hollywood Red: The Autobiography of Lester Cole--Internet Archive), one of the screen writers, was part of the original Hollywood 10, cited for Contempt of Congress, jailed and blacklisted. Robert Taylor, the star of High Wall, testified to HUAC that he thought Cole was a Communist. Cole's successful Hollywood screen writing career (33 credits in AFI from 1932-47) was destroyed, and he was able to write only 3 more screen plays in the next 20 years, all under assumed names. His final screen play was for Born Free (1966, James Hill) under the name Gerald L.C. Copely. The Writers Guild of America has changed the credit to Cole. Cole also helped to establish the WGA in 1933.

Note:  Cinematographer Paul C. Vogel  (WIK) has 69 AFI credits spanning a 40 year career (1927-1967). He won 1 Academy Award: 1949, Battleground, William A. Wellman. He is also known for his work on Lady in the Lake (1947, Robert Montgomery), in which the entire film was subjectively shot from the perspective of Detective Philip Marlowe (Montgomery). With two exceptions, Marlow's face is never seen in the movie, an extremely interesting way to portray novelist Raymond Chandler's 1st person narration in the novel the movie is based on.

Note: Bronislaw Kaper (University of California-Santa Barbara Libraries Discography of American Historical Recordings--selected recordings are available for online listening) composed the music. He has 119 AFI credits in a 37 career that lasted from 1935-1972. He earned 4 Academy Award nominations and won once for Lili (1953, Charles Walters). 

Note: Herbert Marshall (WIK), one of the stars of this film, was an English actor who has 70 credits in AFI between 1929 and 1965. Three of my favorite Marshall films are Trouble in Paradise (1932, Ernst Lubitch). The Good Fairy (William Wyler, 1935), and The Fly (Kurt Neumann, 1958). He is also interesting for the fact that he suffered a World War I injury that necessitated a leg amputation (watch his movements closely and you may be able to detect it), and a 2 year affair with Gloria Swanson, who said of him "I was never so convincingly and thoroughly loved as I was by Herbert Marshall." (Gloria Swanson: Ready for Her Close-Up, by Tricia Welsch, 2013, Univ of Mississippi Press, P. 290-291). 

Note: The film is interesting for its now antiquated interpretation of psychiatry.

Note: High Wall was tied for 72nd Top Grossing US Film of 1948 (even though it was produced in 1947--$1,700,000--$23 million), out of the top 93 that grossed $1,500,000--$20 million or more. (Variety, January 5, 1949, P. 46). Top grossing film in 1947 was The Best Years of Our Lives, William Wyler ($11,500,000--$153 million) Variety, January 7, 1948, P. 63)




WIK 

===

97. Possessed (Warner Brothers, 1947) 

DVD/Blue Ray Commentary Track by Film Historian Drew Casper
Note: on mobile phones you will need to scroll down quite a way to the information.

Note: Cinematographer Joseph Valentine (WIK) has 74 AFI credit in a career that spanned 25 years (1924-1949). He earned 5 Academy Award nominations and won once (1948, Joan of Arc, Victor Fleming). He worked under Alfred Hitchcock 3 times (1942, Sabatour, 1943, Shadow of a Doubt, and 1948, Rope). He passed away from a heart attack at age 48, 2 months after he received his Academy Award.

Note: Franz Waxman (franzwaxman.com) wrote the music score for Possessed. He has 147 AFI credits in a career that spanned 32 years (1934-1966). He earned 12 Academy Award nominations and won twice: Sunset Boulevard (1950, Billy Wilder) and A Place in the Sun (1951, George Stevens).

Note: Joan Crawford received an Academy Award Nomination for Best Actress. Loretta Young won for The Farmer's Daughter (H.C. Potter).

Note: Bernhart uses several Noir style devices in this film, including a famous long take subjective view early in the film. 

Note: If you want to see what Joan Crawford looked like in real life (i.e. no makeup), watch the beginning of the film. She is almost unrecognizable, which is exactly the point. 

Note: Possessed tied for 58th Top Grossing US Film of 1947 ($2,300,000--$31 million), out of the top 75 that grossed $2,000,000--$27 million or more. Joan Crawford was the 45th Top Grossing Star (averaging $2,450,000--$33 million for 2 films). Top grossing film in 1947 was The Best Years of Our Lives, William Wyler ($11,500,000--$153 million) Variety, January 7, 1948, P. 63).





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98. Diabolique (Les Diaboliques) (Cinedis/Filmsonor, 1955) (Henri-Georges Clouzot) (Senses of Cinema--Fiona Watson)

Blue Ray Commentary Track by Film Historian and University of Wisconsin-Madison Professor Kelley Conway. 
Note: on mobile phones you will need to scroll down quite a way to the information.

Note: Muller puts this film in the filmography of the chapter to compare its plot elements to those of Conflict, but Les Diaboliques stands well on its own and is clearly superior to the Bogart film on all accounts. In fact it is one of the better Noirs that you will ever see. But as the end of the film asks viewers "Don't be devils. Don't ruin the interest your friends could take in this film. Don't tell them what you saw. Thank you for them.", I will not divulge the ending. Except to say that it will knock your socks off.  

Note: the Wikipedia article discusses some interesting facts linking Les Diaboliques to Alfred Hitchcock's Psycho (1960).

Note: According to Michael Keaney in Film Noir Guide:

"With fellow teachers and the entire school body looking on Meurisse (Principal of the school) forces his wife to swallow the rotten fish he's purchased for the day's lunch. It's said that realism-minded director Clouzot, husband of co-star (Vera) Clouzot, used real spoiled fish to get just the right effect. He succeeded." (P. 136) Unfortunately, Keaney provides no source for this assertion, but it makes for a terrific story, whether true or not. 
 
frenchfilms.org (James Travers)




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99. Jealousy (Republic/Gong Productions, 1945) (Gustav Machaty) (WIK)

Note: This rather obscure film was the final film directed by Czech Director Gustav Machaty (Česko-Slovenská filmová databáze). Machaty is known for his silent and sound film making in what was then Czechoslovakia, particularly Eroticon (Czech National Film Archive) (1929) and Extase (Czech National Film Archive) (1932), both known for their lyricism and eroticism. Extase is famous for a Hedy Lamarr nude scene. Interestingly, when Jealousy was made, Lamarr was married to John Loder (WIK), one of the stars of Jealousy.

Note: Cinematographer Henry Sharp has 116 AFI credits in a career that spanned 39 years (1920-1959).

Note: Hanns Eisler* (Hochschule fur Musik: Hanns Eisler Berlin) composed the music. He has 11 AFI credits in a career that lasted 8 years (1939-1947). "Because of his Jewish origins and communist convictions, Hanns Eisler was forced into exile in 1933." He eventually came to the states and found his way to Hollywood. In 1948 he was deported back to Germany "because of his earlier relationships to the Soviet Union and the Communist Party." He was unfortunate enough to settle in East Berlin. He was the composer of the East German National Anthem, but later,  "allegations of formalistic tendencies aimed at him by the cultural bureaucracy of the GDR, combined with the ensuing campaign against his 'Faustus' opera project, paralyzed his creative powers, driving him into a state of resignation." So one can only wonder what this now revered musician might have created had he not been  crushed by demogagues 3 times.

Note: Jealousy was based on a story by Dalton Trumbo*. (Wisconsin Center for Film and Theater Research: Jeff Smith) 

Note: Hugo Haas (Cesko-Slovenská filmová databáze), who has a small role in Jealousy (Hugo), later became a B film Director who had 14 Directorial AFI credits between 1951 and 1962. He also had numerous acting credits going back to 1925 in Czechoslovakia. He was also a screen writer in the states.   




WIK 

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James M. Cain and Joan Crawford

Mildred Pierce, by James M. Cain

100. Mildred Pierce (Warner Brothers, 1945)  (Michael Curtiz) (Senses of Cinema--Jeremy Caar)

While there is no DVD Commentary Track, there is an 85 minute Turner Classic Movie Documentary: Joan Crawford: The Ultimate Movie Star (Wisconsin Center for Film and Theater Research via Internet Archive) 
Note: on mobile phones you will need to scroll down quite a way to the information.

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive)

Filmsite Film Review and extensive story (more than a synopsis, less than a script)

Note: In her first film for Warner Brothers after leaving MGM, Joan Crawford won an Academy Award for Best Actress. Mildred Pierce was nominated for five other Academy Awards: 
Best Picture: (losing to The Lost Weekend--Billy Wilder); 

Best Supporting Actress: Ann Blythe and Eve Arden--(lost to Anne Revere, National Velvet--Clarence Brown); 

Best Screenplay: Ranald MacDougal (lost to The Lost Weekend--Charles Brackett and Billy Wilder); 

Best Cinematography--Black and White: Ernest Haller (lost to The Picture of Dorian Gray--Harry Stradling, directed by Albert Lewin) 

Only The Bells of St. Mary's--Leo McCarey with 8, and The Lost Weekend, with 7, earned more nominations than Mildred Pierce's 6 (A Song to Remember--Charles Vidor, and Spellbound--Alfred Hitchcock also earned 6 nominations.)

Note: According to AFI, James M. Cain sent a first edition of the novel (Mildred Pierce) to Crawford in 1946 which was inscribed, "To Joan Crawford, who brought Mildred to life just as I had always hoped she would be and who has my lifelong gratitude."

Note: Mildred Pierce was tied for 42nd on the American Society of Cinematographers [ASC] 1894-1949 Best Shot Films list. 

Note: In a career that spanned 55 years (1914-1969) of silent and sound films Cinematographer Ernest Haller (Internet Encyclopedia of Cinematographers [IEC] has 161 AFI credits as a photographer, cinematographer, or director of photography. He was nominated for Academy Awards 7 times, winning in 1939 for Gone With The Wind (Victor Fleming).  

Note: Composer Max Steiner (maxsteiner.net) was nominated for 24 Academy Awards, winning 3 times (1935, The Informer, John Ford;  1941, Now Voyager, Irving Rapper; 1943, Since You Went Away, John Cromwell). He has 282 AFI credits in a career that spanned 41 years (1930-1971). (He also has several posthumous AFI credits).

Note: Thelma "Butterfly" McQueen (WIK), probably best known for her role in Gone With The Wind (1939--Victor Fleming) was typecast as a maid in Mildred Pierce and had a fairly large speaking part for the role. Yet she was not credited at the time. About her typecasting she said "I didn't mind playing a maid the first time, because I thought that was how you got into the business. But after I did the same thing over and over, I resented it. I didn't mind being funny, but I didn't like being stupid." (Jet Magazine Obituary, Jan. 15, 1996). As with Willie Best (see above under High Sierra, #92), McQueen downplayed the "stupid" part (given the time period), and we can only speculate on what she could have done with more "enlightened" roles. Note also that in the Wikipedia article McQueen has quotes about her atheism, particularly: "I'm an atheist and Christianity appears to me to be the most absurd imposture of all the religions, and I'm puzzled that so many people can't see through a religion that encourages irresponsibility and bigotry."  

Note: According to WIK, Mildred Pierce had a Box Office Gross of $5,600,000--$92 million.




WIK 

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Joan Crawford: Sidebar 
Roger Ebert (rogerebert.com Features) 
David Denby (New Yorker)
Stephanie Jones (joancrawfordbest.com) 
James Travers (Frenchfilms.org)
Howard Mandelbaum (Bright Lights Film Journal) 
Imogen Sara Smith (Bright Lights Film Journal)

101. Possessed (Warner Brothers, 1948) Curtis Bernhardt (WIK) (see above, #97)





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102. The Damned Don't Cry (Warner Brothers, 1950) (Vincent Sherman) (Los Angeles Times Obituary--Dennis McClellan)

DVD Commentary Track by Director Vincent Sherman

Note: Ted McCord (WIK) was the cinematographer. In a 44 year career (1921-1965), he has 166 Internet Encyclopedia of Cinematographers [IEC] credits. He was nominated for 3 Academy Awards, including The Sound of Music (1964--Robert Wise). McCord's, Treasure of the Sierra Madre (1947--John Huston) was voted the 27th Best Shot film (1894-1949) by the American Society of Cinematographers. 

Note: Daniele Amfitheatrof (Destination Hollywood: The Influence of Europeans on American Filmmaking, by Larry Langman, 2000, McFarland, P. 255) wrote the music. He has 31 AFI credits in a career that mostly spanned 9 years (1939-1948), although he did score one more film (1965, Major Dundee, Sam Peckinpah). 

Note: The Damned Don't Cry tied for 81st Top Grossing US Film of 1950 ($1,400,000--$17 million), out of the top 95 that grossed $1,250,000--$15 or more. Top grossing film in 1950 was Samson and Delilah (Cecil B. DeMille)  ($11,000,000--$135 million) (actually distributed in late 1949) (Variety, January 3, 1951, P. 58).




WIK  

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103. Harriet Craig (Columbia, 1950), (Vincent Sherman) (Los Angeles Times Obituary--Dennis McClellan) 

Note: Muller refers to this film as part of the evolution of Crawford's acting roles, especially with respect to her work after she left MGM, but says little more. At first glance, you might think this is more melodrama than Noir. It isn't listed among Keaney's Film Noir Guide, which lists 745 Noirs. There isn't a flashback, a gun, much less a murder, an illicit affair, or pervasive dark streets. There is hardly a cigarette smoked, and very few fedoras worn. But, in my opinion it is psychological Noir, done as only Joan Crawford can, Mildred Pierce boiled down to the bone. It can be seen today as campy, given how Crawford was interpreted for so long due to the biography (Mommy Dearest) written by her daughter, and the 1981 film of that book (see the above commentaries under the "sidebar" to see Crawford through a different lens). It can be seen in our time as pure misogyny, but pay attention to what brought Harriet to her world view. This is an overlooked gem of a Noir, in my opinion. Well worth the time.  

Note: Cinematographer Joseph B. Walker (Internet Encyclopedia of Cinematographers [IEC]) has 116 AFI credits in a career that spanned 31 years (1921-1952). He earned 4 Academy Award nominations and received a Gordon E. Sawyer Award in 1981 for Scientific and Technical Achievement. He held many patents related to film and TV equipment. From 1930-1946 he worked under Frank Capra on 9 films.

Note: M.W. Stoloff (Conductors and Composers of Popular Orchestral Music, by Naomi Musiker and ‎Reuben Musiker, 2014, Taylor and Francis, P. ?) was the Music Director at Columbia from 1936-1952. He has 413 AFI credits in a career spanning 29 years (1936-1965).  He earned 17 Academy Award nominations and won 3 times: 1944, Cover Girl, Charles Vidor; 1946, The Jolson Story, Alfred E. Green; 1960, Song Without End, Charles Vidor/George Cukor.  George Duning (The Film Music Society--John Burlingame--University of Southern California Thornton School of Music) composed the music. Duning has 123 AFI credits in a career that spanned 41 years (1939-1990). He earned 5 Academy Award nominations. He also composed for several TV shows, including The Big Valley and the original Star Trek. 

Note: Audio Selections from Duning's work are available at the George Duning Web Site--Bob Harris, edtior. BTW, at the bottom of this link, there is an eclectic selection of music from other film and TV composers, including Elmer Bernstein, Henry Mancini, and Ennio Morriconi, among others.

Note: Ellen Corby plays a maid who is one of the door mats that Crawford wipes her shoes on. She is best known for her role as "Grandma" Walton in the TV series The Waltons. 




WIK 

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104. This Woman is Dangerous (Warner Brothers, 1952) (Felix Feist) (WIK)

Note: This was the last film Crawford made for Warner Brothers. According to Wikipedia, she later said it was her worst. Her next film, for a non-major studio, Sudden Fear (see the link to Chapter 3 above and below, #81, or below #105, for the side bar context) was rewarded with an Academy Award nomination for Best Actress.

Note: Ted McCord (WIK) was the cinematographer. In a 44 year career (1921-1965), he has 166 Internet Internet Encyclopedia of Cinematographers [IEC] credits. He was nominated for 3 Academy Awards, including The Sound of Music (1964--Robert Wise). McCord's, Treasure of the Sierra Madre (1947--John Huston) was voted the 27th Best Shot film (1894-1949) by the American Society of Cinematographers. 

Note: David Buttolf (allmusic.com) composed the music. He has 137 AFI credits in a 28 year career (1935-1963). He is most remembered today for composing the theme of the Maverick TV show. 




WIK 

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105. Sudden Fear (Columbia, 1952) (David Miller) (David Bawden Interview--1982) (see the link to Chapter 3 Post above and below these listings, #81, for another context)

DVD/Blue Ray Commentary Track by Film Historian Jeremy Arnold. 
Note: on mobile phones you will need to scroll down quite a way to the information.

Note: Sudden Fear was nominated for 4 Academy Awards: Best Actress (Joan Crawford); Best Supporting Actor (Jack Palance); Best Cinematography--Black and White (Charles Lang), and Best Costume Design--Black and White (Sheila O'Brien)

Note: Cinematographer Charles Lang Jr. was a Renaissance Man when it came to Hollywood Movies. In addition to his 146 AFI credits, he has over 60 AFI sound credits, 27 AFI cast credits, and 9 AFI screen writer credits in a career that spanned 47 years (1926-1973, with 1 credit in 1991). As far as cinematography, he earned 17 Academy Award nominations and 1 win (1932, A Farewell to Arms, Frank Borzage). He also won an American Society of Cinematographers (ASC) lifetime achievement award in 1991, at age 89, the same year received his final AFI credit as "chief rigging elec." He worked at Paramount from 1929-1951, and accumulated 94 AFI credits. In 1930 he was cinematographer or director of cinematography for 10 films, at the age of 28. 

Note: Elmer Bernstein (Elmer Bernstein Official Website) composed the music. He has 142 AFI credits in a career that spanned 51 years (1951-2002). He earned 11 Academy Award nominations and won once (1967, Thoroughly Modern Millie, George Roy Hill). He is perhaps remembered best for his work on The Magnificent Seven, 1960, John Sturges), as his theme song was used to advertise Marlboro cigarettes back in the day when cigarette advertising inundated commercial TV. 

Note: Sudden Fear tied for 61st Top Grossing US Film of 1952 ($1,650,000--$18 million), out of the top 119 that grossed at least $1,000,000--$11 million. Top grossing film in 1952 was The Greatest Show on Earth (Cecil B. DeMille)  ($12,000,000--$134 million) (Variety, January 7, 1953, P. 61). 





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Films of Ann Sheridan 

Ann Sheridan Digital Collection (University of North Texas Digital Library) (Note: scroll to the bottom for a digital "scrap book," containing hundreds of photographs--it begins with a few blank pages)

Ann Sheridan: a Bio-Bibliography, by Margie Schultz (Greenwood Press, 400p.)

Senses of Cinema: They Drive by Night, by Stephen Gaunson

WIK 

106. Castle on the Hudson (Warner Brothers, 1940) (Anatole Litvak) (WIK)

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive)

Note: For links to information about other John Garfield Films see the link to Chapter 2 of the Blog (John Garfield Side Bar-- #28-32) linked above and below these annotations. The link can be found above or below. Also, in this chapter, see The Postman Always Rings Twice (#89 above).

Note: Cinematographer Arthur Edeson Cinematographer [ASC]: Wrap Shot Casablanca, by David E. Williams) enjoyed a 35 year career (1914-1949) in silent and sound film. He has 102 AFI credits as photographer, Director of Photography, or Cinematographer. He photographed one of Hollywood's earliest 70 millimeter films, The Big Trail (1930, Raoul Walsh--also John Wayne's first major film). The process was called "Grandeur Film (WIK). Edeson also earned three Academy Award nominations, In Old Arizona (1928, Raoul Walsh), All Quiet on the Western Front (1930, Louis Milestone), and Casablanca. In addition to Casablanca, All Quiet on the Western Front was 16th on the top 50 ASC 1894-1949 list, The Maltese Falcon (see above, #93) was 20th, Mutiny on the Bounty (1935, Frank Lloyd) tied for 40th, Frankenstein (1931, James Whale) tied for 43rd, and The Invisible Man (1933, James Whale) tied for 45th. 

Edeson also shot 3 of Douglas Fairbanks' best known films: The Three Musketeers (1921, Fred Niblo), Douglas Fairbanks in Robin Hood (1922, Alan Dwan), and The Thief of Bagdad (1924, Raoul Walsh). He was also one of the founders of the American Society of Cinematographers in 1919.

The music was composed by Adolph Deutsch (allmusic.com),
who has 80 AFI credits in a career that spanned 24 years (1937-1961). He earned 5 Academy Award nominations and won 3 times: 1950, Annie Get Your Gun, George Sidney; 1954, Seven Brides for Seven Brothers, Stanley Donen.

Note: Castle on the Hudson was a remake of an earlier Warner Brothers Film: 20,000 Years in Sing Sing (Michael Curtiz, 1932), which was based on a novel by Lewis E. Laws, who was also a contemporary Warden of the prison. The story is told in a New York Times article about an Ossining Film Festival featuring films set in the prison.




WIK 

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107. They Drive by Night (Warner Brothers, 1940) (Raoul Walsh) (Senses of Cinema--Tag Gallagher) 

Note: George Raft, the star of the film, is today remembered as much for the films he turned down as the films he made. And the effect some of those decisions had on the career of Humphrey Bogart. Raft turned down starring roles in Dead End (William Wyler, 1937) High Sierra (Raoul Walsh, 1941-see #92 above), The Maltese Falcon (John Huston, 1941--see #93 above), and All Through the Night (1942, Vincent Sherman). Bogart played the roles in all of them. The first earned 4 Academy Award nominations, including Best Picture, the second and third catapulted Bogart into a top echelon star, and the fourth earned Warner Brothers $1,325,000--$28 million.

Note: While there is no DVD Commentary Track, there is a featurette: Divided Highway: the Story of They Drive by Night, narrated by Film Critic Leonard Maltin. 
Note: on mobile phones you will need to scroll down quite a way to the information. 

Note: Cinematographer Arthur Edeson Cinematographer [ASC]: Wrap Shot Casablanca--David E. Williams) enjoyed a 35 year career (1914-1949) in silent and sound film. He has 102 AFI credits as photographer, Director of Photography, or Cinematographer. He photographed one of Hollywood's earliest 70 millimeter films, The Big Trail (1930, Raoul Walsh--also John Wayne's first major film). The process was called "Grandeur Film (WIK). Edeson also earned three Academy Award nominations, In Old Arizona (1928, Raoul Walsh), All Quiet on the Western Front (1930, Louis Milestone), and Casablanca. In addition to Casablanca, All Quiet on the Western Front was 16th on the top 50 ASC 1894-1949 list, The Maltese Falcon (see above, #93) was 20th, Mutiny on the Bounty (1935, Frank Lloyd) tied for 40th, Frankenstein (1931, James Whale) tied for 43rd, and The Invisible Man (1933, James Whale) tied for 45th. 

Edeson also shot 3 of Douglas Fairbanks' (London Guardian--Pamela Hutchinson best known films: The Three Musketeers (1921, Fred Niblo), Douglas Fairbanks in Robin Hood (1922, Alan Dwan), and The Thief of Bagdad (1924, Raoul Walsh). He was also one of the founders of the American Society of Cinematographers in 1919.

The music was composed by Adolph Deutsch (allmusic.com),
who has 80 AFI credits in a career that spanned 24 years (1937-1961). He earned 5 Academy Award nominations and won 3 times: 1950, Annie Get Your Gun, George Sidney; 1954, Seven Brides for Seven Brothers, Stanley Donen.

Note: According to WIK, They Drive by Night had a Box Office Gross of $1,596,000--$34 million.




WIK  

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108. Nora Prentiss (Warner Brothers, 1947) (Vincent Sherman) (Los Angeles Times Obituary--Dennis McClellan) 

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive)

Note: Cinematographer James Wong Howe (Los Angeles Times) (also Cinematographer of Body and Soul--see Chapter 2 link above and below, #13), was one of the most prolific and innovative Cinematographers in the history of Hollywood film. Between 1923 and 1975 he has 124 AFI credits as Photographer or Director of Photography. He earned 10 Cinematography Academy Award nominations and won twice: The Rose Tattoo (1955, Daniel Mann) and Hud (1963, Martin Ritt). He is credited with the following cinematic innovations: 

A method for showing blue eyes on early silent film stock.

Dramatic lighting and shadow, especially used in his and other Noir films.

"Use of unusual lenses, film stocks, and shooting techniques" (WIK)


All this while dealing with anti-Asian racism. (He didn't attain US citizenship until the repeal the the Chinese Exclusion Act in 1943, in spite of having lived in the states since 1904; his marriage to Sonora Babb* (WIK) in 1937 was not recognized as legal in California until 1948 when the California anti-miscegenation law was abolished. He was credited as "James Howe" in 30 of his first 36 films, and was not consistently credited with his Chinese name until 1933, etc.) Again, we see a pattern of systemic racism in Hollywood, and it is difficult to imagine the heights he might have reached in a more "enlightened" culture.

Note: Franz Waxman (franzwaxman.com) wrote the music. He has 147 AFI credits in a career that spanned 32 years (1934-1966). He earned 12 Academy Award nominations and won twice: Sunset Boulevard (1950, Billy Wilder) and A Place in the Sun (1951, George Stevens).

Note: This is among the darker Noir films listed so far by Muller. 

Note: As far as I can tell, Ann Sheridan did her own singing in the film.

Note: Nora Prentiss tied for 54th Top Grossing US Film of 1947 ($2,400,000--$32 million), out of the top 75 that grossed at least $2,000,000--$27 million. Top grossing film in 1947 was The Best Years of Our Lives, William Wyler ($11,500,000--$153 million) 
(Variety, January 7, 1948, P. 63)




WIK 

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109. The Man I Love (Warner Brothers, 1947) (Raoul Walsh) (Senses of Cinema--Tag Gallagher) (See the link to Chapter 2,  #21, above and below these annotations, for this film in another context).

Note: Ann Sheridan has nothing to do with The Man I Love, but Muller uses it as a humorous counter to Nora Prentiss (The Man Who Shouldn't Love Me).




WIK 

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110. The Letter (Warner Brothers, 1940) (William Wyler) (Senses of Cinema--David Cairns)

Pressbook: (Wisconsin Center for Film and Theater Research via Internet Archive)

Filmsite Film Review and extensive story (more than a synopsis, less than a script)

Ann Sheridan is not in The Letter, but Screenwriter David Goodis, according to Muller, "reworked W. Somerset Maugham's The Letter into The Unfaithful (see below, #111), which Ann Sheridan stars in. 

Note: The Letter was nominated for 7 Academy Awards: Outstanding Production (Hal B. Wallis); Best Director; Best Actress (Bette Davis); Best Supporting Actor (James Stephenson); Best Cinematography-Black and White (Tony Gaudio); Best Film Editing (Warren Low); and Best Original Score (Max Steiner). It did not win any of the categories.

Note: Cinematographer Tony Gaudio (WIK),  according to Wikipedia, was "a favorite of Bette Davis", working on 11 of her films. 

Note: Composer Max Steiner (maxsteiner.net) was nominated for 24 Academy Awards, winning 3 times (1935, The Informer, John Ford;  1941, Now Voyager, Irving Rapper; 1943, Since You Went Away, John Cromwell). He has 282 AFI credits in a career that spanned 41 years (1930-1971). (He also has several posthumous AFI credits).

Note: Sen Yung (Pantheon--MIT Collective Learning Group/Datawheel), who had a large speaking part in The Letter, would later become well known as Hop Sing on TV's Bonanza. He also has 10 AFI credits for supporting roles in Charlie Chan films.

Note: The film shows anti-Asian racism in character (Sen Yung), musical leitmotifs (Max Steiner), and the fact that  the "Eurasian" character played by Gale Sondergaard was not only white, but was recast from the Chinese mistress of "Hammond" to his wife in the original Maugham story , at the insistence of the Production Code Administration (Hays Office).




WIK 

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111. The Unfaithful (Warner Brothers, 1947) (Vincent Sherman) (Los Angeles Times Obituary--Dennis McClellan) 

Note: Although The Unfaithful has been called a remake of The Letter (see #110 above), it has a completely different ending.

Note: In a career that spanned 55 years of silent and sound photography, Cinematographer Ernest Haller (Internet Encyclopedia of Cinematographers [IEC]) has 161 AFI credits as a photographer, cinematographer, or director of photography. He was nominated for Academy Awards (Best Cinematographer) 7 times, winning in 1939 for Gone With The Wind.  

Note: Composer Max Steiner (maxsteiner.net) was nominated for 24 Academy Awards, winning 3 times (1935, The Informer, John Ford;  1941, Now Voyager, Irving Rapper; 1943, Since You Went Away, John Cromwell). He has 282 AFI credits in a career that spanned 41 years (1930-1971). (He also has several posthumous AFI credits).

Note: The famous Angels Flight funicular railroad (Los Angeles) was featured in the film. For a list of other films that featured the railroad see the Angel's Flight In the Movies Page.

For more information about those films see the Angel's Flight entry at AFI.

Note: The Unfaithful tied for 61st Top Grossing US Film of 1947 ($2,250,000--$30 million), out of the top 75 that grossed at least $2,000,000--$27 million. Top grossing film in 1947 was The Best Years of Our Lives, William Wyler ($11,500,000--$153 million)
(Variety, January 7, 1948, P. 63). 




WIK 

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112. Woman on the Run (Universal/Fidelity Pictures, 1950) (Norman Foster) (Bright Lights Film Journal--Jake Hinkson)

Blue Ray Commentary Track by Eddie Muller 
Note: on mobile phones you will need to scroll down quite a way to the information.

Note: The "trivia" assigned to this film at IMDb has 14 items. The most important is the first. Here is a film that fell into the Public Domain. The only existing copy was lost in a fire, but was rediscovered by Eddie Muller, the author of the book to which this Blog is a companion. It was restored and now can be seen in its original form. Something lost and only available in an unwatchable form has been restored.   

Cinematographer Hal Mohr (Internet Encyclopedia of Cinematographers [IEC]), in a career spanning 51 years (1918-1969), has 107 AFI credits as Photographer, Director of Photography, or Cinematographer. He was nominated for 3 Academy Awards and won 2 (A Midsummer Night's Dream, 1935, Max Reinhardt and William Dieterle, and The Phantom of the Opera, 1943, Arthur Lubin). Mohr was also President of the American Society of Cinematographers (ASC) (1930-1931, 1963-1965, and 1969-1970).

Note: Arthur Lange and Emil Newman composed the music.

Arthur Lange (Discography of American Historical Recordings, American Discography Project, University of California Santa Barbara Library) was a veteran band leader and song writer for nearly 20 years before he began his Hollywood film career. He has 109 AFI credits in a career that spanned 25 years (1929-1954). He earned 4 Academy Award nominations. In 1929 he became head of the MGM Music Department, a position he appears to have held for about 10 years.

Emil Newman (WIK) was part of a large extended family of composers that earned over 90 Academy Award nominations. Perhaps the most famous today are Alfred Newman, Emil's brother (who composed 20th Century Fox's iconic opening theme music that precedes each film, as well as earning 45 Academy Award nominations and 9 wins. Randy Newman (Emil's nephew) is quite familiar to modern generations. But Emil was also a big time contributor. He has 193 AFI credits (a large majority of which were as Music Director) between 1936 and 1965. He earned 1 Oscar nomination.     

Note: Robert Keith (WIK) and Dennis O'Keefe (WIK) had large roles in Woman on the Run. Keith was a character actor with 35 AFI credits in a career that spanned 37 years (1924-1961). He was the father of actor Brian Keith, known to those of a certain age as "Uncle Bill" on the Family Affair TV show. Brian also was the star of a short lived Western TV show called The Westerner, mostly a creation of Director Sam Peckinpah, who became disillusioned with the story track his first TV creation, The Rifleman, had taken. The Westerner lasted less than one season, but Peckinpah had a hand in writing 4 and directing 6 of the 14 episodes.  

Dennis O'Keefe has 113 AFI credits at in a career that spanned 28 years (1933-1961), playing comedic as well as "heavy" roles. This is one of his best performances.

Note: Sen Yung (WIK) (see The Letter, #110 above), had a small speaking part in this film. Compare his performance in this film to that and you can easily see: 1) his ability as an actor, and 2) a clearer view of US cultural attitudes toward Asian Americans, which is further spotlighted by the contrast of this performance.

Note: Some critics say this was Ann Sheridan's finest performance. She was an un-credited producer of the film and really broke the shackles of her "Oomph Girl" type casting.   

Note: Watch for the set piece ending, one of the more famous in Noir history, which really highlights the two stars and Mohr's cinematography.

Note: The location shooting in San Francisco, California is quite impressive.
      



WIK 

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Films of Barbara Stanwyck 
Los Angeles Times (Paul Rosenfield)
New Yorker (Anthony Lane) 

Senses of Cinema #1: Open Game: Our Strange Love for Martha Ivers, by David Melville

Senses of Cinema #2: Sorry, Wrong Number, by Wendy Haslem

Bright Lights Film Journal: Maximum Security: Film Noir, Domesticity, and the Female Captive, by Imogen Sara Smith

Barbara Stanwyck: Straight Down the Line (PBS via The Hollywood Collection--Janson Media) 27 minutes

Stanwyck & Company (Fishko Files Podcast--Sara Fishko, WNYC Radio) 7 minutes
 
WIK 

113. Double Indemnity (Paramount, 1944)  (Billy Wilder) (Senses of Cinema--Richard Armstrong) (for more see #90 above)


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114. The Strange Love of Martha Ivers (Paramount, 1946) (Lewis Milestone) (WIK) 

Blue Ray Commentary Track by Film Historian Alan K. Rode.
Note: on mobile phones you will need to scroll down quite a way to the information.

DVD Commentary Track by Walter Hale
Note: on mobile phones you will need to scroll down quite a way to the information.

Note: The Strange Love of Martha Ivers was Kirk Douglas' film debut.

Note: Cinematographer Victor Milner (IMDb) has 136 AFI cinematography credits in a 40 year career (1913-53). He earned 8 Academy Award nominations (IMDb) and won in 1934 (Cleopatra, Cecil B. DeMille). Milner was President of the American Society of Cinematographers (ASC) from 1937-1939. He was also one of the founding members of that organization in 1919.  

Note: Composer Miklos Rozsa (Miklos Rosa Society--Christopher Palmer; John Fitzpatrick) has 85 AFI credits in a career that spanned 45 years (1937-1982). He earned 17 Academy Award nominations and won 3 times: 1945, Spellbound, Alfred Hitchcock; 1947, A Double Life, George Cukor; and 1959, Ben-Hur, William Wyler.

The Strange Love of Martha Ivers tied for 28th Top Grossing US Film of 1946 ($3,250,000--$49 million), out of the top 60 that grossed at least $2,250,000--$34 million. Barbara Stanwyck tied for 25th Top Grossing Star, with an average of $3,125,000--$48 million (for 2 films). Top grossing film in 1946 was Bells of St. Mary's (Leo McCarey) ($8,000,000--$122 million). Top (average) Grossing Actor: Bing Crosby: 3 films, $18,000,000--$274 million, Average: $6,000,000--$91 million). 
(Variety, January 8, 1947, P. 8). 




WIK 

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115. Sorry, Wrong Number (Paramount, 1948) (Anatole Litvak) (WIK) 

Note: In my opinion, this is another essential Noir for anyone who is interested in Noir style, subject matter, narrative, etc. Watch especially for sequences that are flashbacks within flashbacks.

Note: Barbara Stanwyck earned an Academy Award Nomination for best Actress in Sorry, Wrong Number. She Lost to Jane Wyman (Johnny Belinda, Jean Negulesco).

Note: Cinematographer Sol Polito (Internet Encyclopedia of Cinematographers [IEC] has 172 AFI credits in a career that spanned 35 years (1914-1949). He earned 3 Academy Award nominations.

Note: Franz Waxman (franzwaxman.com) wrote the music score for Sorry, Wrong Number. He has 147 AFI credits. His career spanned 32 years (1934-1966). He earned 12 Academy Award nominations and won twice: Sunset Boulevard (1950, Billy Wilder) and A Place in the Sun (1951, George Stevens).

Note: The WIK article, as well as several reviews, criticize the film for "padding" the work it was derived from, a brilliant radio script by Lucille Fletcher (Goodreads), who also penned the screenplay for the film. Whether or not you agree with this critique, you might want to listen to the radio play (about 30 minutes), originally preformed in 1943. 

Radio Play Script: (Generic Radio Workshop)

Sorry, Wrong Number was 25th Top Grossing US Film of 1948 ($2,850,000--$35 million), out of the top 93 that grossed at least  $1,500,000--$18 million. Top grossing film in 1948 was Road to Rio (Norman Mcleod)  ($4,500,000--$55 million). Road to Rio was released in late 1947.
(Variety, January 5, 1949, P. 46).




WIK 

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116. The Lady Gambles (Universal, 1949) (Michael Gordon*) (Los Angeles Times Obituary)

DVD Commentary Track by Film Critic and Editor-in-Chief of Diabolique Magazine  Kat Ellinger. 
Note: on mobile phones you will need to scroll down quite a way to the information.

Michael Gordon was blacklisted, according to WIK, after 1950. He did not direct films from 1952-1958. He spent most of that time directing Broadway plays. 

Note: In a 43 year career Cinematographer Russell Metty (International Encyclopedia of Cinematography [IEC]) has more than 150 AFI credits as Photographer or Director of Photography. He won an Academy Award for Cinematography--Color for Spartacus (Stanley Kubrick--1960) and was nominated for another (Flower Drum Song--Henry Koster--1961). He was Director of Photography for Touch of Evil (1958, Orson Welles--see Blog Post for Chapter 3, #75, linked above and below this post, for more information). Metty also photographed 11 films in collaboration with Director Douglas Sirk.

Note: Composer Frank Skinner (Radio Swiss Jazz) worked for over 30 years at Universal. He has 188 AFI credits in a 34 year career (1933-1967). Between 1939 and 1944 he earned 5 Academy Award nominations.

Note: Tony Curtis (The Forward [New York]--Jackson Arn) (Anthony Curtis) appears in his second film. He has a small speaking part as a bellboy.




WIK  

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117. The File on Thelma Jordon (Paramount, 1950) (Robert Siodmak) (Senses of Cinema--Chris Justice) 

Robert Siodmak has been called the quintessential Noir Director. Depending on the source, he directed 11 or 12 Noirs. In 1946, three of his films (The Spiral Staircase, The Killers, and Dark Mirror, in total earned 6 Academy Award nominations.

Note: Cinematographer George Barnes (International Encyclopedia of Cinematography [IEC]) has 146 AFI credits in a career that spanned 35 years (1918-1953). He earned 8 Academy Award nominations and won once (1940, Rebecca, Alfred Hitchcock). Barnes was a mentor of Gregg Toland (International Encyclopedia of Cinematography [IEC])(1941, Citizen Kane, Orson Welles). 

Note: Composer Victor Young (Leonard Maltin) had a prolific Hollywood career. He has 242 AFI credits in a 30 year career (1936-1956--although he was also credited for films he scored that were released after his untimely death in 1957 from a cerebral hemorrhage. He earned 24 Academy Award nominations, with 1 win (posthumous)  (1956, Around the World in 80 Days, Michael Anderson). He was nominated for multiple Academy Awards 3 times: 1940(3), 1941(4), and 1957(2).

Note: A main character's two fictitious children were Wendell Corey's (Richardhowe.com--Juliet Haines Mofford)  real life children.




WIK 

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118. No Man of Her Own (Paramount, 1950) (Mitchell Leisen) (Senses of Cinema--David Melville)

Note: Cinematographer Daniel L. Fapp (Internet Encyclopedia of Cinematographers [IEC]) has 91 AFI credits in a career spanning 40 years (1929-1969). He earned 8 Academy Award nominations and won once (1961, West Side Story, Robert Wise; Jerome Robbins). 

Note: Composer Hugo Friedhofer (Fishko Files Podcast--Sara Fishko--WNYC Radio--7 minutes) has 130 AFI credits in a 40 year career (1932-1972). He earned 9 Academy Awards and won once (1946, The Best Years of Our Lives, William Wyler). He was also involved in many films that he was not credited for. He has many credits for "orchestra arrangement." It has been said that his instrument was the orchestra. He was never a "star", but always accomplished and respected by his peers.

Note: Lyle Bettger (Guardian, London UK, Obituary) began his Hollywood career with No Man of Her Own and Union Station (1950, Rudolph Mate--for  more on Union Station see Chapter 1 Blog Post #5, linked to above and below this post). Bettger has 26 AFI credits in a 21 year career (1950-71). He played villains almost exclusively in films and on TV. His most famous role was as Klaus the elephant trainer in The Greatest Show on Earth (1952, Cecil B. DeMille), which won the Academy Award for Best Picture.
   
Note: Watch for Arthur "Dooley" Wilson (Texas State Historical Association--Peggy Hardman), who has a small speaking part as a dining car waiter. Wilson is best known for his portrayal of piano player Sam in Casablanca (see #94 above). He had a more than 40 year career as a singer and musician, as well as theater, radio, TV, and film actor. He played in one of the first African-American TV situation comedies, Beulah (1951-2). He also served on the Board of Directors of the Negro Actors Guild of America. 




WIK 

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119. Clash by Night (RKO, 1952) (Fritz Lang)

Fritz Lang

For more information about 3 other Lang Films see Chapter 3 Blog Post (#63--The Big Heat, 1953; #64--M, 1931; and #65--The Testament of Dr. Mabuse, 1933),  linked to above and below this post. 

DVD Commentary Track by Director Peter Bogdanovich, with audio interview excerpts with Lang. 

Note: Cinematographer Nicholas Musuraca (American Society of Cinematographers [ASC] Blog--John Baily) has 166 AFI credits in a career spanning 34 years (1923-1967). He earned 1 Academy Award nomination (1948, I Remember Mama, George Stevens). While probably best known for his work in Cat People (1942, Jacques Tourneur), he was also in on the "ground floor" of Noir cinematography, what is now seen by some as the very first classic Noir: Stranger on the Third Floor (1940, Boris Ingster--see Chapter 3 Blog Post #58B linked to above and below this post).

Note: Music Director and Composer for this film were Constantin Bakaleinikoff (WIK) and Roy Webb  (WIK) respectively. They were true workhorses for RKO. Over the course of their careers, Bakaleinikoff (1929-1957) and Webb (1933-1958) have over 550 AFI credits, many of them working together for RKO. Bakalienikoff was Music Director for RKO for many years. He earned 4 Academy Award nominations. Webb earned 7 Academy Award nominations. While these two musicians are mostly forgotten today, they made immense contributions to the music that was so important to the Noir style. 

Note: Robert Ryan (Chicago Reader--J.R. Jones--the article links to the complete autobiographical letter he wrote to his children), once again, as has been seen in earlier annotations, played an almost psychotic villain. He specialized in hatred (anti-Semitism--1947, Crossfire, Edward Dmytryk, [Chapter 3 Blog Post #76]; white nationalist anti African-American--1959, Odds Against Tomorrow, Robert Wise--[Chapter 3 Blog Post #86] and this film, viciously anti-Asian and mysoginistic). And he would later play a vicious anti-Japanese villain in Bad Day at Black Rock (1955, John Sturges). Ryan was politically almost the exact opposite of the characters he played. He was a pacifist, married to a Quaker for 33 years. He supported the American Civil Liberties Union and American Friends Service. He was a long time anti-nuclear activist. He was active in the Civil Rights movement. He was also acutely aware of the dichotomy between his real life and the roles he played.  

Note: Marilyn Monroe (Chicago Reader--Jonathan Rosenbaum) had a small but interesting part in Clash by Night. Seeing her opposite Barbara Stanwyck (iconic women's roles of the 40s and 50s v 50s and 60s) is fascinating to watch.

Clash by Night tied for 68th Top Grossing US Film of 1952 ($1,500,000), out of the top 119 that grossed $1,000,000 or more. Top grossing film in 1952 was The Greatest Show on Earth (Cecil B. DeMille), $12,000,000 (Variety, January 7, 1953, P. 61).




WIK 

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120. Jeopardy (MGM, 1953) (John Sturges) (WIK)

DVD Commentary Track: There is no commentary but there is a recording of the 22 minute Radio Play that the film was based on.
Note: on mobile phones you will need to scroll down quite a way to the information.

Note: Cinematographer Victor Milner (IMDb) has 136 AFI cinematography credits in a 40 year career (1913-53). He earned 8 Academy Award nominations (IMDb) and won in 1934 (Cleopatra, Cecil B. DeMille). Milner was President of the American Society of Cinematographers (ASC) from 1937-1939. He was also one of the founding members of that organization in 1919.  

Note: The music was composed by Dmitri Tiomkin (Dimitri Tiomkin website). He has 124 AFI music credits in a career that spanned 50 years (1929-1979). He earned 24 Academy Award nominations and won 4 times: 1953, Music Score and Song, High Noon, Fred Zinnemann; 1954, Music Score, The High and the Mighty, William A. Wellman; 1959, Music Score, The Old Man and the Sea, John Sturges.   

Jeopardy tied for 109th Top Grossing US Film of 1953 ($1,200,000), out of the top 135 that grossed $1,000,000 or more. 1953's top grossing film was The Robe (Henry Koster), $36,000,000 (Box Office Mojo), $20-30 million (Variety, January 13, 1954, P. 10-11).

Interestingly, Variety listed the top 166 grossing US films of all time in the same issue ($4,000,000 or more). The Top Ten were:

Comparisons to purchasing power today (2023) source: Official Data Foundation (Ian Webster): Figures are rounded to the closest million dollars.

1. $26,000,000: Gone With the Wind (1939, Victor Fleming--MGM) 
$555 million (1)

2. $20-30 million: The Robe (1953, Henry Koster--20th Century Fox)
$222-333 million (2)

3. $12,800,000: The Greatest Show on Earth (1952, Cecil B. DeMille--Paramount)
$143 million (4) 

4. $12,500,000: From Here to Eternity (1953, Fred Zinnemann--Columbia)
$139 million (5)

5. $10,500,000: Quo Vadis (1952, Mervyn LeRoy--MGM)
$118 million (9)

6. $10,400,000: Best Years of Our Lives (1947, William Wyler--RKO)
$138 million (6)

7. $10,000,000: Duel in the Sun (1947, King Vidor--Vanguard Films/Selznick Releasing Organization [David O. Selznick])
$133 million (7)

8. $9,000,000: Samson and Delilah (1950, Cecil B. DeMille--Paramount)
$111 million (10)

9. $8,500,000: This is the Army (1943, Michael Curtiz--Warner Brothers)
$146 million (3)

10. $8,000,000: Bells of St. Mary's (1946, Leo McCarey--RKO)
$122 million (8)

Note: these figures were subject to revision later, but if you opened your Variety on Jan. 13, 1954, to P. 10, this is what you would have seen.




WIK 

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121. Witness to Murder (Chester Erskine Pictures/United Artists, 1954) (Roy Rowland) 

Note: Cinematographer John Alton (American Cinematographer-- American Society of Cinematographers [ASC]--Gary Gatch)
has 85 AFI credits in a career that spanned 22 years (1938-1960). He earned 1 Academy Award (1951, An American in Paris--Ballet Cinematography, film directed by Vincente Minnelli). 

John Alton was one of the keystone cinematographers in the Classic Noir era. He was the Cinematographer on 5 Anthony Mann films and Joseph H. Lewis' brilliant The Big Combo (1954--see the link to Chapter 2 [#27] above and below these annotations). Alton was also cinematographer on Singin' in the Rain (1951, Harold Rossen), and worked on 5 Vincente Minnelli films. Film Historian Philip Kemp said of Alton "...in the hands of a master like Alton, cinematography can on occasion take precedence over script, acting, and possibly even directing, in determining the key quality of the creative mix." 

Note: Herschel Burke Gilbert (Archive of American Television Oral History--video--April 30, 2001, 2.5 hours.The interview is in 5 parts, and key subject small snippets of the interview are also identified)
wrote the music for this film. He has 41 AFI credits in a film career that spanned 28 years (1946-74). However, he is most well known for his exhaustive work in TV composing. He composed the theme songs for 15 TV shows in the 1950s and 60s, many of which were done for Four Star Television, where he was the Music Director. He also composed selective music for 9 other TV shows  

Note: There are similarities in Witness to Murder to 2 Alfred Hitchcock films, Rear Window (1954) and Vertigo (1958). Witness to Murder was released shortly before Rear Window. It is very interesting to compare the two films. 

Note: The "angle" of Witness to Murder, namely the ease with which women could be labeled and "treated" for insanity due to "hysterical" behavior (as one of the strategies in the misogynist tool box), is interesting in that the casting of Barbara Stanwyck in this role sometimes played against her usual strengths. But, as always, she pulled it off magnificently, in my opinion.

Note: The short "hospital" scene is one of the most frightening I have viewed in a Noir so far. Alton's genius for lighting is on full display here. And the cameo by Juanita Moore (WIK), credited as "Negress" is excellent. Moore has 36 AFI credits in a career that spanned 39 years, and several un-credited roles, according to WIK. She was the 5th African American actor to receive an Academy Award nomination, Best Supporting Actress (1959, Imitation of Life, Douglas Sirk).      




WIK 

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122. Crime of Passion (B.G. Productions/United Artists, 1957) (Gerd Oswald) (Memory Alpha) 

Note: Cinematographer Joseph LaShelle (International Encyclopedia of Cinematographers [IEC]) has 84 AFI credits in a career that spanned 43 years (1926-1969). He earned 8 Academy Award nominations and won once (1944, Laura, Otto Preminger). He worked on 6 films under Otto Preminger and 4 under Billy Wilder, including The Apartment (1961), which was nominated for 10 Academy awards and won 5; Irma la Duce (1963), which was nominated for 3 and won 1; and The Fortune Cookie (1966), which was nominated for 4 and won 1.

Note: Paul Dunlap (WIK) composed the music. He has 107 AFI credits in a career that spanned 18 years (1950-1968). He worked on 5 films under Samuel Fuller. He also composed extensively for TV. A serious classical composer who wrote an opera and chorale piece, Dunlap also composed for a lot of B films that were...B films. About that, he said "I can only hope that I will be remembered for my piano concerto, or my choral piece, 'Celebration', and not the inferior movies I was forced to be associated with."

Note: The scenes in which Barbara Stanwyck is going out of her mind with boredom due to her role as wife, after she abandons her role as hard driving newspaper reporter, are particularly memorable. You can almost feel the claustrophobia. Compare to, say, Meet John Doe (1941, Frank Capra), where she is a hard driving newspaper reporter, but falls in love with the hero and... well we never get to see how she does as Gary Cooper's wife. 





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Dark City: The Lost World of Film Noir, by Eddie Muller (Revised and Expanded Edition, 2021, Running Press, 448p.--E-BOOK VERSION)

EACH BLOG POST REPRESENTS A CHAPTER IN THE BOOK. 

FILM ANNOTATIONS ARE IN THE ORDER OF THEIR DISCUSSION IN THE BOOK. 

CLICK ON ANY T.O.C. LINK (COLOR AND UNDERLINE) TO LINK TO THE ANNOTATIONS FOR THAT CHAPTER. 

CHAPTERS THAT HAVE LINKS HAVE BEEN COMPLETED OR ARE IN PROCESS. 

CHAPTERS IN LARGE TYPE WITHOUT LINKS ARE THE CHAPTER YOU ARE LOOKING AT. 

CHAPTERS THAT ARE NOT LINKED ARE CHAPTERS THAT HAVE NOT YET BEEN ANNOTATED

==============================

TABLE OF CONTENTS

INTRODUCTION 




C 4: "Hate Street: Randy region of ruined relationships"


C 6: "Shamus Flats: Lost someone? Gumshoes for hire"

C 7: "Vixenville: Fiefdom of the femme fatale"

C 8: "Blind Alley: Crossroads of coincidence and Fate"

C 9: "The Psych Ward: Where vexed veterans are quarantined"

C 10: "Knockover Square: Deluxe district of heists and holdups"

C 11: "Losers Lane: Street of sorry psychopaths"

C 12: "The Big House:  Last stop on a wayward course"

C 13: "Thieves Highway: The risky road out of town"

C 14: "The Stage Door: Enjoy a show... before it's too late 

==============================
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