Release Date: August 2nd, 1946
Directed by: Roy William Neill
Written by: Roy Chanslor
Based on: The Black Angel by Cornell Woolrich
Music by: Frank Skinner
Cast: Dan Duryea, June Vincent, Peter Lorre, Broderick Crawford, Constance Dowling
Universal Pictures, 81 Minutes
“Now may I have the box and the letter? Remember Catherine… you promised me to be a good girl.” – Marko
This is a pretty highly regarded classic noir picture. I had never watched it until now and despite the fanfare for it, I still wasn’t prepared for how good this movie is.
It stars a pair with great, great chemistry: Dan Duryea and June Vincent. They were perfect together in this and it was nice seeing Duryea not play an evil asshole.
The film also stars Peter Lorre in one of his best performances. In fact, this may be my favorite role he’s played after M.
Now the plot is complicated to explain but it all flows really well in the movie itself.
In a nutshell, Dan Duryea’s wife is murdered but the man wrongly arrested for it is June Vincent’s husband. Initially, Vincent suspects Duryea and confronts him in an effort to clear her husband. She discovers that he couldn’t have done it and the two pair up in an effort to find the real killer and to free Vincent’s husband before execution. The man they suspect is Peter Lorre, who owns a swanky nightclub where the pair get a gig as the house musicians.
What’s neat about the film is that it is one hundred percent noir but it has a lot of music in it and the performances by Vincent and Duryea’s characters are fantastic.
From the first frame to the last, the film looks perfect. The cinematography is top notch but the real life within the picture comes from the set design. The world feels real and genuine in a way that wasn’t typical with big studio films of the ’40s.
The shot framing is also really good. One moment that especially comes to mind is the scene where Lorre is opening his safe with Vincent just over his shoulder, watching him dial in his combination.
The opening sequence is also pretty well done in how it uses miniatures and shot transitions. While it’s not perfect, I don’t know how you could do it any better in the era when this film was made.
As good noir films go, this has a big twist and reveal at the end of the film. You don’t really see it coming and it is three parts heart-wrenching and two parts a punch to the gut. Basically, it was effective… damn effective.
I love this film and it’s a classic noir that I’m sure I will revisit again, much sooner than later.
Pairs well with: other classic noir pictures like Fallen Angel, The Dark Corner, Phantom Lady, The Blue Dahlia, etc.