Film Review: Woman On the Run (1950)

Release Date: October 12th, 1950 (Boston premiere)
Directed by: Norman Foster
Written by: Alan Campbell, Norman Foster, Ross Hunter (dialogue)
Based on: Man On the Run by Sylvia Tate
Music by: Arthur Lange, Emil Newman
Cast: Ann Sheridan, Dennis O’Keefe, Robert Keith

Fidelity Pictures Corporation, Universal Pictures, 77 Minutes

Review:

“Frank’s condition isn’t any worse than tons of men that strain their hearts running in track meets in the misguided belief that they were building up their bodies.” – Dr. Arthur Hohler

I didn’t know much about this movie until it was featured on TCM’s Noir Alley. But apparently the Film Noir Foundation restored it almost two decades ago and then about ten years ago, that print was lost in a fire. Then, more recently, a negative print of the film was found in London and it was restored for a second time.

It’s a pretty unique and energetic film-noir that really is carried by the charm of Ann Sheridan. But in addition to that, she’s paired up well with both Dennis O’Keefe and Robert Keith. She is usually playing off of one actor or the other from scene to scene but man, the dialogue exchanges between Sheridan and both of the top billed men is really entertaining stuff.

Plus, the writing is witty and clever and Sheridan’s charisma is only enhanced by the strong dialogue and unique situations she finds herself in.

Really, all parties involved are top notch in this movie and while I can’t quite call this a film-noir masterpiece, I think this is better than several of the films that are looked at in much higher regard than this nearly lost gem.

Originally, it was supposed to be filmed in New Orleans but due to the movie being produced by a new, upstart studio and the budgetary concerns that come with that, it was shot in San Francisco. But this actually benefits the film, as it really captures noir era San Francisco in a beautiful way. Although, with so many film-noirs being filmed in San Francisco, a New Orleans setting could have made this a bit more unique.

Additionally, this picture feels like a moving painting. Since it spends a good amount of time looking at art, within the film, it’s kind of neat to see the motion picture have the same sort of majestic allure as a beautiful painting. The lighting, cinematography and shot framing are incredible, especially in the big finale at the amusement park.

That being said, the amusement park stuff is stupendous. I love the sequence with Sheridan on the roller coaster even if it looks hokey and dated almost 70 years later.

In fact, as much as I like this film, it’s the big finale that really takes things to another level and cements this as a real worthwhile and enjoyable classic film-noir.

Rating: 8/10
Pairs well with: Too Late for Tears, Please Murder Me!, The Man Who Cheated HImself and Impact.

Film Review: Black Legion (1937)

Release Date: January 17th, 1937 (New York City premiere)
Directed by: Archie Mayo, Michael Curtiz (uncredited)
Written by: Robert Lord, Abem Finkel, William Wister Haines
Music by: W. Franke Harling, Howard Jackson, Bernhard Kaun
Cast: Humphrey Bogart, Dick Foran, Erin O’Brien-Moore, Ann Sheridan

Warner Bros., 83 Minutes

Review:

“So, you’re afraid! Maybe they better change the name of your outfit from the Black Legion to the Yellow Legion.” – Ed Jackson

I was talking about Humphrey Bogart, my favorite actor, with a friend of mine when he asked, “Did you see that one where he was in the KKK?” I didn’t know what he was talking about, so I looked it up and found this film, which Bogart did really early in his career, before reaching superstardom. Also, it’s not the actual KKK but it is a group based on them called “the Black Legion”.

This film is rather short but it’s definitely got a lot packed into a small package. It’s a true thriller and very noir-esque before film-noir was a thing.

The gist of the story surrounds a hard working man that is looked over for a promotion that he was pretty sure he was going to get. It weighs heavily on him and eventually, some bad seeds take advantage of that and influence him into joining their cause. That cause, sees them dressing up in black hoods, similar to the KKK’s white hoods, where they go out at night in an effort to chase off the foreigners who are coming in and taking their jobs. So the Klan (or “Black Legion”) in this isn’t so much racist, as they are xenophobic.

In his heart, Bogart’s Frank Taylor was opposed to the madness he found himself entangled in but he was already in over his head and couldn’t leave the group for fear of what they might do to him and his family. It all comes crashing down when Frank murders his best friend that was trying his damnedest to save him. Regretful and remorseful, will Frank work to bring down the Black Legion or is the fear of his family’s safety too great?

The film is intense and it moves swiftly. It was hard for me to turn away from it and the acting of Bogart, as well as his best bud, Dick Foran, was superb and kept me glued to the screen.

While this isn’t Bogart or Foran’s best picture or performance, it really goes to show that both men were definitely capable of something greater. Luckily, for us, both men would have busy careers, especially in the noir style of the ’40s and ’50s.

Black Legion is certainly worth a watch. While most movie sites don’t list this as a thriller, it definitely is… and a pretty effective one from start to finish.

Rating: 7.75/10
Pairs well with: other Bogart films before he became a big star: High Sierra, They Drive by Night and Crime School.