Film Review: The Blue Dahlia (1946)

Release Date: April 16th, 1946 (Baltimore premiere)
Directed by: George Marshall
Written by: Raymond Chandler
Music by: Victor Young (uncredited)
Cast: Alan Ladd, Veronica Lake, William Bendix, Howard Da Silva, Doris Dowling

Paramount Pictures, 96 Minutes

Review:

“Just don’t get too complicated, Eddie. When a man gets too complicated, he’s unhappy. And when he’s unhappy, his luck runs out.” – Leo

While not the first film to pair up Alan Ladd and Veronica Lake, this is probably the most famous one and the one that is considered the best. Although, I’d say that I like This Gun For Hire quite a bit more. I still haven’t seen their earliest film, The Glass Key, but I plan to watch it within the week.

The plot of the film revolves around an ex-serviceman, Johnny, who is wanted for the murder of his wife, who he had a severe falling out with once returning home from World War II. He finds out that she killed their son while driving drunk and that she has been having an affair with the owner of the Blue Dahlia nightclub. During their argument, Johnny pulls a gun on his wife but doesn’t use it. However, a witness saw this so when she is killed after Johnny leaves, he is the prime suspect.

In typical noir fashion, the rest of the film follows Johnny trying to clear his name while also trying to discover who the killer is.

The film is written by Raymond Chandler, who is probably known more for the film adaptations of his crime novels than his actual screenwriting but the story here is on par with his others and the dialogue is pretty well written. But it’s the talents of Alan Ladd, Veronica Lake, as well as the smaller parts of Doris Dowling and Howard Da Silva that gave the script real life. But I also can’t discount George Marshall’s direction.

The cinematography is decent but nothing extraordinary. Paramount made good looking noir pictures but they lack the visual panache of the noirs put out by RKO. But no one knew what film-noir was when they were making these films and the cinematography feels more like the crew sticking to Paramount’s tightly controlled standard than actually trying to give this some artistic flourish.

The Blue Dahlia is a beloved film for most noir lovers. I definitely enjoyed it but I can’t really put it in the upper echelon of the style’s best pictures.

Rating: 6.75/10
Pairs well with: other film-noir pictures pairing Veronica Lake and Alan Ladd.

Film Review: The Lost Weekend (1945)

Release Date: October 5th, 1945 (London premiere)
Directed by: Billy Wilder
Written by: Charles Brackett, Billy Wilder
Based on: The Lost Weekend by Charles R. Jackson
Music by: Miklos Rozsa
Cast: Ray Milland, Jane Wyman, Phillip Terry, Howard Da Silva, Doris Dowling

Paramount Pictures, 101 Minutes

Review:

“It shrinks my liver, doesn’t it, Nat? It pickles my kidneys, yeah. But what it does it do to the mind? It tosses the sandbags overboard so the balloon can soar. Suddenly I’m above the ordinary. I’m competent. Extremely competent! I’m walking a tightrope over Niagara Falls. I’m one of the great ones. I’m Michaelangelo, molding the beard of Moses. I’m Van Gogh painting pure sunlight. I’m Horowitz, playing the Emperor Concerto. I’m John Barrymore before the movies got him by the throat. I’m Jesse James and his two brothers, all three of them. I’m W. Shakespeare. And out there it’s not Third Avenue any longer, it’s the Nile, Nat. The Nile and down into the barge of Cleopatra.” – Don Birnam

I watched The Lost Weekend, as it has been highly praised by a lot of the books I’ve read on film-noir. It also won four Academy Awards including Best Picture. I think the thing that really sold it to me, though, was that it is a noir directed by Billy Wilder, the man behind Double Indemnity and Sunset Boulevard. It also stars the great Ray Milland, who won an Academy Award for this role.

Now this isn’t a standard noir. It doesn’t feature criminals, innocent guys in over their head or a femme fatale. What it does feature is a remarkable actor playing a drunk writer, fighting his personal demons, trying to salvage his relationship with the love of his life and trying to get back to work without the demon bottle’s stranglehold over his very being.

The main reason why this film works so well is Milland’s performance. But I also have to give credit to some of the other players like Howard Da Silva and Phillip Terry. But it is Jane Wyman that really delights and who actually makes the romantic scenes flourish. She plays exceptionally well off of Milland and truly feels like his equal in the film.

I obviously can’t discount Billy Wilder’s direction. The man was a maestro behind the camera and he gave us a pretty fine tuned and fabulous looking motion picture.

While this is far from my favorite film-noir and it is only third on my list of Billy Wilder’s noir outings, it is still a solid movie that’s entertaining and a bit heartbreaking to watch at times, as Milland wears self-destruction so well.

Rating: 7.25/10
Pairs well with: other film-noir pictures by Billy Wilder or starring Ray Milland.