Film Review: The Threat (1949)

Also known as: Terror
Release Date: December 1st, 1949
Directed by: Felix E. Feist
Written by: Dick Irving Hyland, Hugh King
Music by: Paul Sawtell
Cast: Michael O’Shea, Virginia Grey, Charles McGraw

RKO Radio Pictures, 66 Minutes

Review:

“Remember, I have to live with my conscience.” – Detective Ray Williams

The Threat isn’t a well known film-noir but anything made by RKO in the noir style is always worth a look.

It’s a quick 66 minute film that moves at a rapid pace and is fairly high octane for the era. It really doesn’t relent, due to it’s scant running time and it felt like it was over in the blink of an eye.

The story is about a homicidal maniac who breaks out of prison and starts kidnapping those he deemed responsible for his imprisonment: a cop, a district attorney and a nightclub singer who is believed to be the rat.

The film has a lot of angles and the narrative plays out nicely even if it felt somewhat underwhelming by the end.

As far as the production, it is fairly pedestrian. The acting, directing and cinematography are all pretty average. And even though the setup was really good and got me hooked, that first act of the film is really the high point.

Now I did enjoy Paul Sawtell’s score. But he always provided good music for the films he worked on.

The Threat isn’t very memorable but it isn’t a bad way to spend 66 minutes.

Rating: 6/10
Pairs well with: any crime thriller film-noir from RKO that feels more like a B-movie than a big studio production. That’s not a diss, as some of these films are great.

Trailer located here, as it’s only available on TCM and I can’t embed those videos here. You should fix that, TCM.

Film Review: The Sniper (1952)

Release Date: May 9th, 1952 (New York City premiere)
Directed by: Edward Dmytryk
Written by: Harry Brown, Edna Anhalt, Edward Anhalt
Music by: George Antheil
Cast: Adolphe Menjou, Arthur Franz, Gerald Mohr, Marie Windsor, Richard Kiley, Ralph Peters (uncredited), Karen Sharpe (uncredited)

Stanley Kramer Productions, Columbia Pictures, 88 Minutes

Review:

“You know how much coffee I’ve had today? 17 cups. The Brazilians ought to give me a medal.” – ER Doctor

Up until this was featured on Noir Alley, I had never heard of The Sniper. But man, this film was pretty damn remarkable. It will also have to go on my eventually updated list Top 100 Classic Film-Noir Pictures of All-Time. This is a film that will be pretty high up on that list.

For a movie released in 1952, this was pretty darn realistic and had a serious grit to it that put it at a different level than most film-noirs, which typically have a hefty amount of grit already. The subject matter was pretty heavy, even by today’s standards and I was surprised by what they were able to get away with in this.

Additionally, the film is scary, as it deals with a mentally deranged man that hates women to the point that he shoots and kills them from rooftops throughout the city. But this doesn’t feel like exploitation, it is well made, well crafted and spends enough time dealing with the mental state of the character that it has some real depth and meaning.

There are a lot of narrative paths this film can take you down. People today might see it as toxic masculinity run rampant, some may see it as a critique on a justice system that is broken, others may see this as an exploration of mental health and mania and some might even see this just as simple exploitation.

Regardless of how one views The Sniper, it asks a lot of questions and explores a lot of this territory pretty bluntly. But this is why it sticks out among the run of the mill film-noirs of the classic era.

The level of violence was pretty high but even though you see heinous acts committed on celluloid, it’s similar to Texas Chain Saw Massacre in that a lot of the violence happens in your mind, as it fills in the blanks. An example of this is when our killer shoots a woman and she smashes into glass, headfirst. There’s no gunshot wound or blood but your mind interprets it as more shocking than it actually was within the shot.

Edward Dmytryk did a damn fine job directing this motion picture. He had noir experience with Crossfire and Murder, My Sweet but this eclipses those films, in my opinion. And frankly, those films were damn good too.

The Sniper is highly unsettling but it has aged tremendously, as it is still unsettling and it’s narrative still works in 2018, two-thirds of a century later.

Rating: 9.25/10
Pairs well with: Other film-noir pictures directed by Edward Dmytryk: Crossfire and Murder, My Sweet, as well as other noirs like Murder by ContractHe Walked by Night and Gun Crazy.

Film Review: Follow Me Quietly (1949)

Release Date: July 7th, 1949 (New York City premiere)
Directed by: Richard Fleischer
Written by: Lillie Hayward, Anthony Mann, Francis Rosenwald
Music by: Leonid Raab, Paul Sawtell
Cast: William Lundigan, Dorothy Patrick, Jeff Corey, Nestor Paiva

RKO Radio Pictures, 60 Minutes

Review:

“I always wanted to throw something out of that window. Ha, I didn’t know it would be me. ” – J.C. McGill

Follow Me Quietly was put out by RKO Radio Pictures, a major studio in its heyday, but it feels more like a noir from one of the Poverty Row studios.

I think part of the reason is that this was definitely a B-movie, it had a very scant running time and didn’t have any big marquee players. It was directed by Richard Fleischer, however, and he was certainly a top director but maybe more so after this picture.

It’s an okay movie but there is nothing about it that sets it apart from the slew of late ’40s film-noir pictures. It’s pretty pedestrian, if I’m being honest, but it still has some interesting stuff within its slim 60 minute running time.

But I guess what captivated me most wasn’t the story or the characters but it was nuances within the film. While it’s a pretty standard police procedural for most of the film, the scenes where people try to identify suspects in the police lineup were really neat. Some of the characters posed with blank faces very similar to the character called The Blank from the 1990 Dick Tracy movie. Maybe that character was inspired by these moments in this film.

I enjoyed the police procedural shtick in this but it also felt ridiculous in how they came to conclusions in a few key spots.

In the end, this was an okay way to spend an hour but other than the strange police lineup proceedings, there’s not much to write home about.

Rating: 5.5/10
Pairs well with: other film-noir pictures of the ’40s from RKO Radio Pictures or some of the stuff from Poverty Row studios.

Film Review: The Damned Don’t Cry (1950)

Release Date: April 7th, 1950 (New York City premiere)
Directed by: Vincent Sherman
Written by: Harold Medford, Jerome Weidman
Based on: a story by Gertrude Walker
Music by: Daniele Amfitheatrof
Cast: Joan Crawford, David Brian, Steve Cochran, Strother Martin (uncredited)

Warner Bros. Pictures, 103 Minutes

Review:

“Don’t talk to me about self-respect. That’s something you tell yourself you got when you got nothing else.” – Ethel Whitehead

The first fifteen minutes of this film sucked me right in. It had a very effective start but then it didn’t let go as it rolled on.

Man, I just really loved Joan Crawford in this. She’s always a treat to see in anything but something about how she played this role felt a little bit more organic and closer to her real personality and charm, as opposed to being the centerpiece in a tightly controlled and meticulously crafted big Hollywood production. Not to say that this wasn’t a tightly controlled and meticulously crafted big Hollywood production but it seemed like she had more room to breathe with her performance. I’d almost say that there was more emphasis on freedom of performance and realism than just trying to make her look gorgeous mixed with a touch of viciousness.

As the story goes on, we see Crawford play out the typical femme fatale shtick. She uses her sex appeal and charm to work her way up the social chain from man to man, not caring much about how she burns them on the way. So it should go without saying that this doesn’t lead towards a happy ending for most of the main players. But there is a dark twist at the end, which surprised me, considering how the morality code in Hollywood worked at the time.

It’s fun watching this story escalate and seeing characters turn into monsters as it progresses, all because of the selfish actions of one broken woman. It’s a movie where likable characters evolve into unlikable ones, even if you initially just see them as victims of Ethel’s (Crawford) toxic antics.

The story moves at a pretty brisk pace and it doesn’t relent from start to finish. The plot has a lot of pieces and clever swerves but it’s crafted well and goes off without a hitch. This had some solid screenwriting work from Harold Medford, as well as Jerome Weidman.

This also had crisp cinematography and obviously the lighting was fine tuned to make Crawford glow but the picture also has a dark and brooding, organic grittiness to it. Sure, a lot of it looks like classic Hollywood and fantastical in its magic but the movie is well balanced between the shiny veneer and the darkness that the veneer is made to distract you from. You see beyond the beautiful and superficial topical layer, right into the abyss that’s waiting to pull all these people down.

This is a top notch film-noir, from a top studio and featuring one of the top stars of the era. I can’t say it enough, Crawford was an absolute gem in this and it’s strange to me that this isn’t one of her better known motion pictures.

Rating: 8.5/10
Pairs well with: other Joan Crawford film-noir pictures like Mildred Pierce and Possessed.

Comic Review: Daredevil: Yellow

Published: June 15th, 2011
Written by: Jeph Loeb
Art by: Tim Sale

Marvel Comics, 137 Pages

Review:

I wasn’t super keen on Jeph Loeb and Tim Sale’s take on the Hulk, which I read before this. However, I was really impressed with this story, as it seemed much closer to what made me love this pair and that’s the Batman story The Long Halloween.

This just felt right, looked right and hit all the notes perfectly.

First off, I love that this takes Daredevil back to his early era with the yellow suit. It works really well with this story and it made for a beautiful use of colors throughout the book.

The narrative is told in the form of Daredevil writing a series of letters to the deceased Karen Page. Each issue of the six that make up this arc are fairly self-contained, even though they are all sewn together with a common thread.

In some ways, this goes through a summarized retelling of Daredevil’s early years. In that regard, this reminds me of the fantastic X-Men: Grand Design comics.

We also get all sorts of cameos in this, as it is a story told through flashback and recollection. We get to see Daredevil meet the Fantastic Four, as well as his first meetings with The Owl, the Purple Man and Electro. Plus, it is refreshing reading a Daredevil comic that isn’t centered around the ongoing war for Hell’s Kitchen between Matt Murdock and Wilson Fisk.

If you really loved The Long Halloween, then this is definitely something that you need to check out. This is also, I would assume, very much the type of story and style that Marvel wanted out of Loeb and Sale when they brought them on to do four projects: this, Hulk: GraySpider-Man: Blue and Captain America: White.

Rating: 9.5/10
Pairs well with: The other color themed books that Jeph Loeb and Tim Sale did for Marvel.

Film Review: The Hunted (1948)

Release Date: April 7th, 1948
Directed by: Jack Bernhard
Written by: Steve Fisher
Music by: Edward J. Kay
Cast: Preston Foster, Belita, Pierre Watkin, Edna Holland

Allied Artists Pictures, 84 Minutes

Review:

“You know something, Johnny? It’s been four years since I’ve been kissed.” – Laura Mead

The Hunted was not a major studio film-noir picture but it was still a pretty engaging story where even if the acting wasn’t the greatest, the characters still lured you in.

While Preston Foster gets top billing here, the most interesting cast member is Belita. For those unaware, she was a talented figure skater from the United Kingdom. She dabbled in acting for a bit and actually was cast in three film-noir pictures during her film career. While she didn’t have the typical Hollywood femme fatale look, she was still stunning in her own way and had more of an athletic build, which worked for her character here, as ice skating was a part of this story.

The film flows pretty quickly and it’s relatively short when compared to bigger budget noir pictures. Most of the B-movie noirs had scant running times, which is actually something I like about them. It allows them to move swiftly, cut out the frills and gives them a bit more grit and realism. This film is exactly what I just described. While the best noirs are like a fine wine, films like this are more like a shot of whiskey.

The Hunted feels dirty and organic when seen next to a film like Laura. With that, Belita feels more real, as well.

The plot follows a cop that discovers that his girlfriend may be involved in a jewelry robbery. He arrests her, even though she claims she was framed. She gets out years later but then gets mixed up in a murder. The detective believes that she may have been involved in the murder but as noir pictures go, he struggles between his own moral code and his dame.

Now the story isn’t all that complex or original but it doesn’t need to be. Noir films were a dime a dozen in the late 1940s and the cream of the crop often times rose to their heights because of atmosphere. This isn’t the cream of the crop but the atmosphere is still effective and elicits emotional investment into the film and its characters. This is no Laura or Double Indemnity but it is a much better movie than most of the Poverty Row studios’ attempts at high octane crime pictures. Plus, this even makes time for a Belita figure skating performance. Although, that does feel a bit out of place.

The Hunted is a nice way to kill 84 minutes. It isn’t a great example of film-noir but for fans of the style, it’s certainly worth a look.

Rating: 6.25/10
Pairs well with: the other two film-noir pictures starring figure skater Belita: Suspense and The Gangster.

Film Review: Odds Against Tomorrow (1959)

Release Date: October 14th, 1959 (Chicago premiere)
Directed by: Robert Wise
Written by: Abraham Polonsky, Nelson Gidding
Based on: Odds Against Tomorrow by William P. McGivern
Music by: John Lewis
Cast: Harry Belafonte, Robert Ryan, Ed Begley Sr., Gloria Grahame, Shelley Winters, Robert Earl Jones (uncredited)

HarBel Productions, United Artists, 96 Minutes

Review:

“I’ll kill you and everything you own!” – Bocco

Wow. I’m probably going to have to adjust my Top 100 Film-Noir list after seeing this picture for the first time in a really long time. It’s pretty damn incredible and much better than the majority of what you’ll find in this great genre or style or whatever you want to classify noir as.

I guess the thing that I love most about this movie is its tone. Unlike most film-noir pictures, it doesn’t have the pristine look of the style. It doesn’t spend a lot of time on manufactured sets with studio lighting. This film gets outside and has a real urban grittiness to it. Even some of the shots of streets look different and almost have this sort of haze, as opposed to the typical crispness you see in a noir picture. However, they did use infrared film in some scenes, which was a deliberate attempt at making this have its own unique visual pizzazz.

The cast in this film is also pretty stacked. You have Harry Belafonte, noir legend Robert Ryan, Ed Begley Sr. and two superstar female leads in Gloria Grahame and Shelley Winters.

This film is a heist picture but it’s the story leading up to the heist that is the most compelling. Especially in regards to Belafonte’s character. He also has to deal with a lot of racial hatred in the movie and it served as a good historical look into the social climate in America at the time, as this was just a few years away from the large Civil Rights movement of the 1960s.

This is well written, well acted, looks great and doesn’t have any real down time or dull moments. I was engaged by this picture from the start all the way to the big, sudden finish. And sure, the finish takes its cue from a better known film-noir picture but man, it was a perfect exclamation point to cap off this intense and emotional ride.

I also want to point out that the musical bits in the film were awesome. That brief moment where Belafonte fears for the life of his wife and children and loses it to the music in the club was emotional and narrative perfection.

Rating: 9/10
Pairs well with: Touch of EvilThe Third ManWhite HeatHe Walked by NightThe Killing, Naked City and Night and the City.