The latest batch of viewings >
The Hoodlum (1951) -
www.imdb.com/title/tt0043655/referenceHoodlum Glum! The Hoodlum is directed by Max Nosseck and written by Sam Neuman and Nat Tanchuck. It stars Lawrence Tierney, Allene Roberts, Marjorie Riordan, Edward Tierney and Lisa Golm. Music is by Darrell Calker and cinematography by Clark Ramsey.
Career criminal Vincent Lubeck (L. Tierney) is paroled five years into a ten year stretch for armed robbery. Moving in with his Mother (Golm) and Brother Johnny (E. Tierney), he goes to work for Johnny pumping gas at the family gas station. Sure enough though, with a bank over the road from the gas station, it's not long before Vincent is up to his old tricks again.
"It's like a kid working in a candy factory. First he tastes everything that comes along, after a while the only thing he touches is the silver wrapped stuff. Then he's sick of that and he looks for something real special - like you!"
Real life tough guy Lawrence Tierney slots seamlessly into another portrayal of a remorseless thug, the actor and the characterisation at home in such a low budget short length (61 minutes) feature. Vincent doesn't care about who he tramples on, he is all about self preservation. Using family and women alike to further his ends, it's the character's traits that give the pic its edgy appeal. In the mix is sexual menace, bolstered by Calker's imposing music which paints the picture for us. Suicide features, as of course does murder and robbery, so the makers get some good story strands into the hour long play, but they feel like vignettes, with so many promising ideas undeveloped.
Things aren't helped by the poor acting around L. Tierney, while crude back projection and old stock footage shots compound the cheap feel of it all. Ramsey's photography is suitably dark in filters, befitting the story of course, but the key robbery scene is poorly constructed by Nosseck to leave the viewer confused as well as disappointed.
There's still enough to enjoy here for fans of 50s crime or noir in tone pictures, and it's a must for fans of big bad Lawrence, even if ultimately it's just a short sharp shock type filler piece.
6/10Affair in Trinidad (1952) -
www.imdb.com/title/tt0044331/referenceYou walked out of that inquest like you were on your way to a cocktail party.Affair in Trinidad is one of those pretend film noir movies that the public seem to love more than the critics, both back then on release and also now. I was personally hoping that as a big fan of Glenn Ford, and being an admirer of Rita Hayworth, I too would be thumbing my nose at the critics. Sadly not.
Directed by Vincent Sherman and with a screenplay by Berne Gilder and James Gunn, the story is set in Trinidad and pitches Hayworth as a recently widowed nightclub dancer and Ford as the deceased man's brother. The death is suspicious and as the law closes in (in the form of Torrin Thatcher) secrets will out and a bigger picture kind of emerges.
Ok! Lets not compare to Gilda and Notorious, for obvious reasons, and just accept Affair in Trinidad as its own entity. What transpires is a tired tropical exercise in romance and spy like intrigue. In fact it's a bit of a hack job coasting in on the two leading stars reputations, Ford as a genre presence and Hayworth as some sort of ogle feature. The plot is ridiculous where nothing much makes sense. Character's motivations are sketchy at best, and once the screenplay plays its hand for reveal purpose, you wonder just where are the villains from and what exactly are they up to?! Is that explained or did I have a power nap?...
It doesn't help that head weasel Max Fabian (Alexander Scourby) is so not threatening, and boring to boot, that it renders the intended dramatic oomph at pics finale as being akin to a damp squib. Hayworth goes through the motions in the acting scenes, only holding court with her two dance numbers (voice dubbed by Jo Ann Greer), and while Ford can brood with the best of them, his character is so poorly written it doesn't let the actor shine.
As for this remotely being film noir? Not a chance, neither visually, thematically or in characterisations does it work on that film making style. Consider me bloody annoyed.
5/10Scandal Sheet (1952) -
www.imdb.com/title/tt0045124/referenceI fell for an attractive hunk of flesh!Scandal Sheet is directed by Phil Karlson and adapted to screenplay by Eugene Ling, James Pope and Ted Sherdeman from the novel The Dark Page written by Samuel Fuller. It stars Broderick Crawford, Donna Reed and John Derek. Music is by George Duning and cinematography by Burnett Guffey.
Mark Chapman (Crawford) is the head of The New York Express, a newspaper given to sensationalising stories for sales and exposure. However, when a face from his past turns up it leads to an event that sees Chapman himself in the headlines...
Lets get it out the way first, this is not a Sam Fuller picture, in fact Fuller would be dissatisfied with the treatment of his written work, but neither of these things stop Scandal Sheet from being a super slice of film noir pie. There are a few film noir pictures that have a devilish core story element that sees the principal player effectively investigating themselves, this is one such piece. Mark Chapman, through a wicked turn of noir fate, finds himself as the figure most sought after in the manhunt headlines he sanctions at the newspaper he runs! Coupled with the fact that it is his protégé Steve McCleary (Derek) who is the hungry reporter on the case, then it's a minefield of carrot dangling suspense and intrigue.
The delving into the workings of big city newspaper is given credible thought (that would be Fuller given his own newspaper background), offering up the seedy side whilst nailing the hustle and bustle going on behind the scenes. Investigative journalism is front and centre, with Derek giving McCleary a youthful exuberance that's most becoming, and although the police procedural side of things is secondary to that of the newspaper people, the investigation from both sides of the fence is well constructed. But ultimately these are not the key strengths of Karlson's film, it is with the characterisation of Chapman and the themes within where the pic hits its straps.
Chapman (Crawford excellent and excellently cast), as scuzzy as he is in his job, is a victim of an accident, and in true noir form one thing leads to another and things spiral out of control. Corruption gives way to paranoia and betrayals, with the New York backdrop a knowing accomplice. With the great Guffey (In a Lonely Place/The Sniper) on cinematography duty bringing his noir filters into play - where atmospheric shots enhance the feel of the net closing in on Chapman - it only needs the wily Karlson (Kansas City Confidential/99 River Street) to bring his "A" game. And he does. From the opening credits rolled out as newspaper headlines, to the clinical finale, this is well worth the time of the film noir faithful.
8/10Rebel in Town (1956) -
www.imdb.com/title/tt0049666/referenceWhat the sons of some men do to the sons of others. There's the tragedy of the world.Rebel in Town is directed by Alfred Werker and written by Danny Arnold. It stars John Payne, Ruth Roman, J. Carrol Naish, Ben Johnson, Ben Cooper and John Smith. Music is by Les Baxter and cinematography by Gordon Avil.
The phrase a hidden gem gets used far too much, so much so I try my utmost to veer away from it if at all possibly. However, for fans of grown up Westerns then Rebel in Town is most assuredly a gem of a find for sure. Story is set just after the American Civil War in the town of Kittreck Wells. A family of Confederate soldiers (The Masons) have staged a robbery in a nearby town and need to go into Kittreck for water supplies. A turn of events will bring the family of outlaws into the life of ex Union soldier John Willoughby (Payne), a hard working family man, who still has a fierce commitment to rid the land of Confederate rebels.
It could have ended up as just another trite "B" Western message movie, but this is so much more, the quality of the writing is such that the script demands full attention. The effects of the Civil War are of course central, where the characters from both sides of the fence are here painted in rich colours. John Willoughby had a tenuous grip on post war forgiveness before his family is shattered by the arrival in town of the Mason family, but soon enough his thirst for revenge begins to tip him over the edge. The Mason family are not merely outlaw fodder, they are a complex bunch, each of the four brothers different in their own values and approach to life, but it's with the patriarch Bedloe (Naish) where the screenplay finds real strength. A God fearing man, he hates what his family has become, and although he clearly rules the roost, he is given to complete democracy, his boys always are given the vote on the decisions the family must make. The juxtaposition between the two heads of family, from different sides of the war, is intelligently thought out by the makers.
Added bonus here as well is the characterisation afforded Ruth Roman as Nora Willoughby. So often in "B" Westerns female characters are given to being love interests or a cause for macho posturing, not so here. Nora Willoughby is arguably the key character, she fights throughout the play to not only overcome her grief, but also that of her husband. She is relentless in her attempts to stop John from become a crazed revenge fuelled mad man, for she can see the bigger picture that her man simply can't. The other key character of note is Ben Cooper's Gray Mason, the younger of the Mason family and the family's conscience, his interaction with - via a plot development to integrate him with the Willoughby's - is a priceless commodity for the picture's dramatic worth. With characters of great substance it only then needs good performances from the actors to make it all work, and we get that. Even the smaller supporting roles are well held by director Werker, such as Marshal Adam Russel (James Griffith) who is calm and measured and a mile away from the caricature type of law men we get in the genre.
The look of the piece is terrific, Avil's black and white photography comes from the film noir stlyed playbook, which is most befitting for the story's psychological axis. Werker had dabbled in film noir, notably with the excellent He Walked By Night, so his instruction to Avil for the look on show is astute and makes sense. Action scenes are well staged, but it's with certain scenes where the pic soars high. The catalyst scene that sets the wheels in motion is boosted by an authentic recoil, which is great to see. Also attention grabbing is a corporal punishment section that should make you wince, while the father and son axis between John and his son Peter at the film's beginning begs for deeper thought once film reaches its closure. With a lovely print being shown on TCM-HD rounding out the bonuses, this is a super treat for Western fans and therefore comes highly recommended.
8/10Fort Bowie (1958) -
www.imdb.com/title/tt0051627/referenceYou would rather go out there to die?Fort Bowie is directed by Howard W. Koch and written by Maurice Tombragel. It stars Ben Johnson, Jan Harrison, Kent Taylor, Maureen Hingert, Peter Mamakos and Larry Chance. Music is by Les Baxter and cinematography by Carl E. Guthrie.
In the main Fort Bowie is a Cavalry and Indians "B" Western, one that's predictable even if it's not afraid to show then ugly side of Cavalry brutality. Plot is built around Johnson's Captain Thompson, who after witnessing Major Wharton's (J. Ian Douglas) cruel slaughter of surrendering Apaches, reports to Colonel Garett (Taylor) that an attack by the Apache is imminent. Garrett promptly requests that Thompson escort his wife away from harm. Easier said than done, for Mrs. Garrett is a femme fatale causing as much consternation as the Apache!
It's great seeing Johnson in the lead, he holds court and is the fulcrum of what makes Fort Bowie better than average. His character's nickname is "Tomahawk" due to his ability with said weapon, and it's not long before we get to see it in action. In fact it's notable that the first battle staged is fought with axes, swords and arrows on both sides, and it's a well constructed battle. Alison Garrett (Harrison) is trouble and the poison she lays down is the worst kind, and it's that that gives the film an extra narrative kick. Helps that Harrison is socko gorgeous, who in turn is supplemented by other beauties Hingert and Barbara Parry.
So while some of the cast do indeed look stunning, so to does the scenery, with location filming out of Kanab excellently photographed by Guthrie. It's a shame this wasn't afforded some Technicolor frontage. The vistas make for some striking scenes, as the Indians gather and descend the hills etc. Everything is building up to the big final battle at Fort Bowie, where as the romantic shenanigans reach their peaks, so does the culmination of the Cavalry and Indians toing and froing. It's exciting, the stunt people earning their corn, to round out a thoroughly enjoyable genre piece for the so inclined for such.
7/10A Fistful of Dynamite (1971) -
www.imdb.com/title/tt0067140/referenceSecond viewing required before reviewing. Now I'm a big big fan of epics, but this really was overlong and contains periods of pointless exposition. I also have some irks with some characterisations, specifically
Leone's point of the the character
Sean (least he got the Irish spelling right!) since it's wildly inaccurate historically. Also disliked the bizarre musical score by
Morricone, apart from the irritatingly catchy
Sean motif. Yet I was thoroughly engrossed and positively loved the action sequences. Version I viewed was from TCM and ran at about 2 hours 30 minutes.
7/10Blade Runner 2049 (2017) -
www.imdb.com/title/tt1856101/referenceThird viewing and I'm still not ready to review it. I absolutely love it and it gets better on repeat viewings. And yes if anyone is wondering, I consider the first film one of my all time favourite movies. This follow up is easily
9/10 for me.
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