The Big Heat (1963) Fritz Lang

Although made in 1953, this film is an essential film noir that should not be missed. Mild by today’s standards, the violence must have been shocking back in the 1950s even though most of it takes place off-screen.

Glenn Ford is a by-the-book cop who finds himself surrounded by graft and corruption. His personal life is suddenly impacted, and the rest of the movie is about revenge and how far a person might go to exact it. This is the dark side of the movie. How many lives would you sacrifice to get your revenge?

Ford appears to be somewhat unaware of the sacrifices made on his behalf (complete with his last line in the movie) and is mesmerizing to watch. He coldly operates on the verge of violence and with barely controlled rage throughout the film, and it’s one of his best roles. We know a little more than he does as he slowly pieces things together but there are plenty of surprises.

Gloria Grahame plays a pivotal role and when she’s on the screen, you’ll be paying attention. A young Lee Marvin is evilly sinister, and don’t miss his scene with Carolyn Jones, well before her Addams’ Family fame. Also watch for Jocelyn Brando, the older sister of her famous brother, Marlon.

The real stars of the movie, however, are the director and the cinematographer. The movie is concise, fast-paced, and expertly directed  with no extraneous footage. Cinematography by Charles Lang is beautiful in black & white; he is one of the most Oscar-nominated cinematographers in history and his name is attached to many notable films, e.g., Some Like It Hot, Charade, The Magnificent Seven, Sabrina, and many more. The musical score is riveting but there seems to be disagreement as to the credit, some films sites naming Henry Vars and others, Daniele Amfitheatrof.

Noted Director, Fritz Lang

This story originated as a Saturday Evening Post serial by crime writer William McGivern, and was turned into a screenplay by Sydney Boehm. I'll leave you with Gloria Grahame speaking their words.

“The lid’s off the garbage can and I did it."
"You made better time than they make in the Olympics." 
And the classic: "The main thing is to have the money. I've been rich and I've been poor. Believe me, rich is better."

Undercurrent (1946) Vincente Minnelli

It’s from Minnelli at MGM but this is no extravagant technicolor musical. It’s not really film noir either but more an interesting melodrama and sometime thriller. Although not his usual fare, director Minnelli does his best to build the slow-growing tension and suspense throughout the movie culminating in the somewhat exciting yet overwrought ending.

Tall, dark, and handsome Robert Taylor has a very strong role and plays his switching personalities very effectively. He sweeps Katharine Hepburn off her feet but she soon senses that everything may not be as it seems, or is it?

And Katharine Hepburn is the star, here playing a timid woman. Sometimes she’s a little over the top but on the whole she does a fine job and is enjoyable to watch as she slowly pieces things together.

The third character in this ever-evolving story is Robert Mitchum. And he is revealed throughout the movie without physically being there. He appears three short times, most compellingly in a scene with Robert Taylor in the stable. Light and shadows, good and evil, unerring cinematography, and a rearing horse make this one of the best scenes in the movie.

Minor roles that complete the picture are played by Edmund Gwynne, Marjorie Main, Jayne Meadows (in her first film role), and Kathryn Card, better known as Mrs. McGillicuddy, Lucy’s mother in T.V.’s “I Love Lucy.”

The usual MGM talent is present: Sound by Douglas Shearer, and Art Direction and Set Decoration by Cedric Gibbons and Edwin Willis, respectively. Shearer and Gibbons have been noted previously, and Willis needs special mention for being a talented Set Decorator with more than 600 movie credits and eight Academy Awards for his set designs.

Adding to the great atmosphere created in this film is the stunning cinematography of Karl Freund, who moved into television in the 1950s. (While working for Desilu Productions, Freund developed the three-camera system to film a television show and finished his career as the head cinematographer for “I Love Lucy.”)

And lastly, Irene Lentz Gibbons, who billed herself with first name only. Married to Cedric Gibbons’ brother, she became a gown designer for many stars, beginning with Ginger Rogers, and ended up with about 200 design or costume supervisor credits to her name. Her life did not end well but her name is always recognizable as the credits roll: “Costumes by Irene.”   

The best part of this movie is the atmosphere: storms, sinister shadows lurking everywhere, and mysteries abounding. It could have been a better movie with a different director but it is also the only movie Hepburn ever made with Mitchum, Taylor, or Minnelli. So maybe that in itself merits a viewing. And if you’re wondering about the memorable, uncredited music theme - it’s Brahms Symphony # 3, third movement.

Uncertain Glory (1944) Raoul Walsh

Although this film stars Errol Flynn, there is no swashbuckling, just Flynn in one of his better performances. Taking place in France during World War II, the movie has the Gestapo, Vichy France, and the French resistance providing the backdrop for the story.

Our central characters are Flynn, playing Jean Picard *, a possible murderous criminal, and his nemesis, Paul Lukas, as French Inspector Marcel Bonet. They take us on a journey that includes many twists and turns, some expected and others not. Flynn’s character has the charming insouciance present in most of his roles and he’s still a rake.  

Paul Lukas was a Hungarian stage and movie actor, usually confined to small film roles (around 100 film appearances, including that of Professor Aronnax in “20,000 Leagues under the Sea”). This was a big role for Lukas and he plays the serious, honest police officer very effectively. We watch him struggle throughout the film whether or not to believe Flynn. Sometimes he’s taken in, sometimes not - just like us. Flynn and Lukas play off each other very well and their many scenes together are fun to watch. (“How brave a gun makes a little man.”) The scene that takes place in a church is beautifully directed and filmed. Watch their faces as Flynn’s tale unwinds.

Lucile Watson plays a mother willing to sacrifice anything and anyone to save her son from death at the hands of the Germans. Dennis Hoey (Inspector Lestrade in a few Sherlock Holmes movies) is the town priest and moral compass. The beautiful Faye Emerson has a brief role as one of the women Flynn easily charms, and Jean Sullivan plays another. Sullivan resembles Jennifer Jones, made a total of four films, and plays this part sickeningly sweet.

Accents need to be ignored because they’re all different: English, Hungarian, American, and German, and Sheldon Leonard with his New York City accent playing a Frenchman.

Director Raoul Walsh, better known for “High Sierra,” “Public Enemy,” “White Heat,” and many, many more, also directed Flynn in “Gentleman Jim” in 1942. Sidney Hickcox did a notable job with the black and white cinematography, and Adolph Deutsch is credited with the original music.  

As befitting 1944, the ending is a little over the top as we watch Errol Flynn moving toward his destiny, buoyed up by huge swells of “La Marseillaise.”  Viva la France!

* Jean Picard was a famous French astronomer, 1620-1682. 

                Raoul Walsh

                                                   

Deadline - U.S.A. (1952) Richard Brooks

Humphrey Bogart made ten movies after this, and this one is not to be missed if you’re a Bogart fan. He’s a newspaperman, the editor of a family owned paper that just may be sold to a Rupert Murdoch type of conglomerate. While this drama is playing out, there are two newspaper stories being investigated. One pertains to a murdered woman found in a river, clad in nothing but a fur coat. The other story revolves around a notorious gangster who has so far avoided any criminal convictions (think Al Capone or Tony Soprano). All three plot lines eventually coalesce as the movie winds toward its dramatic, although somewhat abrupt, conclusion.

It’s a fascinating representation of how a newspaper was run and is also a strong commentary on the importance of freedom of the press. Bogart shines as the world-weary editor who retains his journalistic integrity with moral fervor.

Ethel Barrymore plays the widowed matriarch of the family who owns the paper and is also the mother of two daughters (“Stupidity isn’t hereditary; you acquire it by yourself.”). As would be expected, Barrymore plays her like the grand lady she is. Bogart and Barrymore have good rapport, and watch in particular for the sweet scene when they discuss life, love, and the newspaper business.

Kim Hunter (of Stella Streetcar fame) plays Bogart’s ex-wife and she doesn’t have much of a part. She has an inexplicable little role in the conclusion as well. The gangster is very well played by Martin Gabel. He practically seethes with evil and has the overwhelming confidence of a mobster who knows he’s in control.

The newspaper room is filled with hard-working, fast-living reporters, and you will find Ed Begley and Jim Backus among them. Backus has a great part in the newspaper “wake” and the entire wake is a wonderful, black-humor scene.

Faces you will recognize in the newsroom, even if you don’t know their names, include Warren Stevens, Paul Stewart, Willis Bouchey, and John Doucette. Henchmen of note include Robert Foulk and Joe Sawyer. All of these people have hundreds of movie roles to their credits. James Dean purportedly has a small role in the movie but I didn’t see him.

The director, Richard Brooks, also wrote the film. His previous experience as a reporter in New York City certainly helped the realistic tone of the newsroom. And his love of the newspaper business comes through in the film. It’s an early directorial attempt for film-writer Brooks who went on to direct “Blackboard Jungle,” “Cat on a Hot Tin Roof,” “Elmer Gantry,” and “In Cold Blood.” The production feels like a gritty Warner Brothers film but this was put out by 20th Century Fox.

Sometimes the idealism gets a little heavy-handed (e.g., a corpse falls on the printing press at one point; will it, and all it represents, stop the presses?). But overall, it’s a well-paced drama and an interesting depiction of journalistic integrity and the newspaper business.

“It may not be the oldest profession but it’s the best.”

The Locket (1946) John Brahm

The movie begins at a pre-wedding party for Laraine Day and Gene Raymond. Suddenly a stranger (Brian Aherne) appears, asking to speak privately to the future groom. Aherne’s story about the soon-to-be bride is fantastic and Raymond is incredulous. As Aherne continues, we are suddenly in his flashback, which leads to his earlier encounter with Robert Mitchum, who also had a surprising story about Day.  Yes, we are now in Mitchum’s flashback, and we’re not finished yet. From Mitchum’s flashback we move into Day’s, which takes us back to her childhood. Slowly the mist surrounding the conflicting stories begins to recede.

Murder and mayhem ensue throughout the flashbacks, and eventually we are brought back up through each successive flashback until we have circled back to where we started, at the party and moving on to the wedding. As you can surmise from the title, a small locket plays a significant role, being both cause and effect for the entire film.

The three men in Day’s life all do a fine job with their roles but Laraine Day is the star. Also notable is Katherine Emery as Mrs. Willis; she appears in a flashback and at the dramatic conclusion.

There are a few additional items to note about this movie, the first being the director. Brahm moved early on to television and is probably better known for directing original “Twilight Zone” episodes and “Alfred Hitchcock Presents.” Lillian Fontaine, mother of her two more famous daughters, Olivia de Havilland and Joan Fontaine, has a very small role as Lady Wyndham. And the Willis house is the same set used for the home of Alex Sebastian (Claude Rains) in “Notorious.” Lastly, watch for Mitchum’s painting as his parting gift; you’ll only get a brief look and that picture says a thousand words.

“Do you approve of foolish marriages?”  “Certainly. They alienate relatives.”

“If you want some things badly enough, someday you'll have them.”

13 Ghosts (1960) William Castle

“Tonight, death walks again in this evil house.” This is just quirky fun from William Castle. Child actor Charles Herbert makes a birthday wish that the financially-strapped family can own their own house with furniture that nobody could take away, and voila! The family finds out they have inherited a house from their pre-Ghostbusters Uncle, Plato Zorba.

Along with the house, the family inherits the housekeeper. Herbert tells their visiting attorney, “There’s a witch in the house; ring the bell, she’ll answer.” Shortly thereafter we meet Uncle Plato’s assistant, the infamous wicked witch, Margaret Hamilton. She is sinister and mysterious, and although she does not command flying monkeys, she does have power and information, particularly when leading a seance.

Ghosts abound with campy and entertaining special effects. Watch the ouija board move, and the floating planchette land on the lap of perhaps the next victim/future ghost. There’s a spider-webbed shuffling ghost (or is he?) and a ghost emerging from a painting, but it’s really all about the glasses. When the film was introduced in theaters, glasses were provided in order to view the ghosts. Look through the red to see them or the blue to have them fade away. This wasn’t 3-D but a film process called Illusion-O. What a great gimmick and treat for those who watched the original film in the theater. And glasses also feature prominently in the movie. Another part of the family’s inheritance is a box that contains a pair of ghost-viewing glasses. Very nice tie-in from Castle. There’s just one pair so only the brave family members put them on; others only see ghostly impacts.

A few noteworthy ghosts include the murderous Italian chef making a mess in the kitchen (“That’s Emilio. He killed his wife, his mother-in-law, and his sister-in-law with a meat cleaver. Whack! Whack! Whack!”, from the nonchalant Herbert). And Herbert wearing the ghost-glasses fearlessly watches a headless lion tamer and lion in the basement; the lion apparently deprived the tamer of his head and the tamer would like it back. This scene inexplicably carries on far too long but it emphasizes Herbert’s easy and comfortable connection with the ghosts.

The uncle caught 11 ghosts and apparently became the 12th, but why and how? The ghosts indicate that there will soon be a 13th. Who is this destined to be? Will the family stay in the house long enough to find out? Also in the plot is a stash of cash somewhere in the house, which the destitute family could certainly use but at what expense? And what’s behind attorney Martin Milner’s helpfulness (you may recognize him from later TV shows, “Route 66" and “Adam-12")? Other family members are made up by Rosemary DeCamp, Jo Morrow, and Donald Woods.

This is just enjoyable to watch, particularly if you’re a fan of early special effects and William Castle. “You really are a witch aren’t you?” “Ask me no questions, and I’ll tell you no lies”. The front door slowly closes on a swirling ghost mass...

Four Jacks and a Jill (1942) Jack Hively

This is not a great movie but it has its funny moments and several good musical numbers. The plot clips right along (try to keep up) and doesn’t always make much sense but it doesn’t matter.

The four musicians banter amongst themselves and if you are listening, you’ll be amused. Eddie Foy Jr, is one of the “Jacks” and has his share of comedic moments (dancing with Bolger in “Boogie Woogie Conga”) but Ray Bolger has the best scene in which he does a prize fighter dance routine - it’s worth watching the movie just for this segment. He also dances his way through “I’m in Good Shape” and you will appreciate his talent.

Jack Durant plays a caricature of a hoodlum, brow beaten only by June Havoc (yes, of “Gypsy” fame), in her first starring film role. Her musical number is “I Haven’t a Thing to Wear” and she performs it very well. She’s funny. Desi Arnez plays a dual role and is entertaining as well. Anne Shirley is her usual sweet self, ably dubbed by Martha Mears. In an interesting tie-in, both Havoc and Shirley were pushed into careers at a young age by their mothers. Shirley retired from film at age 26 (1944) and already had a 20-year film career. This role was Havoc’s first major film and she continued acting sporadically into the 1980s. Also watch for Henry Daniell and Fritz Feld as they display their comic abilities.

Soundtrack titles are by Harry Revel and Mort Greene with “The Boogie Woogie Conga” being a highlight. Musical numbers are fun, dialogue has some witty patter, the plot is weak, and the movie is short. Watch it for the highlights.

“She’s a vulture for culture.” “Pardon me while I cop a nod.”

Shake Hands with the Devil (1959) Michael Anderson

Based on a novel by Rearden Conner, this story brings us to 1921 Ireland, where citizens and soldiers alike are caught in the maelstrom of the Irish Republican Army, forces of the British Crown, and the Black & Tans. Hired by Britain to help suppress the Irish, the mercenary Black and Tans were joined by other ex-military personnel known as Auxiliaries. Together these two groups became notorious for their indiscriminate violence against the Irish, including burning towns (look up Cork, Conner's hometown), opening fire on a football-watching crowd, and random beatings and killings.

When the IRA, known for its assassinations of British sympathizers and police, would strike, the Black and Tans would brutally retaliate. Their name allegedly came from the fact that when they arrived in Ireland, there were not enough uniforms for all of them; therefore, their clothes became an amalgam of military and police uniforms, khaki and dark. (The wanton violence eventually repulsed even the British, and after wreaking havoc for several years, they were finally removed from Ireland; their presence had served no purpose other than to broaden support for the IRA.)

Enter Don Murray, an Irishman from America attending medical school. He is quickly caught up in random violence that forces him to decide on which side of the fence he will reside. Then meet the powerful James Cagney who is a Professor of Medicine, and a commander in the Irish Republican Army. This is a great Cagney role and worth a movie watch just to see the many layers of his personality unfold.

Other notables are the beautiful Dana Wynter (if you’re a Science Fiction movie fan, you’ll recognize her from the 1956 “Invasion of the Body Snatchers”), Glynis Johns, Michael Redgrave (father of Lynn and Vanessa), and watch for an early and memorable appearance by Richard Harris. Also present are famed British stage actors Cyril Cusack and Sybil Thorndike.

The film is fairly action packed and quite tense at times. The characters grapple with the use of violence - is it a justified means to an end? If so, to what degree, or are there no limits? When does a person fighting for his country’s freedom become a fanatical terrorist?

Shot on location in Ireland, the cinematography (Erwin Hillier) is stunning in its black and white beauty. Street scenes are gritty and grim, and lighting and camera angles make the most of both city and landscape settings. Near the end, there’s a great shot of Cagney standing in the shadows in a doorway, with the light behind him. Will he step into the light or remain in the dark? Brilliant shooting.

My favorite scene is the last - not because it’s unpredictable but because it’s beautifully filmed. You’ll even see some nice pre-Sergio Leone dramatic closeups. And while the credits roll, someone is pounding on a door, leaving the film with its moral ambiguity intact.

Vice Squad (1953) Arnold Laven

Although the name of the film doesn’t really fit its contents, the author of the novel on which this movie is based, Leslie T. White, was a lifelong member of the law enforcement community, including a stint as an investigator for the Los Angeles District Attorney’s office; and it shows. The genre is “police procedure,” not a “whodunit.” At times it reminded me of “Dragnet” (debuted on radio in 1949 and on TV in 1951), only with Edward G. Robinson in for Jack Webb, with more personality, and a much larger, more entertaining cast.

This is one day in the life of Captain Barnaby (Robinson). Although the role held no challenges for Robinson, he played it well as the all-wise, always calm, head of the Vice Squad. In one interesting scene, Robinson is being interviewed for TV and is a little nervous. He asks, “Is it alright to smoke in the interview?” Interviewer: “That’s what we want!” Good old, early TV/movie days.

Several crimes need to be unraveled and Robinson is just the one to do it, with the help of his competent police force. The criminals start out equal to the task but will they fall to their deserved fates or outmaneuver the police? This criminal entity has some of the better scenes in the movie and is led by the menacing Edward Binns (Juror #6 in “Twelve Angry Men”). Adam Williams is remarkable to watch as the conflicted, dramatic maybe-criminal. And Lee Van Cleef, everyone’s favorite villain, is seen here in his second year of movie-making.

Two favorite character actors, Barry Kelley and Porter Hall, play a defense attorney and a hapless “victim,” respectively. Both roles are funny and well-played. Look for high-voiced Percy Helton in one of the several subplots, and Paulette Goddard, as a lovely Madam who has good chemistry and repartee with Robinson. (Goddard made only a few more movies and TV appearances after this. She also had a few very famous husbands including Charlie Chaplin, Burgess Meredith, and Erich Maria Remarque.)

The real stars are the cinematography (Joseph F. Biroc) and location. This is black and white, 1950s Los Angeles, complete with cars - it’s not a made-in-the-studio movie. Great use of light and shadows and excellent camera angles, particularly for the criminals and their activities, give this a film noir look. And for all the easy banter, the film provides considerable suspense toward the end, suitably set in a condemned, concrete building. Dramatic, tension-laden music (Herschel Burke Gilbert) underscores the criminals’ activities throughout and was otherwise absent.

Look for the easy way police had back then with their methods. Too early for Miranda rights, but not too soon for manipulations here and there, a few scams, and maybe a little blackmail; this was police business as usual, and an entertaining day for us in the life of Captain Barnaby in old Los Angeles.

Taking Chance (2009) Ross Katz

Private First Class Chance Phelps (1984-2004) died in Iraq at age 19 and was buried in Wyoming eight days later. His body was escorted by Lt Colonel Michael Strobl. This is their story.

You will see things in this very moving film (made for HBO) that you have probably never seen before. Since 1991 (up until April of 2009), any media coverage of the return of deceased soldiers was banned. No coffins being loaded onto air transports, and no unloading. Besides that, most of us are completely unfamiliar with the proceedings regarding the treatment of the combat dead, and this movie is the beginning of our education.

Aluminum transfer cases with bodies packed in ice leave Germany and arrive at Port Mortuary at Dover Air Force Base in Delaware. What transpires here will amaze you and I won’t disclose the details; their motto is “Dignity, Honor, and Respect.” Every service member who dies in a combat theater is transported by military aircraft to this mortuary for processing and burial preparation. When the body is ready, a military “escort” is assigned to bring that soldier to his or her final resting place.

A lifelong Marine and veteran of Desert Storm, Lt. Colonel Michael Strobl (Kevin Bacon) is conflicted about not serving in the current Iran war. He’s working in a cubicle, crunching numbers for the Marine Corps. In the one report to which we are privy, Strobl recommends that the number of replacements at a specific Iraqi site replace the casualty number and not be increased as requested; his superior overrules him in favor of the men on the ground. Strobl is stung by the implied criticism and his guilt worsens. Every night after his family is sleeping, he looks through the list of the names of those who have died that day, hoping he sees no one he knows. One night he sees someone from his hometown, whom he doesn’t know, and he decides to volunteer for escort duty.

The movie is as much about Strobl’s journey as it is his fallen comrade’s. But overall, the story is larger than the characters. At each stop in the trip from Delaware to Wyoming, Strobl is met with respect, acts of kindness, and impromptu tributes. They are directed at Strobl but are really for the unknown Phelps. It’s a unified, national grieving, and eight days of honoring the deceased. People who never knew him were thinking about him.

In Phelps’ hometown, Strobl meets with other veterans (one from the Korean “war” who gives him a dressing down for his guilt), turns over Phelps’ personal effects to his family, effects he has carefully guarded and repeatedly examined, and attends the funeral and burial.

“From Dover to Philadelphia; Philadelphia to Minneapolis; Minneapolis to Billings; Billings to Riverton; and Riverton to Dubois we had been together. Now, as I watched them carry him the final 15 yards, I was choking up. I felt that, as long as he was still moving, he was somehow still alive. Then they put him down above his grave. He had stopped moving.”

This is not a political movie but a story about the meticulous treatment each of the fallen receives, and about our national, collective mourning. Each casualty is not just a number, but a person with a name, with friends and family. Watching this transport of a KIA brings our wars much closer to home. Watch and weep.

Lt. Colonel Strobl’s escort report became the basis of the screenplay (that he co-wrote with director, Ross Katz), and you can read the original report everywhere online. The movie stays quite true other than adding an obnoxious airline screener, a night spent in an airport hangar, and an impromptu funeral procession.

“Chance Phelps was wearing his Saint Christopher medal when he was killed on Good Friday. Eight days later, I handed the medallion to his mother. I didn’t know Chance before he died. Today, I miss him.” I think we all do.

Of related interest:

Daily reports of the names of casualties: http://www.defense.gov/releases

A 2008 report of the nine-day journey home of Joe Montgomery, written by Chris Jones, from his burial moving backwards in time: http://www.esquire.com/features/things-that-carried-him