Category: Mystery/Noir

I rarely write reviews of zillion dollar blockbusters because there is little to say that hasn’t already been said, and even fewer people who haven’t already heard it. In contrast, I exploit opportunities to highlight B-pictures of which you may not have heard, but which are very much worth seeking out (e.g., see my reviews of My Name is Julia Ross, Cash on Demand, Tarantula, Plunder Road, and The Narrow Margin). An excellent example is a low-budget 1958 film noir that was shot in just 7 days: Murder by Contract.

The story opens with a handsome, self-possessed, and intelligent man approaching a mobster and blandly asking to be hired as an assassin. Claude (Vince Edwards) has a stable job with a pension, but, he explains matter-of-factly, wants to buy a $28,000 house by the river and doesn’t want to wait 30 years to get there. After being made to wait two weeks for a call in his apartment as a test, he is hired and begins professionally and coldly carrying out contracts, recording his earnings and his progress towards homeownership in a notebook Eventually he is hired for a bigger, higher-risk contract to execute a prosecution witness who is under police protection. Flanked by two mafia minders (Herschel Bernardi and Phillip Pine), he lays his plans carefully, but fate and his own psychological quirks start to work against him.

You will note that isn’t a particularly complex plot, but the story is only half of what this movie offers. The other half is a character study of a philosophical loner who is at times utterly ruthless and at others considerate beyond measure. That he can turn on a dime makes Claude both beguiling and frightening. Edwards’ movie career never really went anywhere (though he later became a television star as Dr. Ben Casey) but it’s a credit to his acting and Irving Lerner’s direction that the audience can have some sympathy for him despite his psychopathic predilections.

The spare style and look of this film feel more akin to the cinema of France and Italy than the U.S.. That reflects the craft of Lerner and also cinematographer Lucien Ballard, who had no choice but to shoot on simple sets and in natural locations with no adornment. Perry Botkin’s simultaneously cool yet suspenseful score is also essential to the mood.

The script, by Ben Simcoe and an uncredited Ben Maddow, paints Claude as having the single-mindedness and female-focused psychological hang-ups of Travis Bickel from Taxi Driver, but with much better clothes and manners. I was therefore not surprised to learn that the legendary Martin Scorsese saw Murder by Contract as the second feature when he went to the theater as a 14-year old. The movie had a major impact on him, and he later hired Lerner to help make New York, New York.

I believe this suspenseful, fascinating B-movie treasure is now in the public domain, so I put it here for you to enjoy.

p.s. Herschel Bernardi, who is so good here in a half-comic, half-dtamatic role, was a stalwart on another one of my recommendations: the Peter Gunn television series.

Humphrey Bogart has a secure place on the Mount Rushmore of Hollywood actors. I’ve recommended movies where he plays unpretentious heroes (Sahara and To Have and Have Not) and figures of genuine menace (In a Lonely Place) but like most of his fans I cherish Bogie most for his world weary, cynical idealists who haven’t quite given up hope. As morally compromised sportswriter Eddie Willis in 1956’s The Harder They Fall, Bogart ended his career by nailing such a role for us a final time.

Columbia promoted this movie as a sort of sequel to its commercial and critical 1954 mega-smash On The Waterfront based on the shared presence of Budd Schulberg’s writing, Rod Steiger’s acting, and a story about a boxer and mobsters. But the novel The Harder They Fall (adapted for the screen by Philip Yordan) was actually written by Schulberg first and the film’s subject matter is the boxing industry itself rather than a hard-luck longshoreman whose pugilistic career is behind him.

The plot is loosely based on the career of Primo Carnera, an Italian strongman who became world heavyweight boxing champion after winning a series of suspect “victories” that were fixed by the mob. In the movie, the central character is a big, clumsy Argentinian mountain of a man named Toro Moreno (Mike Lane), whose sleazy manager Nick Benko (Steiger) needs Moreno to get positive press from a trusted source like the Eddie Willis (Bogart). Eddie can see that Moreno is a lousy boxer, but he’s financially desperate enough to become corrupted by Benko. The entourage begins touring the country winning fixed fights and showering Moreno with enough misleading publicity to make him a challenger for a lucrative (for Benko) title bout.

Morally, Eddie Wilson is much farther gone than, say Rick Blaine in Casablanca. He sells out almost immediately and exploits colleagues and friends to spread lies about Moreno’s boxing prowess. Bogart brings his growing self-loathing across with furtive looks and tired movements, and that he was manfully making this film while dying of esophageal only amplifies the effect of his acting (He had to do some reshoots of scenes in which his eyes were watering from the pain of his disease). Coming from a completely different style of acting (“The method” which Bogart apparently found a bit amusing), Steiger is a superb foil for Bogart as a man who behaves just as badly but feels no compunction about doing so.

Little known Mike Lane, a former circus wrestler, brings across the central tragedy of the story: Toro Moreno really believes he’s a great boxer and that the people around him have his best interests at heart. He is a physically huge man, but psychologically his character is a naive, tender-hearted little boy. His exploitation by Benko eats at the audience’s conscience just as it does Eddie’s.

The strong performance by Lane as well as by real-life boxers Jersey Joe Walcott, Max Baer, Pat Comiskey, and Joe Greb, is a credit to the fine director Mark Robson, who made actors out of all of them. And the legendary cinematographer Burnett Guffey is in top form, contributing arresting visuals outside the ring and even moreso in it.

The Harder They Fall has as bleak of view of humanity as any of the noirish dramas of the period. It paints a world where most people are heartless and those who trust are victims. And who better to play someone caught between such amorality and decency than one of the greatest movie stars of the 20th century?

p.s. Two somewhat different endings were shot and are still in circulation, one with Eddie calling for boxing to be banned (reflecting Robson’s distaste of it) and the other with him only demanding an investigation into corruption within the sport (reflecting Schulberg’s taste for it, warts and all).

The directors whose work I have praised repeatedly on this site are all household names except for Phil Karlson. He rarely got decent budgets and spent much of his career at studios and in positions that weren’t worthy of his talent. Yet he managed over the years to make some highly compelling movies that conveyed his bleak and brutal perspective on the human condition. I have recommended two of his collaborations with producer Edward Small that starred John Payne Kansas City Confidential and 99 River Street. Let me add to those a recommendation of another Karlson-Small collaboration, this one with a bigger budget and a bigger star than the director usually had to hand: The 1952 noir Scandal Sheet.

The plot: Circulation at the New York Express has been soaring since an editor named Mark Chapman (or is he???) converted it into a tabloid full of sensationalist stories, ruffling the feathers of the bluenoses on the board as well as idealistic features writer Julie Allison (Donna Reed). Said editor (Broderick Crawford) is aided in his work by ace newshound Steve McCleary (John Derek), who digs up dirt for his mentor while failing to successfully romance June. But Chapman’s world is upended when a woman from his past re-appears, and he embarks on a series of desperate, violent, actions that McCleary begins to investigate. Noirish themes of moral compromise and inevitable doom ensue.

This film echoes the summit of Crawford’s career, namely the 1949 Best Picture winner All The King’s Men. Again Crawford effectively portrays a domineering yet vulnerable man and again he has a father-son style relationship with a character played by John Derek, although in this case Derek is his mentee rather than literally his son, and the relationship is much warmer. Indeed, the art in Crawford’s performance is how he simultaneously conveys his rising panic that his secrets could come out and his admiration and pride that his protégé is so effectively hunting him down. The other echo of ATKM is the magnificent Burnett Guffey’s cinematography, which combines the look of urban realism (despite this being filmed on the Columbia back lot and using some stock shots of New York City) with a dash of film noir-style camerawork. The opening shot of this movie, as the camera moves over a cluster of fire escapes filled with onlookers and a murder witness, is a clinic by Karlson and Guffey on how to pull an audience in the particular world of a movie right from the first.

John Derek was irresistible to women, but was not a particularly good actor. The quality supporting work here comes instead from Reed, who shows she could do more than be the wholesome All-American mom who serves milk and cookies. Henry O’Neil is also affecting as an unemployed, alcoholic, Pulitzer Prize winning journalist looking for a way back.

Karlson’s serves up a bracing dose of cynicism leavened with glimmers of hope, and manages to maintain tension throughout the story despite the fact that under the conventions of noir, the ending is never really in doubt. The only person who didn’t like Karlson’s adaptation of the 1944 novel The Dark Page was Samuel Fuller, who wrote it. Perhaps it was just vanity that made Fuller resent anyone other than himself adapting his own work, but movie fans were the winner because it inspired him to start making his own films, including classics like Pickup on South Street (my recommendation here).

p.s. Sadly, Crawford’s alcohol addiction kept him from building on his cinematic successes of the late 1940s and early 1950s. But he did have a late-career revival on television, including starring on Highway Patrol and, bizarrely enough, hosting an early episode of Saturday Night Live.

Many films deservedly flop at the box office because they simply aren’t any good. But a subset of gems meet the same fate because they are too far ahead of their time, violate audience expectations, or both. On the honorable list of the highest quality box office failures of all time, an unforgettable 1957 movie has a strong argument for top slot: Sweet Smell of Success.

The plot: J. J. Hunsecker (Burt Lancaster) is an all powerful, Walter Winchell-esque columnist who can make or destroy lives and careers at his whim. Every Big Apple press agent wants Hunsecker to boost their clients and spread their gossip, none moreso than the amoral, ambitious Sidney Falco (Tony Curtis). But J. J. refuses to carry Falco’s items unless he breaks up the romantic relationship between a clean cut musician (Martin Milner) and J.J.’s sheltered, brow-beaten, younger sister Susan (Susan Harrison). When the young lovers prove determined to stay together, J.J. and Sidney realize that even more ruthless actions will be needed. This comes naturally to both of them, though only Sidney has the self-knowledge to admit it to himself.

Alexander Mackendrick, known for classic Ealing Studio comedies like The Man in the White Suit seems on paper to have been a bizarre directorial choice. But he triumphed with this unfunny, un-British, material including persuading his tempestuous movie star-producer (Lancaster) that the film should end with a confrontation not between the male leads, but between J.J. and his sister Susan, the one person J.J. cared about enough to be damaged by. Mackendrick also cleverly smeared Vaseline on Lancaster’s glasses to prevent him from focusing, giving the actor a terrifying, wall-eyed stare. Lancaster was furious at Mackendrick for the film’s poor box office performance and refused to work with him again, which may have contributed to the rapid decline of the fine director’s career after Sweet Smell of Success. But at least Mackendrick went out on top with his work here.

Mackendrick also had input into the wood-alcohol cocktail script, which was mainly the work of Ernest Lehman and Clifford Odets. It’s a endlessly quotable work of art in itself; even without the actors’ fine delivery the lines would be brutally effective. The plotting is equally so, most particularly the hard-to-watch scene in which Sidney pimps out a cocktail waitress who needs a favor and becomes an bargaining chip in his dirty game.

Lancaster is effectively malicious here, both in his dealings with Curtis and also with Harrison as his cringing sister (if Sweet Smell of Success has a weakness, it’s that the relationship between Milner and Harrison is the least interesting one in the movie). But Curtis, viewed at the time as a lightweight pretty boy, is a revelation. In his walk, his physical deference to Lancaster, his furtive looks, his desperate patter, and his surface smoothness over underlying panic, he creates one of cinema’s indelible characters. Grasping ambition has rarely been so vividly captured by a movie performer. Lancaster said that Curtis deserved an Oscar for his performance, but the Academy didn’t even grant him a nomination. More fool them.

There is yet more to praise! Elmer Bernstein contributes an energetic jazz score and the Chico Hamilton Quintet not only sound fantastic in their scenes, but also effectively cover over the fact that Milner couldn’t play guitar at all. But even more than the superb music, this movie will always be remembered for its look.

Picking a favorite cinematographer is tough for any film buff, but for me it’s James Wong Howe, in significant part because New York City has never been shot with such luminous darkness as in Sweet Smell of Success. Howe’s shots crackle with the energy of bustling, anonymous, humanity and bring alive the combined menace and thrill that arrives when night falls on a great city. Howe’s photography here is a genius-level blend of the stylized look of film noir and the more realistic urban photography of such films as The Naked City. Howe and Mackendrick also uses camera positioning expertly to convey character and relationships, for example by using low shots to make the massive Lancaster look even more intimidating or coming in close at just the point when someone sells out morally so that you can see it on their face and right down into their soul (presuming they have one).

Why did such a tremendous work of cinematic art not find an audience? After the financial success of the prior year’s Trapeze, which had Lancaster and Curtis swinging through the air in tights (and screen siren Gina Lollabrigida swinging between them), their fans were expecting a chance to swoon again at their gorgeous heroes. Instead, they got a couple of throughgoing bastards in suits in a dialogue-driven story. Tony Curtis’ female fans haunted the set hoping for a chance to glimpse their idol and can’t have been pleased to see him play a character who treats women like garbage. The unremitting cynicism of the movie may also have turned audiences off in 1957, coming a few years after the post-war film noir boom had faded. In the decades that followed, the magnificence of this movie — including the against-type performances of Lancaster and even moreso Curtis — became widely appreciated, including by inclusion in the National Film Registry of the Library of Congress.

Instead of the trailer, I will close by posting this “three reasons” promotional film put out by Criterion Collection when they wisely reissued a remastered edition of Sweet Smell of Success. Even at a single minute long, it makes clear why you simply must see this classic movie.

Fresh off his success adapting the Elmore Leonard novel Out of Sight, Steven Soderbergh partnered with screenwriter Lem Dobbs in 1999 to produce another strong film that feels like an Elmore Leonard story: The Limey.

The plot: A greying but tough as nails Cockney career criminal known only as Wilson (Terence Stamp) finishes his latest stay in the Big House and comes to sun-soaked Los Angeles to investigate how his daughter Jennifer died (Melissa George). He is guilt-stricken over his considerable failures as a parent but loved Jennifer intensely, so much so that he can’t accept that her death was really due to an unremarkable automobile accident. Wilson’s charm is considerable, and he soon secures the assistance of two of Jennifer’s friends, an ex-con who’s gone straight (Luis Guzmán) and a modestly successful actress (Leslie Anne Warren). From them he learns that Jennifer was in a relationship with a hot shot record producer named Valentine (Peter Fonda), who has a sleazy side hiding behind his perfect tan and aggressively whitened teeth. As Wilson starts to investigate, he finds himself tangling with Valentine’s head of security (Barry Newman), assorted thugs, and federal agents who are also on Valentine’s trail. A noirish tale of vengeance and regret follows.

The Limey can be enjoyed simply as a professionally produced and performed rendition of a familiar movie story line. It includes exciting action scenes and some good dramatic moments. There are also some laughs, the biggest of which comes from Stamp’s theatrical Cockney slang-filled speech delivered to a calmly befuddled Bill Duke (the director of one of my recent recommendations, Deep Cover). There’s nothing wrong with making a purely entertaining movie, but many people, including me, see something more in this film.

What is The Limey “really about”? After Gene Siskel died, Roger Ebert tried out a number of co-hosts on his television show At The Movies, my favorite of whom was B. Ruby Rich (who alas, did not get the job permanently). In their discussion here, Rich sees the movie as being a father-daughter story, whereas Ebert says its about the contrast between the genuinely tough central character and soft Californians who think they’re tough, but aren’t. Those are intriguing takes; personally I saw The Limey as being about the lingering remains of the 1960s.

Stamp and Fonda were both 1960s icons, and seeing them duel it out here in their declining years and come to terms with the harm they did along the way, makes a mournful statement on that era, particularly when Valentine says the 1960s “were just 66 and early 67 — that’s all it was”. Newman, of Vanishing Point fame, another cult figure from that era (There was also a scene with sex kitten Ann-Margret that was cut from the final film) adds to the throwback feel, as does Soderbergh splicing in flashback scenes of Stamp from the 1967 film Poor Cow. Stylistically, the adventurous editing, repetition of key images, and violation of linear chronology recalls the experimentalism of cinema in that era (Even though Soderbergh didn’t add all that in until post-production when he saw that a more conventional structure didn’t work). It all gives the film an elegiac meta-theme on top of that of the main story, making it stick with you for much longer than other films of its genre.

p.s. The DVD release of includes in its special features menu an audio commentary track that is legendary among film buffs. Rather than do the usual dull nodding along saying how great each scene and actor was, Soderbergh and Dobbs argue intensely and intelligently about how the film turned out. It’s fascinating both for what it reveals about them as people and also about how directors and screenwriters think.