Noir-vember: Laura (1944)

Considering the many classic film noirs I have covered in my blog, I was surprised to realise that I had never praised Laura here. Given my love for it, I then decided that it was the best choice for the start of 2019's Noir-vember season here.

The radiantly beautiful Gene Tierney (and yes, I do always have to use numerous complimentary adjectives when describing one of my all-time favourite leading ladies) plays the titular female in a movie that begins with the discovery of her corpse and then moves on through numerous twists and turns until the killer is revealed. We get to know a lot about Laura through numerous flashbacks, prompted by the sassy investigating detective (Mark McPherson, played by Dana Andrews), including how she came to be friends with the acerbic newspaper columnist Waldo Lydecker (Clifton Webb), how messy things were getting with her fiancé Shelby Carpenter (Vincent Price).

This is a murder-mystery noir movie that shows just how damaging love can be, even when it's disguised as a pure and innocent love for someone that people claim to care deeply for. Everything covered by that great driving force is here; passion, jealousy, pride, happiness and unhappiness, self-doubt and much more. Although a number of different names were credited, and uncredited, with writing the script, a lot of the credit must go to the writer of the source material, Vera Caspary, and director Otto Preminger.

Preminger has the double bonus of being able to match great material with a great cast to produce a memorable little movie. Tierney is peerless (I have seen about half a dozen of her movies now, and that opinion has not wavered), Andrews is cool and slightly hard-boiled, if not nearly as tough as he could have been, Webb is like a male Bette Davis, and battles with Price over who can deliver their dialogue best. The latter is a great mixture of awkwardness, guile and confidence. It may be odd to watch Price as a younger man, clean-shaven and not as menacing as he would be in so many of his horror movie roles, but viewers can get a lot of enjoyment from the way he cannot so much as get a drink of water without looking inordinately guilty.

I think it would be easy for many people to class this as a "rainy afternoon" movie, but if that's the case then all I can say is that I hope the weather stays bad, at least long enough for others to catch up with it. And then you can join the ranks of so many other people who have fallen in love with Gene Tierney. Because to know her is to love her, which is probably why she works so well in the main role here.

9/10

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Where The Sidewalk Ends (1950)

Let's not dilly dally here, Where The Sidewalk Ends is quite simply a brilliant piece of work. It's a classic that feels as fresh today as it would have back in 1950, it's a gripping piece of entertainment and it's a film that seems to have influenced many that came along after it (anything with a flawed, quick-to-fight, cop at the centre of things, basically).

Dana Andrews stars as Mark Dixon, a detective known for his heavy-handed ways. Unfortunately, he goes a bit too far one night and accidentally kills a man. Desperate to cover up his crime, the detective creates a scenario that makes it look as if the suspect is still alive, and has fled from the long arm of the law. It's not long until he's tasked with investigating this disappearance, which allows him to meet the lovely Morgan Taylor (Gene Tierney), the wife of the dead man. When the body is found and a murderer is sought, Dixon tries to shift the blame on to a gangster named Tommy Scalise (Gary Merrill), but instead ends up getting Morgan's father (Tom Tully) in some hot water. As he tries to put things right, Dixon gets more and more tangled up in his own web.

Directed by Otto Preminger, this is unforgettable stuff. It's gritty, it's smart and it keeps everything, or at least the main character, tightly wound.

I'm not sure if I've mentioned it much here, but I've certainly already told many people about my love for Gene Tierney and this film does nothing to change that. Andrews may be the main star, and absolutely brilliant he is too, but Tierney is easily believable as the kind of woman who would make a man try to change for the better. Merrill and Tully are both good, Bert Freed does well as a fellow lawman, and Karl Malden is the Lieutenant who wants the truth, as opposed to just a neat resolution.

Based on the novel by William L. Stuart, the script was worked on by a number of people as it made its way from page to screen, but the final result shows that the effort was worth it. This isn't necessarily a film that revolves around sizzling dialogue, but the script is a good one and the way that the story plays out is, well, it's nearly flawless, in my opinion.

What could so easily have been a movie that started to fall apart after one great idea, instead goes from strength to strength, thanks to the performances and the way that it manages to feel surprisingly plausible throughout. Essential viewing for film fans.

9/10

http://www.amazon.co.uk/Where-The-Sidewalk-Ends-DVD/dp/B0001GNJFG/ref=sr_1_3?ie=UTF8&qid=1385249216&sr=8-3&keywords=where+the+sidewalk+ends

Night Of The Demon (1957)

Rightly regarded as a classic of the horror genre by many, Night Of The Demon is directed by the great Jacques Tourneur and based on the short story "Casting The Runes" by the great M. R. James. So it's basically got a foundation of greatness. The cast, which includes Dana Andrews, Peggy Cummins and Nial MacGinnis, is full of people just right for their characters and therefore the movie can't really fail.

But then there are those moments in which the titular demon is shown onscreen. We'll get to those scenes later.

The plot is all about Dr. John Holden (Dana Andrews) and his visit to England to expose the workings of cult leader Dr. Julian Karswell (Nial MacGinnis). When he arrives, Dr. Holden is upset to hear that a colleague he was collaborating with (Professor Harrington, played by Maurice Denham) is dead. He is determined to continue his work but also ends up being assisted by Harrington's niece, Joanne (Peggy Cummins), as he investigates the mysterious death of the Professor. Meanwhile, Dr. Karswell predicts another death and seems very confident in his powers. Initially dismissive of the paranormal, Dr. Holden starts to believe that there may be something more happening that can't be easily explained but he only has a few days left to get to the bottom of everything if he is to avoid his own premature death.

With so many scenes positively dripping with atmosphere and some wonderful exchanges between "rational minds" and those who believe in the paranormal, Night Of The Demon is both old-fashioned horror at its simplest and best and also intelligent and full of characters who are enjoyably sceptical of what they see as a load of hokum.

Impressively, that scepticism runs through most of the movie. There are times when things occur that could be just coincidence (such as the moment in which Dr. Karswell "conjures up" a strong wind) and the movie is almost as much about the way in which people only need to believe in something bad for their behaviour to change in such a way that brings about a self-fulfilling prophecy.

The script is by Charles Bennett and Hal E. Chester (who was also an executive producer and quite a meddlesome presence), with some uncredited work from Cy Endfield, and they deserve their credit but the fact is that the source material was superb. For that reason, even though it may seem slightly unfair, I give the most thanks to M. R. James and director Tourneur, who knew exactly how to make the best of every scene.

Oh, I've still to mention the moments when the demon itself appears onscreen. This has long been a bone of contention among many horror fans, with most claiming that those scenes spoil an otherwise perfect film. Tourneur claims that he never wanted the demon to be shown so directly and the blame is often heaped upon Chester for this major mis-step. Mind you, according to the excellent Beating The Devil: The Making Of Night Of The Demon by Tony Earnshaw, the offending, unambiguous shots were included in the early stages of production development.

I'm in agreement with the majority anyway, those scenes DO spoil an otherwise perfect film. On the other hand, this movie has that great mix of onscreen quality and offscreen turbulence that makes it just as enjoyable to watch and investigate further nowadays as it would have been over 50 years ago.

8/10

http://www.amazon.co.uk/Night-Demon-DVD-Dana-Andrews/dp/B003WL825Y/ref=sr_1_1?ie=UTF8&qid=1352567601&sr=8-1