One of Fritz Lang’s finest films, ‘The Big Heat’ is a lean, gripping suspense story

Fritz Lang

The Big Heat/1953/Columbia Pictures/89 min.

“When a barfly gets killed, it could be for any one of a dozen crummy reasons,” says Police Lt. Ted Wilks (Willis Bouchey) in “The Big Heat.” Fritz Lang’s grim but gratifying crime drama from 1953 is laced with violence that’s still a bit shocking even by today’s standards.

Barflys don’t get much sympathy in the fictional city of Kenport, an upstanding community full of white-picket fences and happy homemakers that also harbors a flourishing criminal empire and rampant police corruption.

Gloria Grahame and Glenn Ford star in “The Big Heat.”

Wilks is talking to an upright cop, Det. Sgt. Dave Bannion (easy on the eyes Glenn Ford), about the torture and murder of Lucy Chapman (Dorothy Green). Lucy was the girlfriend of police sergeant Tom Duncan, also dead; his suicide is the film’s opening scene.

Tom’s widow Bertha (Jeanette Nolan) is not what you’d call crushed at her husband’s demise and she’s martini-dry as she answers questions from Bannion. Bertha claims her husband was ill, hence the suicide. Bannion got a rather different story from Lucy Chapman.

Unlike Tom Duncan, Bannion seems to have a perfect wife, the golden-haired Katie (Jocelyn Brando, Marlon’s sister), and a cute little daughter, named Joyce. As Mr. and Mrs. Bannion share smokes, sips of drinks and steaks, they banter easily and make each other laugh.

In addition to questioning barflies and ungrieving widows, Bannion noses into the business of an oily mobster named Mike Lagana (Alexander Scourby), a vicious operator whose right-hand man is the lithe and snarling Vince Stone (Lee Marvin).

The incomparable Gloria Grahame plays Debby Marsh, Stone’s inamorata. Debby spends most of her time shopping, drinking and looking at herself in the mirror. What’s not to like? As she tells Bannion: “I’ve had it rich and I’ve had it poor. Believe me, rich is better.”

(In, 1954, Ford and Grahame starred in another Lang noir, “Human Desire,” a film version of Émile Zola’s novel “La Bête Humaine”/“The Human Beast.”)

Grahame and Ford have sizzling chemistry.

Shortly after the exchange in Lagana’s living room, a car bomb meant for Bannion kills the lovely Katie. Bannion doesn’t take much time to mourn; instead, with eyes glazed, he’s hellbent on proving the link between the police and Lagana’s mob. Suspended from the force, he seeks vengeance on his own, setting the pace for ’70s vigilante cops such as Clint Eastwood‘s Dirty Harry. As Bannion obsesses over hate and revenge, in a chilling transformation of character, he becomes the moral equivalent of the gangsters he despises.

Known for stark, intense visuals, here director Lang contrasts gloomy, barlike shadows that bind the characters to their destiny with shocks of scouring white light suggesting revelation. Lang was also known for being difficult with cast and crew, but Ford for one never saw Lang’s tyrannical side.

In “Glenn Ford: A Life” by Peter Ford, the famed actor describes his experience: “Fritz Lang came out of the old German studio system, where the director was like a dictator, barking commands and making people jump. He had a pretty nasty reputation in some quarters. There were people in Hollywood who had worked with him who hated his guts, especially some of the crew guys down the line. I mean, there were stories of people throwing lights at him and threatening to kill him for the way he treated them.

“So I head into this picture wondering how bad it’s going to be. And then Fritz and I met and had a couple of cocktails, and he couldn’t have been sweeter. He treated me with great respect. A wonderful friend, and I learned so much from him. We’re talking about one of the real geniuses of the movie business.”

Gloria Grahame and Lee Marvin: a couple with, um, a problem or two.

“The Big Heat” drew inspiration from real-life events a few years before the film was made. When the U.S. Senate set up the Kefauver Committee to probe organized crime, televised hearings brought the Mafia into the consciousness of the American public. Sydney Boehm wrote the script from a serial by William P. McGivern in the Saturday Evening Post.

And of course, any time crime’s on the rise, you know loose women are involved, which brings me to the pièce de résistance: Grahame as Debby. Though she doesn’t get a huge amount of screentime, she’s funny and fresh, and brims over with sexpot charm – striking the perfect balance between waifish, wide-eyed vulnerability and pleasure-seeking sophistication.

Once Debby realizes the depth of Vince’s depravity – burning a young woman’s hand with his cigarette is small potatoes to this guy – she switches her loyalty to the righteous but rigid Bannion. And when Vince learns of her betrayal, she gets burned, literally, with a pot of boiling coffee. We hear, but don’t see, Debby’s wounded reaction in one of the most famous moments in the movies.

With her looks gone, Debby tells Bannion everything she knows and commits the murder that will bring down the syndicate. Oh, and throwing coffee? Two can play at that game. I’d like to see a Starbucks barrista do better.

‘The Big Heat’ quick hit

The Big Heat/1953/Columbia Pictures/89 min.

Fritz Lang’s expose of a crooked police force reveals the painful price of corruption. Glenn Ford is the clean cop bucking the system; Lee Marvin scores as a sadistic villain and Gloria Grahame shines as a vamp who slowly wakes up to the badness all around her. Well since when is there a law against sleeping till noon?

‘Glenn Ford: A Life’ is an intimate view of a star

Peter Ford will discuss and sign his book “Glenn Ford: A Life” at 7 p.m. Friday at Book Soup, 8818 Sunset Blvd., West Hollywood, CA, 90069, 310-659-3110. The foreword is by Patrick McGilligan.

Some background on the book, provided by event organizers:

Glenn Ford – star of such now-classic films as “Gilda,” “Blackboard Jungle,” “The Big Heat,” “3:10 to Yuma,” and “The Rounders” – had rugged good looks, a long and successful career, and a glamorous Hollywood life. Yet the man who could be accessible and charming on screen retreated to a deeply private world he created behind closed doors.

This biography by Ford’s son, Peter, offers an intimate view of a star’s private and public life. Included are exclusive interviews with family, friends, and professional associates, and snippets from the Ford family collection of diaries, letters, audiotapes, unpublished interviews, and rare candid photos.

This biography tells a cautionary tale of Glenn Ford’s relentless infidelities and long, slow fade-out, but it also embraces his talent-driven career. The result is an authentic Hollywood story that isn’t afraid to reveal the truth.

Arthur Lyons Film Noir Festival is non-stop noirista heaven

The 2011 festival poster

After four days of back-to-back noirs at the Arthur Lyons Film Noir Festival in Palm Springs, it is hard to return to reality. I keep expecting to see men in fedoras and mink-coated molls. Or to hear terse whispers from crooks working a heist or an imperious “Ah, shut up” a la Joan Crawford. Well, it’s a rainy day and it’s still early so you never know what might happen.

The annual noir gathering, now in its 11th year, is one of my favorite fests and such a great chance to mingle with other noiristas, such as producer and programmer Alan K. Rode and the rest of the Dark City Players: Marvin Paige, Foster Hirsch, Kim Morgan and Eddie Muller. Ric and Rozene Supple are the fest’s executive producers and the Camelot Theatre does a great job hosting the event. The festival is named after its founder Arthur Lyons Jr., an author and longtime resident of Palm Springs.

From the first notes of Henry Mancini’s silky score for “Experiment in Terror,” which opened the fest, to the Palm Springs locations of 60 years ago, shown in the final movie, “The Damned Don’t Cry,” there was much to relish. In “Experiment in Terror” from 1962, Ross Martin hatches a plot to anonymously extort money from Lee Remick; his efforts are thwarted by FBI agent Glenn Ford.

Alan K. Rode talks with Stefanie Powers.

It’s hard to shake the mood of menace that director Blake Edwards creates in this chilling tale. Stefanie Powers, who played Remick’s younger sister, spoke after the screening. “Nobody shot that way,” she said of Edwards’ daring camera, adding that the film may be the first time that someone died on screen, eyes open.

Friday’s fare included “The Underworld Story” (1950, Cy Endfield); “Six Bridges to Cross” (1955, Joseph Pevney); “A Kiss Before Dying” (1956, Gerd Oswald) and “Cape Fear” (1962, J. Lee Thompson).

I can never get enough of Dan Duryea, star of “Underworld,” and seeing Tony Curtis in “Six Bridges” was a rare treat. “You can’t help liking him even if he is a criminal,” said co-star Julie Adams in the post-screening Q&A, noting the natural charm Curtis brought to the part of inveterate schemer Jerry Florea. Sal Mineo made his screen debut in this movie, as the young Jerry, leader of a Boston street gang.

Kim Morgan (left) and Julie Adams discuss "Six Bridges."

Then it was time for a dash of luscious color: The broad gaze of CinemaScope catches the hard-core badness of college student and casual killer Bud Corliss (Robert Wagner) in “A Kiss Before Dying.” Though he was voted most likely to succeed in high school, at 25, he’s still stuck in college, despite the support of his doting mom (Mary Astor). He figures it would be a whole lot easier to ditch the books and marry into a rich family, even if it requires a murder or two.

Co-starring as his love interests are Joanne Woodward and Virginia Leith, both of whom are excellent. Director Gerd Oswald, a mainstay of the classic TV show “The Outer Limits” and the son of Vienna-born director Richard Oswald, elicits memorable performances, particularly from the young and sexy Wagner.

The evening ended with a classic thriller: “Cape Fear.” The top-notch cast includes Gregory Peck, Robert Mitchum, Polly Bergen, Lori Martin, Barrie Chase, Telly Savalas, Martin Balsam and Jack Kruschen. Adding to the mood is music by the maestro of the suspense film Bernard Herrmann.

Barrie Chase recalled Mitchum's work as she chatted with Alan K. Rode after the screening.

Mitchum’s portrayal of Max Cady, a brutal sadist seeking revenge, is one of his best and most famous roles. On hand to reminisce after the movie was Chase, also an accomplished dancer who partnered with Fred Astaire on his TV specials. Chase said of Mitchum in this movie: “He was fantastically attractive as a horrible person.”

When she rehearsed her scene with Mitchum (she played a victim of his brutality), he made it very clear that he had nothing on under his pants. “It struck me as funny,” she said. (The audience had the same reaction.) “He was very kind and protective after that; he treated me like a kid sister.”

Also, Chase said, despite giving the impression that he winged it when it came to acting, Mitchum was “totally prepared, he knew exactly what he was going to do.” As for how she broke into movies, she told the audience she got the requisite encouragement to follow her dream from “a fella named Stanley Kubrick” whom she was going out with at the time.

Evelyn Keyes

On Saturday morning, critic Kim Morgan introduced “99 River Street” (1953, Phil Karlson) starring John Payne and Evelyn Keyes. Morgan pointed out that the film is a great example both of cinematographer Franz Planer’s work (he was on “Criss Cross,” 1949; “Letter from an Unknown Woman,” 1948; “Bad for Each Other,” 1953, and many others) and of the boxing noir sub-genre, along with “Body and Soul,” 1947, and “The Set-Up,” 1949. All three films, Morgan pointed out, likely would have been on Martin Scorsese’s radar as he prepared to make 1980’s “Raging Bull.”

Next up was “Plunder Road” from 1957, directed by the underrated Hubert Cornfield (“The Night of the Following Day,” 1969) and lensed by Ernest Haller. A reported favorite of Quentin Tarantino, this lean little caper flick is about a group of men stealing gold from a train, hauling it off in commercial trucks and melting it down in a foundry before getting it out of the country. It’s wildly far-fetched, true, but still a good time.

Jeanne Cooper explained to Foster Hirsch that the "Plunder Road" actors learned foundry work for the film.

And what noir fest would be complete without an appearance of Elisha Cook, Jr.? Gene Raymond, Wayne Morris and Jeanne Cooper round out the cast; in her discussion with Foster Hirsch, Cooper recalled that Cornfield made the actors really learn the work involved at foundry. He wanted authenticity but also told them wryly: “Now you can back yourselves up and know something more than acting.” Cornfield’s advice on knowing another trade was sadly prophetic – he eventually turned to house painting to support himself.

Completing the afternoon was 1954’s “Loophole,” directed by Harold Schuster, much of which was shot on location in Los Angeles, Hollywood and Malibu. It’s a strong example of a noir staple: the wrongly accused and possibly doomed dude. Barry Sullivan is a standup bank teller; Dorothy Malone plays his loyal and devoted wife; Charles McGraw shines as the obnoxious insurance investigator determined to make Sullivan pay for his “crime.”

Another stalwart of noir is amnesia and in “Mirage,” from 1965, we see the topic deftly handled by master noir director Edward Dmytryk (“Murder, My Sweet, 1944; “Crossfire,” 1947). Gregory Peck stars as the afflicted; Walter Matthau plays a newbie gumshoe helping him out; Diane Baker is a mysterious woman from his past. The film also boasts a great collection of villains: Kevin McCarthy, Jack Weston, Leif Erickson, Walter Abel and George Kennedy.

Dmytryk effortlessly balances suspense with humor and there are many funny moments, such as when Peck tells Matthau, “Wouldn’t it be hilarious if you knew what you were doing?” The film is written by Peter Stone, who also wrote “Charade” (1963) and co-wrote “Arabesque” (1966) both by director Stanley Donen, and you can definitely feel the similarities between the three movies.

Diane Baker shared with Eddie Muller that her artistic aim is to tell stories with meaning.

Eddie Muller and Diane Baker chatted extensively after the movie, with Baker recalling Peck as being full of life with a “great sense of humor and great energy.”

Arguably, the best movies were saved for last. Sunday’s lineup was “Crashout” (1955, Lewis R. Foster), “Saboteur” (1942, Alfred Hitchcock) and “The Damned Don’t Cry” (1950, Vincent Sherman). Certainly, my favorite guest appearance was actor/producer Norman Lloyd, who was interviewed by Alan K. Rode. Lloyd, 96, regaled the crowd with many stories about Orson Welles, John Houseman, Charlie Chaplin, Hitchcock and others.

On learning about filmmaking Lloyd said: “When I came to Hollywood, I didn’t know the front end of the camera from the back. I was very nosy and Mr. Hitchcock was delighted to answer my questions. It happened by my talking a lot.”

Norman Lloyd (right) told Alan K. Rode about learning from Alfred Hitchcock.

On Hitchcock dealing with actors? “Hitchcock worked with a major star who had been trained in the Stanislavski method. Hitchcock directed him to sit and the star asked, ‘Why do I sit?’ Hitchcock replied, ‘To put your ass in the seat of the chair.”

And in case any viewers were flagging after four days of viewing, there was sustenance to be found in, as Rode put it, the “take-no-prisoners femme fatale” – none other than Joan Crawford in “The Damned Don’t Cry.” The film is loosely based on the real-life story of Virginia Hill, mistress of gangster Bugsy Siegel, and it’s a joy to watch Crawford savagely claw her way to the top of a national crime syndicate, breaking heart after heart and stubbing out cig after cig as she climbs.

I love this line from Crawford’s character Ethel Whitehead: “Don’t talk to me about self-respect. That’s something you tell yourself you got when you got nothing else.”

Watching Crawford was a terrific way to wrap up the fest and I was a bit sad to say goodbye. I think Eddie Muller summed it up best said when he introduced “Mirage” on Saturday night, telling the packed theater, “The best part of every noir is when the woman gets the gun in her hand.”

Palm Springs hosts 11th annual Arthur Lyons Film Noir Festival

It’s been so hot and sunny this week, I’m in definite need of some cool darkness and poolside lounging. For me, that will come next week in the form of the 11th annual Arthur Lyons Film Noir Festival in Palm Springs. The fest runs May 12-15. I like the fact that when I was calling for info on accommodation, I was told repeatedly, “This is a desert town, of course we have a pool.”

Stefanie Powers will appear at the fest's opening night film, "Experiment in Terror."

Along with “an eclectic mixture of landmark and obscure vintage movies from the classic film noir era,” the festival will host a number of special appearances, such as actress Stefanie Powers, a star (along with Lee Remick, Glenn Ford and Ross Martin) of the opening night film “Experiment in Terror” from 1962, directed by Blake Edwards.

Critic Leonard Maltin gave the movie three stars, calling it “realistic, unsentimental, with convincing performances by Remick and Martin. Great Henry Mancini score, good use of San Francisco locations.”

Other fest guests include actress Julie Adams, actress/dancer Barrie Chase, actress Jeanne Cooper, actress Diane Baker and actor/producer Norman Lloyd.

The rest of the movies are: “The Underworld Story” (1950, directed by Cy Endfield); “Six Bridges to Cross” (1955, Joseph Pevney); “A Kiss Before Dying” (1956, Gerd Oswald); “Cape Fear” (1962, J. Lee Thompson); “99 River Street” (1953, Phil Karlson); “Plunder Road” (1957, Hubert Cornfield); “Loophole” (1954, Harold Schuster); “Mirage” (1965, Edward Dmytryk); “Crashout” (1955, Lewis R. Foster); “Saboteur” (1942, Alfred Hitchcock) and “The Damned Don’t Cry” (1950, Vincent Sherman).

Now I just need to come up with a few ensembles that qualify as desert chic. 😉

Stefanie Powers image from TV Guide.com.