The Film Noir File: Paying tribute to Otto Preminger

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). All movies below are from the schedule of TCM, which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Pick of the Week

Happy Birthday, Otto Preminger (1905-1986)

Friday, Dec. 5

During the filming of “Angel Face,” Robert Mitchum bonded with Jean Simmons when he came to her defense against Preminger’s mistreatment.

During the filming of “Angel Face,” Robert Mitchum bonded with Jean Simmons when he came to her defense against Preminger’s mistreatment.

His nickname was “Otto the Ogre.” He was one of the most colorful and feisty of all the star Golden Age Hollywood directors. His verbal abuse of actors, including beautiful actresses and children, was legendary.

But Otto Preminger – known for his hot temper, thick German accent, bald bullet head, defiance of taboos and long camera takes – was also one of the czars of film noir in the 1940s and early ’50s, when he directed classics like “Laura,” “Where the Sidewalk Ends” and “Angel Face.” Later on, he made one of the best of all trial dramas, 1959’s “Anatomy of a Murder,” and directed the neglected 1965 British thriller “Bunny Lake is Missing.”

Read the rest of the story here.

Gene Tierney and Vincent Price size each other up in Otto Preminger’s “Laura.”

Gene Tierney and Vincent Price size each other up in Otto Preminger’s “Laura.”

6:15 a.m. (3:15 a.m.): “The Human Factor” (1970). Preminger’s last film – a faithful adaptation of Graham Greene’s dark, knowing novel about a British defector/putative spy (Nicol Williamson) – has a good, smart script, inspired by the Kim Philby case, written by playwright Tom Stoppard. The top cast includes Derek Jacobi, Richard Attenborough, Iman, John Gielgud and Robert Morley. But it suffers from a parsimonious budget and Otto’s declining film fortunes.

8:15 a.m. (5:15 a.m.) “Advise and Consent” (1962). With Henry Fonda, Charles Laughton, Don Murray, Walter Pidgeon, Gene Tierney, Burgess Meredith and Franchot Tone. Reviewed in FNB on Dec. 4, 2013.

The Man with the Golden Arm poster12:45 p.m.: (9:45 a.m.): “The Man with the Golden Arm” (1955) As a man struggling to give up his heroin habit, Frank Sinatra leads a superb cast in this riveting adaptation of Nelson Algren’s novel. Kim Novak plays his ex-girlfriend. Sinatra earned a Best Actor Oscar nom; the film’s music (by Elmer Bernstein) and art direction-set decoration also were considered for Oscars. With Eleanor Parker and Darren McGavin.

4:45 p.m. (1:45 p.m.): “Angel Face” (1953). With Robert Mitchum, Jean Simmons and Herbert Marshall.

6:30 p.m. (3:30 p.m.): “Laura” (1944). With Gene Tierney, Dana Andrews, Clifton Webb, Judith Anderson and Vincent Price.

Other non-noir Premingers shown on his birthday are his two well-made stage adaptations: George Bernard Shaw’s historical drama “Saint Joan” (1957), scripted by Greene, with Jean Seberg, Richard Widmark and Anton Walbrook at 10:45 a.m. (7:45 a.m.) and F. Hugh Herbert’s controversial sex comedy “The Moon is Blue” (1953), with William Holden, Maggie McNamara and David Niven, at 3 p.m. (12 p.m.). Both are worth a look.

Sunday, Dec. 7

8 a.m. (5 a.m.): “The Lady Vanishes” (1938, Alfred Hitchcock). With Michael Redgrave, Margaret Lockwood, Dame May Whitty and Paul Lukas.

The Film Noir File: Otto Preminger paints it black, twice

By Film Noir Blonde and Mike Wilmington

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Pick of the Week: Preminger Noir on Saturday, April 19

Dana Andrews and Gene Tierney star in “Laura” and “Where the Sidewalk Ends.”

Dana Andrews and Gene Tierney star in “Laura” and “Where the Sidewalk Ends.”

Otto Preminger, a prickly auteur with a sometimes mean disposition, claimed not to know what “film noir” meant and often ridiculed interviewers who asked him about it. But in the ’40s and ’50s, the Viennese émigré and nemesis of censors and philistines directed a string of stylish black-and-white, gloomily fatalistic crime pictures that epitomized the whole genre. Two of Otto’s best are showing this Saturday, and you can watch them as a double feature, starting at 8 p.m. EST/5 p.m. PST.

First up is Preminger’s adaptation of Vera Caspary’s best-selling novel of murder and romance in high-style ’40s New York City, “Laura.” This classic is followed by the sharp, moody Ben Hecht-scripted drama of obsessive police and ruthless gangsters “Where the Sidewalk Ends.” Both movies star Dana Andrews as a tough cop and Gene Tierney as a glamour girl, and both of them helped define noir – even if Preminger couldn’t or wouldn‘t.

Laura” (1944, Otto Preminger). 8 p.m. (5 p.m.), Saturday, April 19. With Tierney, Andrews, Clifton Webb, Vincent Price and Judith Anderson.

Where the Sidewalk Ends” (1950, Otto Preminger). Saturday, April 19. With Andrews, Tierney, Gary Merrill and Karl Malden. [Read more…]

‘Laura’ and ‘Blue Velvet’ to screen at the Egyptian Theatre

Laura 1944 posterThe delightful, urbane and unapologetically posh film noir “Laura” (1944, Otto Preminger) screens tonight at 7:30 p.m. at the Egyptian Theatre in Hollywood, part of the American Cinematheque.

“Laura” makes me nostalgic for a life I never led — the adventures of a 1940s career girl living in Manhattan: landing a job on Madison Avenue, buying suits and silk stockings for work, renting a place for $40/month, meeting handsome men, dinner and drinks at the Stork Club, weekend trips to the country.

Of course, “Laura” does have a few downsides — murder and mistaken identity, for starters. Seems that turning every head and being the toast of the town, as is the case with the charming and lovely Laura (Gene Tierney), may prove very dangerous. In a series of flashbacks, we learn the details of Laura’s life and it appears that in addition to having many admirers, she attracted an enemy or two as well. You can read the full review here.

Blue Velvet posterAnd Thursday night: Thomas Ethan Harris presents a seminar on deconstructing writer/director David Lynch’s “Blue Velvet” (1986). This detailed look inside Lynch’s masterpiece takes place in the Spielberg Theatre of the Egyptian.

In “Blue Velvet,” Lynch dazzles and disturbs us as he probes the evil beneath the surface of sunny small-town Americana. Twenty-eight years later, its trippy shimmer has not dimmed, reminding us of Lynch’s auteur power. You can read the full review here.

Susan Andrews to introduce ‘Laura’ at the Egyptian Theatre

The delightful, urbane and unapologetically posh film noir “Laura” (1944, Otto Preminger) screens at 7:30 p.m. Wednesday, Feb. 20, at the Egyptian Theatre in Hollywood.

Here’s a quick synopsis from the event organizers: Investigating a murder, chain-smoking Detective McPherson (Dana Andrews) falls in love with the dead woman, only to find out it wasn’t she who was murdered. The brilliant cast includes Gene Tierney as the gorgeous Laura, Clifton Webb as Waldo Lydecker and Vincent Price as Laura’s fiancé, Shelby Carpenter. The film is said to have been an inspiration for David Lynch’s “Twin Peaks.”

You can read my full review of “Laura” here.

Dana Andrews’ daughter, Susan Andrews, will introduce the movie. Author Carl Rollyson will sign copies of his book “Hollywood Enigma: Dana Andrews” at 6:30 p.m. in the lobby. (“Laura” was recently released on Blu-ray and is a great addition to your film library.)

Film noir treats this weekend at the American Cinematheque

Authors Christopher Nickens and George Zeno will sign their book “Marilyn in Fashion,” today at the Egyptian Theatre, before a screening of 1952’s “Don’t Bother to Knock” starring Marilyn Monroe and Richard Widmark.

Using many rare photographs, the book traces the evolution of Marilyn’s style. The signing starts at 1 p.m. and the film at 2 p.m. The Egyptian Theatre is at 6712 Hollywood Blvd. in Hollywood.

Additionally, “Citizen Kane,” Orson Welles’ masterpiece, plays tonight at 7:30 p.m. at the Aero Theatre in Santa Monica.

On Sunday, July 22, at 7:30 p.m., there’s a great Otto Preminger double-bill: “Laura” (1944) and “Bonjour Tristesse” (1958). Don’t miss it!

The Aero Theatre is at 1328 Montana Ave. in Santa Monica.

Lucille Ball turns her talents to crimestopping in ‘Dark Corner’

The Dark Corner/1946/Twentieth Century Fox/99 min.

Lucille Ball

If you know Lucille Ball from “I Love Lucy” and other TV shows, she may seem an unlikely noir actress. But before she played the zany wife of Cuban bandleader Ricky Ricardo, Ball was the Queen of B Movies. In “Dark Corner,” she stars as Kathleen, a perky secretary with a crush on her boss, NYC private eye Bradford Galt (Mark Stevens). It’s a solid noir with spot-on direction from Henry Hathaway and superb cinematography from Joseph MacDonald, both of whom were A-list talent.

Brad, equal parts Marlowe and Milquetoast, is appealingly human because we see chinks of weakness under his tough-guy exterior. Like many noir heroes, his past comes back to haunt him. Fittingly, his “ghost” is a heavy in a white suit named Stauffer (William Bendix) who seems to be on the payroll of Brad’s ex-partner, lusciously Nordic-looking Tony Jardine (Kurt Kreuger).

Clifton Webb

There’s bad blood with Tony because he framed Brad for a crime he didn’t commit, which led to jail time. But Tony, now more gigolo than gumshoe, is merely a puppet; pulling the strings is an effete, silver-haired art dealer named Hardy Cathcart (Clifton Webb). The lovely Mrs. Cathcart (Cathy Downs) is a patron of many arts, including a dalliance with Tony.

As Brad’s life becomes more of a nightmare, chipper and ever-loyal Kathleen is there to help him get to the bottom of the mess. What’s in it for her? If she’s lucky, maybe some nylons and a trip to the altar at the end assuming Brad can get out from under his fate.

Destiny, darkness, persecution, paranoia, surface vs. reality, existential angst, the depravity of high society, ie rich, folk – all these classic noir concerns are nicely woven into “The Dark Corner.” Much of the unease and tension is conveyed by Hathaway’s crisp direction and MacDonald’s moody visuals, especially the intense shadows and high contrast MacDonald creates with one dominant light source, such as a lamp on a desk.

This master lensman also worked on “Call Northside 777” from 1948 and 1953’s “Niagara” (both directed by Hathaway) as well as “Panic in the Streets” (Elia Kazan, 1950), “Pickup on South Street (Sam Fuller, 1953) and John Ford’s 1946 Western masterpiece “My Darling Clementine.”

Jay Dratler and Bernard Schoenfeld wrote “The Dark Corner” script based on a story by Leo Rosten. As film noir writers James Ursini and Alain Silver point out in their fine DVD commentary, Dratler also worked on Fox’s 1944 noir hit “Laura” by director Otto Preminger. Webb acted in both films, in “Dark Corner” essentially reprising his earlier role, a wonderfully decadent uppercrust character obsessed with Gene Tierney as Laura.

These writers give us some classic noir lines, such as “I could be framed easier than Whistler’s mother” and “I feel all dead inside, backed up in a dark corner and I don’t know who’s hitting me.” [Read more…]

8mm sizzles with noir-tinged rock: Friday at the Roxy

With a haunting voice, retro-glam sexiness, and material both subtle and raw, Juliette Beavan of 8mm melds a femme fatale’s sophistication with flinty rock energy. From the first searing notes, often punctuated by smoke and shadow, the songs draw you in like a Hitchcock thriller; lyrics linger in your head well beyond the show’s end. This part of “Crawl,” for instance, is hard to forget: “or maybe there’s another/ trick, another spell/ and I could change you/ and I’d draw you to me/ pull you to me, crawl to me./ draw you to me/ pull you to me/ call you to me/crawl to me.”
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Her bandmates include her husband Sean Beavan (guitar, vocals) and Jon Nicholson (drums). They describe their sound as “trip-hop influenced pop-rock.” First-rate musicians, the guys are the perfect complement to Juliette’s vocals and keyboard.
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Juliette Beavan of 8mm. Photo by Critter Newell

“That’s right, blame it on the girl,” she might tease them between songs, before adjusting her mic or straightening a cord. A New Orleans native, she’s fond of bringing beads, candy and banter to toss to the eager crowd, many of whom clutch cameras the way people used to flick lighters as preface to an encore.
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Together since 2004, 8mm has an impressive resume that includes four albums and several tours (the US, Canada, the UK and Chile). Sean Beavan, who hails from Cleveland, formerly worked with bands such as Marilyn Manson, Nine Inch Nails and God Lives Underwater. He and Juliette write the songs; their work has been featured in the 2005 film “Mr. & Mrs. Smith” as well as in a number of TV shows, including “One Tree Hill,” “Grey’s Anatomy,” “Moonlight,” “Dirt,” Road Rules,” and “The Real World: Sydney.”
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You can see 8mm for yourself Friday, June 3, at the Roxy Theatre, with the Kidney Thieves, Cage 9, The Shakers and DJ High Voltage. The show starts at 8 p.m. and 8mm goes on at 9 p.m.
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I caught up with Juliette recently to chat about the band’s penchant for noir.
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Film Noir Blonde: The band’s name is a film reference, your shows are richly atmospheric and your songs often deal with mystery, secrets, betrayal and hidden desire, much as a film noir would. Can you talk about how the aesthetic of film noir in general has been an influence for you?
Juliette Beavan: Yes, a reference to the film stock, because for us, 8mm film brings to mind smoky back rooms of 1930s Berlin, the first stag films, the early home movies … in other words, secrets, memories, longings (secret and professed) and decadence … all the things we try to bring to our music. They also happen to be things that are part and parcel to any good film noir. In addition, the look, the sleek styling, elegant and dangerous players, well, that sounds like a band to us!

8mm plays the Viper Room. Photo by Billy Howerdel

FNB: Any femmes fatales that stand out for you?
JB: Hahaha, are you gonna ask any questions with short answers? Where to start … Marlene Dietrich, Bette Davis, Marilyn Monroe, Gene Tierney, Lauren Bacall, Joan Crawford, Anne Baxter, Nora Zehetner in “Brick” does a wonderful job, not to mention (I know they’re not femmes fatales, but I would be remiss to leave the men out) Joseph Gordon-Levitt gives Bogey a run for his money in that film. And for the men, of course, there is the one and only Humphrey Bogart.

FNB: Of ’40s and ’50s singers or bands, who are your top favorites?
JB: Nat King Cole, Frank Sinatra, Billie Holiday, Edith Piaf, Bing Crosby, to name a few.

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8mm's Jon Nicholson, Juliette Beavan and Sean Beavan. Photo by Herwig Maurer

FNB: Do you essentially get into character when you perform, especially Juliette as the frontwoman?
JB: In a sense, yes, and it varies from song to song, because each one is a different story, character, sort of mini movie for us. I’m a storyteller not a character (like a GaGa or Madonna), so the approach is a little different. It only takes a note or two for me “see it” in my head again, to step into “her” shoes … from there it’s just natural.

You kind of have to use your whole body to tell the story, and the story becomes my own for that time.

FNB: Raymond Chandler said a good story cannot be devised; it has to be distilled. Do you think that’s true for writing songs and music?
JB: Certainly at times … what Sean plays makes me see stories, so I suppose you could say that is a bit of a distilling process to bring the story down into its key emotional components for a 3 minute song. However, there are other times when you get a “cosmic FedEx” (a term we’re stealing from Scott Russo of Unwritten Law). That’s where the song comes to you almost writing itself and you have to grab and get it down before it moves on. You know, the muse will find another host if you aren’t paying attention.

[Read more…]

Murder and martinis with a twist: ‘Laura’ brings us butlers, bodies and banter

Laura/ 1944/ Twentieth Century Fox/88 min.

“Laura” makes me nostalgic for a life I never led — the adventures of a 1940s career girl living in Manhattan: landing a job on Madison Avenue, buying suits and silk stockings for work, renting a place for $40/month, meeting handsome men, dinner and drinks at the Stork Club, weekend trips to the country.

Of course, “Laura” does have a few downsides — murder and mistaken identity, for starters. Seems that turning every head and being the toast of the town, as is the case with the charming and lovely Laura (Gene Tierney), may prove very dangerous. In a series of flashbacks, we learn the details of Laura’s life and it appears that in addition to having many admirers, she attracted an enemy or two as well.

The movie starts with Waldo Lydecker (Clifton Webb) setting the scene. Lydecker, a campy, sybaritic writer, played mentor to Laura as she made a name for herself in advertising and he’s extremely proud of his protegee’s success, especially her popularity with men.

Lydecker is also, quite rightly, very proud of his apartment, with its animal-print chairs and a chunky bathtub equipped with a swiveled tray for his Smith Corona typewriter. I love this Lydecker line: “In my case, self-absorption is completely justified. I have never discovered any other subject quite so worthy of my attention.”

Later, he tells Laura, “For you, a lean, strong body is the measure of a man.” I knew I liked Laura. That doesn’t mean she’s picked the right man, however. She’s engaged to smarmy, sleazy Shelby (Vincent Price) and he clearly doesn’t deserve her.

Once the murder (I’ll keep this a bit vague so I don’t spoil it) is committed, we meet the anti-society, take-no-guff Det. Lt. Mark McPherson (Dana Andrews), who questions the upper-crust types that populate Laura’s world. Mark may lack social graces but he’s definitely a lean, strong body worth rooting for. And Mark definitely falls for Laura.

Amid his investigation, there’s plenty of cocktail conversation, pretentious accents, gorgeous gowns and quirky personalities. And after realizing Murder No. 1 was a bit careless, the killer strikes again.

Beautifully put together and immensely entertaining, “Laura” was nominated for five Academy Awards – art direction, screenplay, director, supporting actor (Webb) and b&w cinematography. Joseph LaShelle won for cinematography.

Based on a popular novel by Vera Caspary, the screenplay by Jay Dratler, Samuel Hoffenstein and Betty Reinhardt, with uncredited help from Ring Lardner Jr., is full of wit and Algonquin-caliber one liners. The wonderfully lush music came from David Raksin.

Otto Preminger served as producer and took over as director after Fox chief Darryl Zanuck pulled Rouben Mamoulian off the job. Preminger replaced the original cinematographer Lucien Ballard with LaShelle.

In 1977, the New Yorker called the movie: “Everybody’s favorite chic murder mystery.” This is no B picture. But that’s not to say it doesn’t have a dark side. With its treatment of sexual obsession, casual betrayal and class structure, “Laura” explores raw themes in a refined setting.

One of noir’s great strengths is that as a genre it very frankly challenged the myth that America was a classless society and pointed out that patrician elegance bred corruption just as much as, if not more than, the streetwise desperation of common criminals. [Read more…]

‘Laura’ quick hit

Laura/ 1944/ Twentieth Century Fox/88 min.

Part polished whodunit, part classic noir, this elegant, urbane thriller stars Gene Tierney in one of her most famous roles. Suspects and surprises abound as do witty one-liners and ’40s high style. Dana Andrews, Clifton Webb and Vincent Price are the men in Laura’s life. Otto Preminger directs.