The Noir File: As time goes by, ‘Casablanca’ remains sublime

August 25, 2012 by

By Michael Wilmington

A noir-lover’s guide to classic film noir on cable TV. All the movies listed below are from the current schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK

“Casablanca” (1942, Michael Curtiz) Wednesday, Aug. 29, 10 p.m. (7 p.m.) On the Warner Brothers back lot, in an exotic city that hums with intrigue, we watch one of the movies’ immortal affairs and grandest pictures: “Casablanca” is, in some respects, the perfect Hollywood Golden Age studio movie.

Stuck in the middle: Ilse (Ingrid Bergman) is torn between duty (Paul Henreid) and love (Humphrey Bogart) in “Casablanca,” one of the best Hollywood Golden Age studio movies.

We see the frustrated and tormented but finally sublime passion of gloomy hard-case cabaret owner Rick (Humphrey Bogart, in his most popular role) for scared, on-the-run Ilse (Ingrid Bergman, in hers). Ilse is the emotionally torn woman of mystery whom Rick loved and lost, the angel who won his heart and left him in Paris. She now belongs body and soul, it seems, to the idealistic underground anti-Fascist leader Victor Laszlo (Paul Henreid). Around them swirl the ideological storms of Nazi-ravaged Europe, at least as Warners saw them.

Humphrey Bogart and Dooley Wilson

And backing them up is one of the all-time great Hollywood supporting casts: Claude Rains as the suave and lecherous Vichy police head Renault; Conrad Veidt as the elegant, murderous Nazi commander Strasser; Sydney Greenstreet as the vaguely sinister rival cabaret owner; Peter Lorre as Ugati, the rat with the papers; S. Z. “Cuddles” Sakall as the lovable fat busybody; Marcel Dalio as the nimble croupier; Curt Bois as the ferret-like pickpocket (“Vultures everywhere!”); and of course that indefatigable piano man Sam (Dooley Wilson) – the fellow who plays (or doesn’t) “As Time Goes By.”

“Casablanca,” which expertly melds several key ’40s Hollywood genres (drama, comedy, noir, spy thriller, love story) was adapted from a truly lousy play “Everybody Goes to Rick’s,” reworked by the Epstein brothers (Julius and Philip) and Howard Koch, and directed by that sometimes underrated master, Michael Curtiz. A big hit in its day and also a multiple Oscar winner, this picture has never stopped pleasing and rousing audiences. It probably never will. (Also available in Warners’ three-disc 70th anniversary edition DVD and Blu-ray.)

Saturday, Aug. 25: Tyrone Power Day

2:30 a.m. (11:30 p.m.): “Witness for the Prosecution” (1957, Billy Wilder) From the famous Agatha Christie short story, Billy Wilder expertly fashions one of the screen’s trickiest trial-drama/murder mysteries – with Charles Laughton as the wily, wheelchair-bound barrister, his real-life wife Elsa Lanchester as his long-suffering nurse, and Tyrone Power and Marlene Dietrich as the incendiary couple caught up in a legendary triple-reverse surprise ending.

Ava Gardner co-stars with Robert Taylor in “The Bribe.”

Tuesday, Aug. 28: Ava Gardner Day

10:45 p.m. (7:45 p.m.): “The Bribe” (1949, Robert Z. Leonard) Robert Taylor, Ava Gardner, Charles Laughton and Vincent Price in the smoky noir tale of a federal guy and a femme fatale. A lot of it wound up in the 1982 Steve Martin–Carl Reiner film noir parody “Dead Men Don’t Wear Plaid.”

Wednesday, Aug. 29: Ingrid Bergman Day

6 p.m. (3 p.m.): “Gaslight” (1944, George Cukor) Set in foggy Victorian gas-lit London, this is the best of all the melodramas and noirs where a bad husband tries to drive his wife insane (or vice versa). Here, Charles Boyer gives the treatment to Oscar-winner Ingrid Bergman. Joseph Cotten, Dame May Whitty and teenage Angela Lansbury are among the bystanders. Based on the Patrick Hamilton stage play (and film) “Angel Street.”

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The Noir File: Lusty? Low-budget? We’re in!

July 13, 2012 by

By Michael Wilmington

A noir-lover’s guide to classic film noirs (and neo-noirs) on cable TV. Just Turner Classic Movies (TCM) so far, but we’ll add more stations as more schedules come in. The times are Pacific Standard (listed first) and Eastern Standard.

Friday, July 13: Sam Fuller Day

Samuel Fuller

The following four films were all written and directed by noir master Fuller.

5 p.m. (8 p.m.): “I Shot Jesse James” (1949, Samuel Fuller). Western noir, with Preston Foster and John Ireland (as the “dirty little coward … who laid poor Jesse in his grave”). (TCM)

6:30 P.M. (9:30 p.m.): “Park Row” (1952, Samuel Fuller). Fuller’s personal favorite of all his movies was this lusty low-budget period film, set in the 1880s, about newspapering in New York. With Gene Evans (“The Steel Helmet”) as a two-fisted editor and Mary Welch as a femme fatale of a publisher. (TCM)

8 p.m. (11 p.m.): “Shock Corridor” (1963, Samuel Fuller). Aggressive, Pulitzer-hunting reporter Johnny Barrett (Peter Breck) feigns madness and gets himself committed to a mental institution to track down a murderer. Constance Towers is the stripper masquerading as his sister. Quintessential Fuller. (TCM)

Constance Towers plays in “Naked Kiss” (shown here) and “Shock Corridor.”

9:45 p.m. (12:45 a.m.): “The Naked Kiss” (1964, Samuel Fuller). A hooker, a pervert, and a sleazy cop get involved in small-town scandal and murder. Stanley Cortez (“Night of the Hunter”) photographs noirishly, both here and in “Shock Corridor.” (TCM)

Also on Friday:

3 a.m. (6 a.m.) “Séance on a Wet Afternoon” (1964, British, Bryan Forbes). Acting fireworks from Oscar nominee Kim Stanley and Richard Attenborough as a crooked spiritualist and her meek husband, tangled up in crime. Based on Mark McShane’s novel. (TCM)

3 p.m. (6 p.m.): “Wait Until Dark” (1967, Terence Young). From the hit stage play by Frederick (“Dial M for Murder”) Knott. Blind woman Audrey Hepburn sees no evil and tries to stave off Alan Arkin, Richard Crenna and Jack Weston. (TCM)

Saturday, July 14

4 a.m. (7 a.m.): “The Black Book” (“Reign of Terror”) (1949, Anthony Mann). French Revolution noir, with Robert Cummings, Arlene Dahl, Richard Basehart and Beulah Bondi. Photographed by John Alton. (TCM)

Sunday, July 15

Richard Widmark is unforgettable in “Night and the City,” set in London.

5:30 a.m. (8:30 a.m.): “Night and the City” (1950, Jules Dassin). Crooked fight promoter Harry Fabian (Richard Widmark) tries to outrace the night. One of the all-time best film noirs, from Gerald Kersh’s London novel. With Gene Tierney, Herbert Lom and Googie Withers. (TCM)

7:30 a.m. (10:30 a.m.): “The Reckless Moment” (1949, Max Ophuls). Blackmail and murder invade a “happy” bourgeois home. Based on Elizabeth Sanxay Holding’s novel, “The Blank Wall,” and directed by one of the cinema’s greatest visual/dramatic stylists, Max Ophuls (“Letter from an Unknown Woman,” “Lola Montes,” “The Earrings of Madame de…”) With James Mason, Joan Bennett and Shepperd Strudwick. (TCM)

11 p.m. (2 a.m.): “Sawdust and Tinsel” (“The Naked Night”) (1953, Swedish, Ingmar Bergman). Film master Ingmar Bergman once said that his major early cinematic influences were “the film noir directors, Howard Hawks, Raoul Walsh and Michael Curtiz.” Here is one of the most noir of all Bergman’s films (along with “Hour of the Wolf” and “The Serpent’s Egg”): a German Expressionist-style nightmare of a film about life at a circus, in three rings of adultery, jealousy and torment. (In Swedish, with English subtitles.) (TCM)

Thursday, July 19

Orson Welles and Joseph Cotten star in “Citizen Kane.”

8:15 a.m. (11:15 a.m.): “Caged” (1950, John Cromwell). One of the best and grimmest of the “women’s prison” pictures. A grim look at life locked up, with Eleanor Parker, Agnes Moorehead, Hope Emerson, Jan Sterling and Jane Darwell. (TCM)

11:15 p.m. (2:15 a.m.): “Citizen Kane” (1941, Orson Welles). A dark look at the sensational, profligate life of one of the world’s most powerful and egotistical newspaper magnates, the late Charles Foster Kane (modeled on William Randolph Hearst and acted by George Orson Welles). Still the greatest movie of all time, it’s also a virtual lexicon of film-noir visual and dramatic style, as seminal in its way as “The Maltese Falcon” or “M.” Scripted by Welles and one-time Hearst crony Herman Mankiewicz, photographed by Gregg Toland, with music by Bernard Herrmann and ensemble acting by the Mercury Players: Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Agnes Moorehead, George Coulouris, Ruth Warrick, Paul Stewart, et al. (“Rosebud? I tell you about Rosebud…”) (TCM)

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Free stuff from FNB: More chances to win Bogart movies

July 7, 2012 by

The reader-giveaway prize for June was the Humphrey Bogart set, which contains “They Drive by Night,” “Across the Pacific,” “Action in the North Atlantic” and “Passage to Marseille,” from Warner Home Video and Turner Classic Movies. I am extending this giveaway to July so that I can run a review of “They Drive by Night.”

In August, I will give away the WHV/TCM Greatest Gangster Films: Humphrey Bogart set, featuring “High Sierra,” “The Petrified Forest,” “The Amazing Dr. Clitterhouse” and “All Through the Night.” I will run a review of “High Sierra” in August. Each set is $27.92.

All who entered in June are still eligible to win. To enter the July giveaway, for the Classic Legends: Humphrey Bogart set, just leave a comment on any FNB post from July 1-31.

We welcome comments, but please remember that, for the purposes of the giveaway, there is one entry per person, not per comment.

The June-July winner will be randomly selected at the end of the month and announced in early August. Include your email address in your comment so that I can notify you if you win. Your email will not be shared. Good luck!

Here’s more info on the movies in the Classic Legends: Humphrey Bogart set. [Read more…]

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Free stuff from FNB: Classic Legends Bogart set

June 6, 2012 by

Warner Home Video (WHV) and Turner Classic Movies (TCM) are adding two new sets to the TCM Greatest Classic Legends line. The newest additions feature Humphrey Bogart and Joan Crawford. (On the Crawford set is “Mildred Pierce,” “Humoresque,” “Possessed” and “The Damned Don’t Cry.”)

Humphrey Bogart

Courtesy of WHV, I will be giving away the Bogart set, which contains “They Drive by Night,” “Across the Pacific,” “Action in the North Atlantic” and “Passage to Marseille.”

(Additionally, WHV and TCM will release the Greatest Gangster Films: Humphrey Bogart set, featuring “High Sierra,” “The Petrified Forest,” “The Amazing Dr. Clitterhouse” and “All Through the Night.”)

Each set is $27.92 and will be available on June 26.

To enter the June giveaway, for the Classic Legends: Humphrey Bogart set, just leave a comment on any FNB post from June 1-30. We welcome comments, but please remember that, for the purposes of the giveaway, there is one entry per person, not per comment.

The winner will be randomly selected at the end of the month and announced in early July. Include your email address in your comment so that I can notify you if you win. Your email will not be shared. Good luck! (Josh is the winner of the May reader giveaway, a Blu-ray set of “Body Heat,” “L.A. Confidential,” and “The Player.” Congrats to Josh and thanks to all who entered!)

Here’s more info on the movies in the Classic Legends: Humphrey Bogart set.

THEY DRIVE BY NIGHT (1940) – Bogart and George Raft share a driving ambition in a feisty tale of brothers trying to make it as independent truckers in this fine example of Warner Bros. social-conscience filmmaking that’s also a film noir. Ann Sheridan and Ida Lupino also star.

ACROSS THE PACIFIC (1942) – In this wartime thriller, Bogart plays U.S. counterspy Rick, who trades barbs with Mary Astor, matches wits with Sydney Greenstreet and swaps bullets with saboteurs of the Panama Canal. John Huston directs this reunion of the three stars of “The Maltese Falcon.”

ACTION IN THE NORTH ATLANTIC (1943) – This World War II salute to Allied forces stars Bogart as First Officer Joe Rossi, who, along with his captain (Raymond Massey), matches tactics with U-boats and the Luftwaffe. The tactics are so on target that this became a Merchant Marine training film.

PASSAGE TO MARSEILLE (1944) – Bogart reunites with director Michael Curtiz and other key “Casablanca” talent for a tension- and controversy-swept story of a French patriot who escapes Devil’s Island, survives a dangerous freighter voyage and becomes a gunner in the Free French Air Corps.

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Noir City X film fest starts Friday in San Francisco

January 18, 2012 by

The Film Noir Foundation celebrates 10 years of deliciously dark programming with NOIR CITY X: The Stuff Bad Dreams Are Made Of. The 10-day festival features a Dashiell Hammett marathon, freshly preserved 35mm rarities, by-popular-demand encore screenings, and special guest star Angie Dickinson. The fest runs Jan. 20-29 at the Castro Theatre in San Francisco.

Among the rarities NOIR CITY is presenting this year is a new 35mm print from Universal Pictures of 1949’s “The Great Gatsby,” starring Alan Ladd as F. Scott Fitzgerald’s legendary hero. Universal is also providing a new 35mm print of 1954’s “Naked Alibi,” starring noir’s favorite bad girl, Gloria Grahame. Also on the bill are preservations of the 1946 classic “Three Strangers” and 1950’s “The Breaking Point,” directed by Michael Curtiz and starring John Garfield.

After San Francisco, the fest will travel to other cities with variations on the programming.

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Dark dramas shine at Chicago International Film Festival

October 26, 2011 by

Dark domestic dramas led the fine slate of high-style movies at the 47th Chicago International Film Festival, which boasted a lineup of nearly 200 titles.

In “We Need to Talk About Kevin” (UK) by Lynne Ramsay, neo noir meets New Age parenting in a haunting thriller. We witness, in jagged pieces that jump back and forth in time, the unthinkably brutal rupture of a dysfunctional but not entirely unhappy family.

Creating buzz at many fests, Tilda Swinton will doubtless continue to earn acclaim for her wrenching portrait of a mother struggling to love her son Kevin (Ezra Miller) who comes into the world seething with anger. Chicago-born John C. Reilly plays her denial-prone husband. Rich with visual metaphor and captivating performances (though the script is not fully there), this is destined to be a neo-noir classic. (“We Need to Talk About Kevin” does not release in the US until February.)

Samuli Niittymaki

I doubt Finnish director Zaida Bergroth had “Mildred Pierce” in mind when she made “The Good Son,” which won the top prize in the new directors competition. But I kept thinking of Michael Curtiz’s 1945 classic starring Joan Crawford as a flawed single mother of two daughters, the elder of whom is a bit of a snake, as I watched Elina Knihtila portray Leila, a flawed single mother of two sons, the elder of whom (Samuli Niittymaki as Illmari), is a bit of a psycho.

Eero Aho plays Leila’s new love interest, a kindly writer named Aimo. Anna Paavilainen is excellent as Illmari’s girlfriend as is Eetu Julin as Unto, the younger brother. Arresting images, subtle acting, nicely paced.

Arguably, “A Dangerous Method” (Germany/Canada) by David Cronenberg could be classified as a domestic drama, dealing as it does with the long-term adulterous relationship between renowned Swiss psychiatrist Carl Jung (Michael Fassbender) and a patient-turned-student-of-psychoanalysis Sabina Spielrein (Keira Knightley). Viggo Mortensen is Sigmund Freud; Sarah Gadon is Jung’s wife. This finely crafted film is already generating Oscar buzz.

“Martha Marcy May Marlene” (US) is the kind of film that leaves you reeling, then lodges in your mind for days. Elizabeth Olsen (sister of Ashley and Mary Kate) stars as a young woman who escapes from an evil cult and struggles to reconnect with her estranged sister (Sarah Paulson) and her new brother-in-law (Hugh Dancy). Writer/director Sean Durkin’s fragmented narrative swerves from past to present; the tension mounts masterfully to a claustrophobic level. Thoroughly mesmerizing, but as much as I admired Olsen’s presence and vulnerability (she may be an Oscar contender), I felt no sympathy for her character. John Hawkes (of “Winter’s Bone”) is unforgettable as the warped cult leader.

English actor Dexter Fletcher makes an impressive directorial debut with “Wild Bill.” Though the story is essentially rooted in cliché, the fresh writing and powerful acting inject vitality into this tale of an ex-con (Charlie Creed-Miles) reconnecting with his young sons (Will Poulter and Sammy Williams) in London’s East End.

A desire for a father-daughter reunion drives the ex-con (Mark Pellegrino) in “Joint Body” by Brian Jun. But he gets sidetracked when he meets a stripper (Alicia Witt) in a seedy residential motel in downstate Illinois and the two end up on the run. (The term joint body refers to a convict who works out and walks the walk with confidence.)

Too melodramatic to be a real thriller, Thierry Klifa’s “His Mother’s Eyes/Les Yeux de Sa Mère,” (France) about a writer’s plan to ingratiate himself into a fractured family, is still intelligent, engrossing and features an easy-on-the-eyes cast, which includes ever-lovely Catherine Deneuve, Nicolas Duvauchelle, Géraldine Pailhas and Jean-Baptiste Lafarge.

And though definitely not a noir, the festival’s grand-prize winner, “Le Havre” (Finland/France) by Aki Kaurismaki, recounts the forming of a temporary, makeshift family. A working class French man (André Wilms) befriends and protects an African boy (Blondin Miguel) who lands illegally in Le Havre on the way to reuniting with his mother in London. Lit and composed like an Old Master painting, Kaurismaki’s film brims with humanity and humor.

Tomorrow: More about movies at the festival

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A pre-fest chat with TCM’s Robert Osborne

April 27, 2011 by

TCM's Robert Osborne

Earlier today at a round-table interview, I caught up with TCM’s Robert Osborne, a veteran film historian and author, as the Classic Film Festival was setting up at the Roosevelt Hotel in Hollywood. Osborne said one of the festival’s strengths is its great mix in terms of programming, which sets it apart from today’s moviegoing where “you have a choice of the same movie 15 different ways.”

I’ve always wanted to talk noir with him, so I asked him why these films have such enduring appeal. “We’ve always had murder mysteries and who doesn’t love that? They have an endless appeal. It’s the shadows and lights and tough people like Robert Mitchum, Robert Ryan and Ida Lupino.

Setting up inside the Roosevelt Hotel.

“To call ‘Leave Her to Heaven’ [a 1945 movie that played at last year’s fest and stars Gene Tierney] a noir is stretching it – ‘Leave Her to Heaven’ is a lush Technicolor movie about rich people.

“My idea of film noir is people in the gutter – tough dames and guys in trench coats up to no good. And nobody did it better than Hollywood in the ’40s.”

As for his favorite femmes fatales, he names Veronica Lake, Lauren Bacall (in the Bogart films), Marie Windsor and Jane Greer, describing them “as very feminine women that were also dames who could give it as well as they took it.”

The TCM fest has a great mix of movies.

And what did he think of remakes such as HBO’s version of “Mildred Pierce” by director Todd Haynes, starring Kate Winslet? Osborne praised Winslet’s performance but said he was disappointed. “They told the whole story too closely; it was too long and drawn out and too ponderous. In the original [Michael Curtiz‘s 1945 movie starring Joan Crawford], writer Ranald MacDougall’s addition of the murder really made the whole thing crackle. [The remake] should’ve been three hours at the most. I’m not fond of remakes generally.”

What is he most looking forward to in this year’s fest? “Night Flight” by Clarence Brown, “The Constant Nymph” by Edmund Goulding, opening night’s “An American in Paris” by Vincent Minnelli, Leslie Caron’s special appearance, and meeting Peter O’Toole.

I also asked Osborne, who got his star on the Hollywood Walk of Fame in 2006, if he had any advice for O’Toole who will be honored at a hand and footprint ceremony at Grauman’s Chinese Theatre this Saturday. “Behave!”

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‘Mildred Pierce’ by Haynes savors subtext of Cain’s novel

March 25, 2011 by

Crawford and Blyth

HBO’s “Mildred Pierce” mini-series, directed by Todd Haynes and based on James M. Cain’s 1941 novel, starts this Sunday.

In director Michael Curtiz’s 1945 movie version of the book, Joan Crawford won the Oscar for her portrayal of the title role in the ultimate story of a self-sacrificing mother and her ungrateful child, Veda (Ann Blyth). Mildred’s hard-earned success as a restaurateur allows her to support not only her family but also her aristocratic and cash-poor love interest Monty Beragon (Zachary Scott).

In Haynes’ mini-series, Kate Winslet stars as Mildred, Guy Pearce plays Monty and two actresses share the Veda role: Morgan Turner as the girl and Evan Rachel Wood as the young woman. Haynes and Jon Raymond wrote the teleplay.

In many ways, the series, which follows the book more faithfully than the 1945 movie and covers nearly 10 ten years in the characters’ lives, is a delight to watch. Depression-era Southern California is beautifully recreated and shot by Edward Lachman. Carter Burwell’s original music is spot-on as is Ann Roth’s costume design. And the acting is excellent, particularly the leads.

Whereas Crawford’s Mildred is stoic and dignified, Winslet’s is sensitive, wistful, often tentative and unsure of herself. Her expressive features suggest her mounting anger, guilt and desperation as her business grows but her relationships deteriorate.

Early on in the series, Winslet’s Mildred identifies in her daughter a “pride or nobility I thought I had” and we glimpse the complexity and closeness of her bond with Veda. The mother-daughter relationship in Haynes’ five-hour version is perhaps more nuanced than in Curtiz’s film.

Pearce easily inhabits the playboy scoundrel Monty and Wood sizzles as the junior miss femme fatale. As the story unfolds, we learn that Mildred and Veda also have very similar taste in men. This year’s supporting actress Oscar winner Melissa Leo and Mare Winningham are quite good as Mildred’s friends.

A disappointment, however, is James LeGros’ insipid performance as Pierce family “friend” Wally Burgan. In Curtiz’s version, the role as played by Jack Carson – conniving and sly, but charming – was one of the movie’s many strengths.

Another downside is the pacing, which is far too slow. It would have benefited from shaving about an hour, especially in the beginning. But then if Haynes’ aim was to be true to every page of the book, he has succeeded.

I prefer Curtiz’s original because it is canonical film noir, in tone, look and story. Granted, Cain’s book was altered because in 1940s Hollywood, immorality was never allowed to triumph. Instead of the evil-doers leaving California to begin a new life in New York, one is fatally shot and the other eventually is punished. The murder sets the story, told via flashback, in motion and lends an edgy suspense.

Still, Haynes did not set out to make a noir; apparently his aim is to explore the subtext and subtleties in Cain’s novel. Cain was, arguably, sympathetic toward his feisty protagonist (what choice does she have but to establish independence and security, given the weak and deceitful men she has to choose from?). But she pays a dreadful price for doing so and the book decries materialism, the class system and social climbing. As for Cain’s ultimate take on Mildred’s power, in Hayne’s work, there is fodder for both sides of the argument.

Warner Bros. image of 1945 “Mildred Pierce”

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Sly guys, coffee, pie: It’s all in ‘Mildred Pierce’

December 1, 2010 by

Mildred Pierce/ 1945/Warner Bros./ 111 min.

“Mildred Pierce” was Joan Crawford’s comeback role and she won an Oscar for her performance.

I saw “Mildred Pierce” for the first time nearly 20 years ago on a Sunday afternoon in my small, studenty London flat – pale gray walls, Venetian blinds, a Victor Skrebneski print opposite the TV.

Just before the opening scene unfolded – a shooting in a shadow-drenched California beach house with a sinister vibe – I remember popping a batch of popcorn in oil on the stovetop and making American lemonade (fresh lemons, sugar and water). Such wholesome snacking for the decadence on the little screen.

Directed by Michael Curtiz, “Mildred Pierce” is based on James M. Cain’s 1941 novel, adapted by Ranald MacDougall with uncredited help from William Faulkner. Joan Crawford plays the title character, a wife and mother, who tries to buy the love of her spoiled and ungrateful teenage daughter Veda (Ann Blyth). Her younger daughter Kay (Jo Ann Marlowe) is easy to love, but Mildred is determined to win Veda over as well.

Hubby Bert Pierce (Bruce Bennett) doesn’t think Veda is worth it and they break up over Mildred’s intense maternal devotion. Some subtexters theorize that Mildred’s love has romantic overtones; I don’t think there’s a strong case for that.

Mildred works as a pie-baker and a waitress, then opens a chain of restaurants to pay for Veda’s clothes, music lessons and extravagant taste. Problem is, nothing’s ever good enough for the Everest-level high-maintenance Veda. “I can’t wear that rag,” she snarls, upon seeing a dress Mildred bought for her.

Besides sniping at loved ones and spending their money, Veda enjoys hatching blackmail plans and singing in sleazy nightclubs. So it’s no shocker that she also has designs on Mildred’s new love interest Monte Beragon (Zachary Scott). Monte is an aristocratic playboy who’s always short of cash but really rather useful for Veda’s plan to become patrician.

Ann Blyth and Joan Crawford as daughter and Mumsy

No matter what, Veda sinks her serpent’s teeth deeper and deeper into Mildred’s flesh, which, by the way, at 40, was still very shapely. Curtiz wisely gives Crawford plenty of opps to show off her gams. And her little hats, tailored suits and ankle straps are the picture of retro chic. [Read more…]

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‘Mildred Pierce’ quick hit

December 1, 2010 by

Mildred Pierce/ 1945/Warner Bros./ 111 min

What obstacle can’t be overcome with the help of ankle straps and padded shoulders? The incomparable Joan Crawford makes this her mantra as she attempts to give her greedy daughter everything her heart desires. Big mistake, hugely delightful movie, directed by Michael Curtiz.

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