Film Noir File: Lupino, Spillane light up Summer of Darkness

 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). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously in Film Noir Blonde and can be searched in the FNB archives (at right).

Pick of the Week: Summer of Darkness sizzles on

“Kiss Me Deadly” has an unforgettable opening.

“Kiss Me Deadly” has an unforgettable opening.

You know the drill. Each Friday, throughout June and July, running from dawn to dusk and back again, TCM is screening practically every classic film noir you can think of. This week, the dark list includes “D.O.A.” and “Raw Deal,” plus the talents of writers Mickey Spillane and A. I. Bezzerides, director Robert Aldrich and actor Ralph Meeker (as private eye Mike Hammer), all of whom took part in that Eisenhower-era masterpiece “Kiss Me Deadly.” And though Spillane may have disliked the picture Aldrich made from his violent paperback best-seller, most noir buffs love it. Count us in!

Also, there are terrific turns by that magnificent dame Ida Lupino as both actress (in Nick Ray’s and Bezzerides’ “On Dangerous Ground”) and director (in Ida’s classic B suspenser “The Hitch-Hiker”). Curated and hosted by the Czar of Noir, Eddie Muller of the Film Noir Foundation and the Noir City film festivals, TCM’s Summer of Darkness is one festival of classic dreams and movie nightmares you won’t want to miss.

Friday, July 10

Who doesn't love Gloria Grahame?

Who doesn’t love Gloria Grahame?

6 a.m. (3 a.m.): “Follow Me Quietly” (Richard Fleischer, 1949). Neat little B thriller about the manhunt for a crazed killer. With William Lundigan and famed acting teacher/blacklist victim Jeff Corey.

7:30 a.m. (4:30 a.m.): “A Woman’s Secret” (Nicholas Ray, 1949). Nick Ray directs, and Herman Mankiewicz writes, a kind of cut-rate “All About Eve.” With Maureen O’Hara and Gloria Grahame.

9 a.m. (6 a.m.): “Side Street” (Anthony Mann, 1950).

10:30 a.m. (7:30 a.m.): “Black Hand” (Richard Thorpe). Gene Kelly vs. The Mafia.

12:15 p.m. (9:15 a.m.): “Armored Car Robbery” (Richard Fleischer, 1950).

1:30 p.m. (10:30 a.m.): “Caged” (John Cromwell, 1950). Before there was “Orange Is the New Black,” there was “Caged.” One of the best and grimmest of the “women’s prison” pictures, with Eleanor Parker, Agnes Moorehead, Hope Emerson, Jan Sterling and Jane Darwell.

D.O.A poster3:15 p.m. (12:15 p.m.): “D.O.A.” (Rudolph Maté, 1950).

4:45 p.m. (1:45 p.m.): “Destination Murder” (Edward L. Cahn, 1950). Joyce McKenzie vs. The Mob.

6:15 p.m. (3:15 p.m.): “The Tattooed Stranger” (Edward Montagne, 1950). N. Y. murder, investigated. With John Miles.

8 p.m. (5 p.m.): “Red Light” (Roy Del Ruth, 1949). A vendetta noir sandwich with George Raft and Raymond Burr. Hold the (Virginia) Mayo.

9:45 p.m. (6:45 p.m.): “Kiss Me Deadly” (Robert Aldrich, 1955).

11:45 p.m. (8:45 p.m.): “On Dangerous Ground” (Nicholas Ray, 1951). Ida Lupino plays a blind country girl who lives with her brother. She meets a psychologically scarred cop (Robert Ryan) when her brother becomes a suspect in a murder. With a taut script by A. I. Bezzerides and moody, poetic direction from Nicholas Ray, “On Dangerous Ground” is an unforgettable film noir.

1:30 a.m. (10:30 p.m.): “The Hitch-Hiker” (Ida Lupino, 1953).

2:45 a.m. (11:45 p.m.): “The Blue Dahlia” (George Marshall, 1946).

4:30 a.m. (1:30 a.m.): “Raw Deal” (Anthony Mann, 1948).

Monday, July 13

Bob Mitchum was an actor who had no fear, few limits and no false vanity.

Bob Mitchum was an actor who had no fear, few limits and no false vanity.

9:45 a.m. (8:45 a.m.): “The Bad Sleep Well” (Akira Kurosawa, 1960). A great, savage crime drama, set in the world of corrupt and murderous Japanese corporate businessmen. With Toshiro Mifune, Masayuki Mori and Takashi Shimura. (In Japanese, with subtitles.)

Wednesday, July 15

12:30 a.m. (9:30 p.m.): “The Night of the Hunter” (Charles Laughton, 1955).

4:15 a.m. (1:15 a.m.): “Pitfall” (André de Toth, 1948).

Miss Crawford would have been pleased … I think

A fun time was had by all Monday night at the Joan Crawford birthday party and screening at Laemmle NoHo 7 in North Hollywood! Thanks to Greg Laemmle and his staff, Warner Archive and Shakar Bakery. And of course everyone who attended!

In case you missed it, here are some vids, pix and a trivia fix.

We showed “Possessed” (1947, Curtis Bernhardt):

and “What Ever Happened to Baby Jane?” (1962, Robert Aldrich):

Trivia Questions

1. What was Joan’s given name and where was she born?

2. The name Joan Crawford was the second-place winner from a contest held by MGM to rename their new star. The top choice was rejected because it already belonged to another actress. What was it?

3. Joan won the Best Actress Oscar for her 1945 performance in “Mildred Pierce.” That was the only time she won but she was nominated for Best Actress two other times. Name the movies.

4. What did Joan’s professional resume have in common with Bette Davis’s as young women?

5. Joan starred with Clark Gable in eight films. Name the first one.

The Laemmle NoHo 7 at night

The Laemmle NoHo 7 at night

Film Noir Blonde gushing re: JC

Film Noir Blonde gushing re: JC

Rat cake anyone?

Rat cake, anyone?

Eek! Greg Laemmle reacts to the cake, a superb creation by Shakar Bakery. The cake references an unforgettably gross moment in “Baby Jane.”

Eek! Greg Laemmle reacts to the cake, a superb creation by Shakar Bakery. The cake references an unforgettably gross moment in “Baby Jane.”

Trivia Answers

1. Lucille Fay LeSueur, San Antonio, Texas.

2. Joan Arden.

3. “Possessed” 1947 and “Sudden Fear” 1952

4. They were both dancers – Joan was a Broadway showgirl who came to Hollywood to play flappers (“Our Dancing Daughters” 1928 was a breakout film). She was Fred Astaire’s first on-screen dance partner. Bette Davis studied dance with Martha Graham.

5. “Dance, Fools, Dance” 1931. Their last was “Strange Cargo” 1940. Both married, their affair was called: “the affair that nearly burned Hollywood down.”

Happy Birthday to a noir grande dame, Lady Joan

By Film Noir Blonde and Mike Wilmington

Film Noir Blonde

Film Noir Blonde

Laemmle NoHo7 - 140The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously in Film Noir Blonde and can be searched in the FNB archives (at right).

Pick of the Week: Joan Crawford Marathon &
Laemmle’s NoHo 7 Party, Monday, March 23

Warner Archive - SmallerShakar Bakery - SmallerNext Monday is Joan Crawford’s birthday; she was born March 23, 1905. And, if you’re an Angeleno, you can celebrate all day – first by catching one or more of the seven Crawford movies, including three noirs, running on Turner Classic Movies on Pacific time from 3:30 a.m. to 5 p.m. (And on Eastern time, from 6:30 a.m. to 8 p.m.).

Then, head to Laemmle’s NoHo 7 in North Hollywood (5240 Lankershim Blvd.), and watch two of Crawford’s very best noirs on the big screen starting at 7:30 p.m.: 1947’s too often neglected “Possessed” and 1962’s Robert Aldrich-directed masterpiece, “What Ever Happened to Baby Jane?” co-starring the one and only Bette Davis and

“He’s just not that into you …” does NOT go over well with Miss Crawford. The very talented Van Heflin plays the heel in “Possessed.”

“He’s just not that into you …” does NOT go over well with Miss Crawford. The very talented Van Heflin plays the heel in “Possessed.”

The event will be co-hosted live (with cake, a trivia contest and prizes) by Film Noir Blonde. Shakar Bakery is providing the cake.

Tickets are $11 for one film or $15 or both. Prizes are courtesy of Warner Archive.

Happy Birthday, Joan!

Film noir titles

8:15 a.m. (5:15 a.m.): “What Ever Happened to Baby Jane?(Robert Aldrich, 1962)

2 p.m. (11 a.m.): “Flamingo Road” (Michael Curtiz, 1949).

6 p.m. (3 pm.): “Mildred Pierce” (Michael Curtiz, 1945).

Other JC titles: “The Caretakers” (Hall Bartlett, 1963); “Torch Song” (Charles Walters, 1953); “Goodbye, My Fancy” (Vincent Sherman, 1951), “Humoresque” (Jean Negulesco, 1946).

The real-life rivalry of Bette Davis and Joan Crawford infused “Baby Jane” with extra tension.

The real-life rivalry of Bette Davis and Joan Crawford infused “Baby Jane” with extra tension.


Saturday, March 21

8:45 a.m. (5:45 a.m.): “White Zombie” (Victor Halperin, 1932).

Sunday, March 22

8 a.m. (5 a.m.): “Gilda” (Charles Vidor, 1946).

2:30 a.m. (11:30 p.m.): “Torment” (Alf Sjoberg, 1944). This psychological thriller about a sadistic teacher (Stig Jarrel) tormenting two young lovers (Mai Zetterling, Alf Kjellin), filmed in pseudo-German expressionist-style, was the first big hit by its young screenwriter: enthusiastic film-noir fan Ingmar Bergman. (In Swedish, with subtitles.)

Blue Gardenia poster4:15 a.m. (1:15 a.m.): “Miss Julie” (Alf Sjoberg, 1951). The famous prize-winning film version of playwright August Strindberg’s dark, terror-filled theatrical classic about a sadomasochistic romance between a susceptible aristocrat (Anita Bork) and a brutal groom (Ulf Palme). (In Swedish, with subtitles.)

Tuesday, March 24

2:15 a.m. (11:15 p.m.): “Wait Until Dark” (Terence Young, 1967).

Wednesday, March 25

10 p.m. (7 p.m.): “The Blue Gardenia” (Fritz Lang, 1953).

Baby Jane wants an Oscar and she wants it right now!

Bette Davis, Jack Warner and Joan Crawford in 1962.

Bette Davis, Jack Warner and Joan Crawford in 1962.

Some trivia on Baby Jane and the golden guy …

Oscar statuetteBette Davis earned an Oscar and Golden Globe Best Actress nomination for her work in “What Ever Happened to Baby Jane?” She lost the Oscar to Anne Bancroft in “The Miracle Worker” and lost the Globe to Geraldine Page in “Sweet Bird of Youth.”

Davis desperately coveted that Oscar as it would have made her the first performer to win three Best Actress awards; she later claimed that Joan Crawford had campaigned against her. (Davis won in 1935 for “Dangerous” and in 1938 for “Jezebel”).

At the ceremony, Crawford (who had one Best Actress Oscar for 1945’s “Mildred Pierce”) accepted for the absent Bancroft. Crawford brushed by Davis, saying, “I have an Oscar to accept.”

In the category of Best Supporting Actor, Buono contended for both an Oscar and Golden Globe, but Ed Begley snagged the Oscar for “Sweet Bird of Youth” and Omar Sharif got the Globe for “Lawrence of Arabia.” (Interestingly, the handsome and charming Peter Lawford had been the first choice for Buono’s part and, by some accounts, even filmed a few scenes before dropping out.)

Bette Davis kisses her daughter B.D., who married at age 16.

Bette Davis kisses her daughter B.D., who married at age 16.

Director Robert Aldrich (along with Robert Mulligan for “To Kill a Mockingbird”) was nominated for the Palme D’Or director’s prize at the Cannes Film Festival, but that went to Luchino Visconti for “The Leopard.” It was at the film fest that Bette’s daughter B. D. met husband-to-be Jeremy Hyman; she married at age 16, with her mother’s approval.

Ernest Haller got an Oscar nod for best B&W cinematography. He lost to the lensmen behind “The Longest Day.” But “Baby Jane” is great looking and full of choice compositions, such as the shot of Jane’s bleary face shot through a cupboard full of empty liquor bottles.

“Baby Jane’s” wardrobe designer Norma Koch took home the prized statuette for B&W costume design. Blanche has a slightly Victorian vibe, wearing her dark silk dresses with oversize bows (Crawford insisted on wearing falsies) and an old-fashioned up-do. Jane fills out her faded, frilly frocks and scuffs around resentfully in shabby slippers. Hey, at least she’s practical – with all her boozing, heels might precipitate a tumble. Unbeknownst to Davis, the ratty blonde wig Jane wore was reportedly the same one Crawford wore in “The Ice Follies of 1939.”

Astonishingly, there was no Oscar for best makeup and hairstyling. That category was not introduced until 1981.

Film noir family fun: ‘Baby Jane’ might help you bond this holiday season

What Ever Happened to Baby Jane posterWhat Ever Happened to Baby Jane?/1962/Warner Bros., et al/134 min.

Rocking the season of festive joy and family fun is always easier when you actually like your relatives. On the other hand, unresolved issues have a pesky perseverance, sort of like Aunt Milly’s traditional fruitcake that never leaves the fridge.

A case in point is “What Ever Happened to Baby Jane?” (1962, Robert Aldrich), a classic dark-humor domestic noir. In the movie, Sisters Blanche and Jane Hudson, two retired Golden Age actresses, are in dire need of a good therapist to help them navigate the layers of self-delusion and address the serious damage done by their rather warped parents.

“Baby Jane,” which stars the inimitable Joan Crawford and Bette Davis, was the only film in which these two supreme screen divas and stalwarts of film noir ever played together. Both were strong, gutsy, competitive actresses who didn’t shy away from a fight, especially with each other. The back story of longtime rivals Bette and Joan plotting battles and butting heads, literally and figuratively, is almost as famous as the movie itself. Nevertheless, their difficult offscreen relationship infuses the film with a delicious tension.

Davis is Baby Jane Hudson, a vaudeville child star whose talent expired when she hit puberty. Crawford plays Blanche Hudson, who, as an adult, became a highly regarded and popular Hollywood actress until a mysterious car accident ended her career.

Sisters Blanche (Joan Crawford) and Jane Hudson (Bette Davis) are two retired Golden Age actresses navigating a tormented relationship.

Sisters Blanche (Joan Crawford) and Jane Hudson (Bette Davis) are two retired Golden Age actresses navigating a tormented relationship.

Confined to a wheelchair, dignified and gracious Blanche lives in a sprawling house. Jane, bitter and brassy and long forgotten by her fans, has nowhere else to go so she tends to Blanche as best she can – in between guzzling bottles of gin and scotch. And she’s planning a comeback, reprising her decades-old hit song “I’m Writing a Letter to Daddy” with the help of a blubbery, unctuous ne’er-do-well musician named Edwin Flagg (Victor Buono).

Realizing that Jane is losing it, Blanche plans to sell the house, get some psychiatric help for baby sis and live in a smaller abode with their kind, caring housekeeper Elvira (Maidie Norman). Think Jane’s going for that? Not bloody likely.

Thus the stage is set for Crawford and Davis to duke it out, including a scene where Davis reportedly kicked Crawford’s forehead and stitches were required. Crawford retaliated by putting weights in her pockets for the scene in which Davis had to haul her around, spurring back trouble for Davis. So much for mellowing with age. As Davis once remarked, “Old age is no place for sissies.”

Joan Crawford reportedly put weights in her pockets for this scene with Bette Davis.

Joan Crawford reportedly put weights in her pockets for this scene with Bette Davis.

Other gossipy asides: Knowing that Crawford was on Pepsi-Cola Co.’s board of directors (a result of her marriage to the firm’s chairman and CEO Alfred Steele, from 1956 until his death in 1959), Davis had a Coke machine hauled on to the set.

Davis arranged for her daughter Barbara Merrill (later known as B.D. Hyman) to play a small role as teenage neighbor Liza Bates. Crawford carped about Babs’ acting ability, which was not exactly in abundant supply.

(And some trivia: Liza’s mom, Mrs. Bates, was played by Anna Lee, who played Bronwyn in 1941’s “How Green Was My Valley” and much later Mrs. Quartermaine on the TV soap “General Hospital.”)

For years, some critics sneered at “Baby Jane” calling it exploitative, campy, far-fetched and too long. Admittedly, it’s medium budget and there is a key plot point that turns on a very creaky hinge. But who cares? The chance to watch Davis dive into her role as grotesque Baby Jane with such pure relish and to see Crawford’s restrained, reined-in performance in the far less showy, perhaps more challenging, part of self-contained victim Blanche is an absolute delight. The supporting cast sparkles as well.

Victor Buono plays the unctuous ne’er-do-well musician named Edwin Flagg who is helping Baby Jane relaunch her career.

Victor Buono plays the unctuous ne’er-do-well musician named Edwin Flagg who is helping Baby Jane relaunch her career.

For all the glorious moments of black comedy, hats off to Lukas Heller’s script from the Henry Farrell novel. Ernest Haller received an Oscar nod for his luscious cinematography.

Following in the footsteps of Billy Wilder and “Sunset Blvd.,” Aldrich masterfully paints this sympathetic portrait of losers and those left behind by the Hollywood machine. And in the reversal at the finale, despite the arch humor throughout, Aldrich probes the poignant depths of a sibling relationship – evoking long-simmering feelings of resentment and guilt, regret and sadness.

Jane’s evil mind-games are chilling and her telephone impersonations of Blanche are hilarious. But what’s most unforgettable and perhaps most brave of Davis is Jane’s dreadful appearance. Her rat’s nest of bleached-blonde curls appears to be groomed on an annual basis. Jane’s caked-on cupid’s bow mouth and heavy bands of jet-black liner apparently made Davis cry when she finally saw herself onscreen. Davis described it as the look of a woman who never bothered to remove her makeup from day to day but simply kept adding more.

Would FNB dare to choose sides between these pioneers of female power, these bastions of bitchiness? Well of course she would! Team Joan is clearly the way to go. Disciplined, determined and driven, Crawford fought tooth and nail for everything she ever had. And she proved to have better business sense than Davis, asking for a percentage of “Baby Jane’s” profit whereas Davis settled for a flat fee. Last but not least, Crawford apparently tried to befriend an unreceptive Davis before the cameras started rolling.

The Warner Brothers DVD edition has a disc of extra goodies, including a short documentary comparing the careers of Davis and Crawford; a Turner bio feature of Davis, narrated by Jodie Foster; a clip of Davis on a ’70s TV show singing “What Ever Happened to Baby Jane?” and wearing a perfectly horrid old-lady dress; and a British TV interview with Crawford, looking and sounding as regal as the queen.

So, pop some corn, roast some chestnuts and gather the family to watch this delicious dysfunction. Happy holidays, everyone!

The Noir File: Wilder’s dark favorite is an American nightmare

By Mike Wilmington and Film Noir Blonde

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

Ace in the Hole” (1951, Billy Wilder). Friday, May 17, 8 p.m. (5 p.m.).

Kirk Douglas plays Chuck Tatum, a star reporter exiled from his big-city paper.

In the Golden Age of Hollywood and film noir, no one was better than Kirk Douglas at playing anti heroes, heels and villains. In movies like “Champion,” “The Bad and the Beautiful,” “I Walk Alone” and “Out of the Past,” he channeled the amoral climber who knifes you with a smile, or steps on almost everyone on his way to the top. The best (or worst) of all Douglas’s movie heels is Chuck Tatum in Billy Wilder’s “Ace in the Hole” – a slick-operator star newspaper reporter who messes up, gets exiled from his big-city paper and is now stuck in Albuquerque, N.M., in a desert dead-end.

When Chuck learns of a local miner named Leo Mimosa trapped in a cave-in in a Native American holy area, he sees a chance to ratchet up the drama and revive his career. A master manipulator, Chuck talks Leo and his rescuers into taking a longer, more dangerous escape route, then plays the story to the hilt, planning to sell it to the big outlets back east. With Leo’s life on the line and the clock ticking, this master of hype and hoopla turns the story into a circus and the circus into a nightmare.

A master manipulator, Chuck ratchets up the drama in an effort to revive his career.

Chuck Tatum, brought to stinging life by Douglas, was the brainchild of Billy Wilder, who had just dissolved his decades-long writing partnership with Charles Brackett after their hit, “Sunset Blvd.” Walter Newman, who later wrote “The Man with the Golden Arm” and “Cat Ballou,” was one of Wilder’s new co-writers and, though they never collaborated again, Wilder must have liked some of what they did.

Many times, Wilder cited “Ace in the Hole” as one of his favorites among his films, “the runt of my litter” as he affectionately called it. The runt is one of the darkest of all Wilder’s films: a portrait of American society, culture and media, a ruthless exposé of Tatum and his fellow opportunists.

The more conservative Brackett (who had refused to work with Wilder on “Double Indemnity”) had been something of a brake on Billy’s cynicism, which is fully unleashed here. Perhaps Brackett had a point. Many critics and audiences in 1951 didn’t much care for the acrid darkness and lacerating social indictment of Wilder’s “Ace in the Hole,” which was such a flop that it had to be pulled and re-released as “The Big Carnival.”

It didn’t come to be regarded as a classic of American cinema and social criticism until years later. Maybe the picture was just too noir for ’50s moviegoers. But it’s not too noir for us.

Friday, May 17

3 p.m. (12 p.m.): “Where Danger Lives” (1953, John Farrow). Love on the run, with infatuated Bob Mitchum falling for dangerous Faith Domergue, and the two of them heading for Mexico. A standard but engrossing “femme fatale” noir, from the director of “The Big Clock.”

8 p.m. (5 p.m.): “Ace in the Hole” (1951, Billy Wilder). See PICK OF THE WEEK.

2 a.m. (11 p.m.): “Our Man in Havana” (1960, Carol Reed). The third of the three film thriller collaborations between writer Graham Greene and director Carol Reed. (The others are “The Third Man” and “The Fallen Idol.”) It’s also the least admired by critics, and the team’s only comedy, with Alec Guinness playing a British vacuum cleaner salesman in Cuba inexplicably involved in a batty spy intrigue. The crack cast also includes Maureen O’Hara, Ralph Richardson, Ernie Kovacs, Noel Coward and Burl Ives.

Joan Crawford and Cliff Robertson star in “Autumn Leaves.”

4 a.m. (1 a.m.): “Autumn Leaves” (1956, Robert Aldrich.) With Joan Crawford, Cliff Robertson and Vera Miles. Reviewed on FNB December 4, 2012.

Sunday, May 19

12 p.m. (9 p.m.): “Johnny O’Clock” (1947, Robert Rossen). Rossen’s directorial debut: a solid noir with a gambling backdrop and a vintage tough Dick Powell performance.

6 p.m. (3 p.m.): “Leave Her to Heaven” (1945, John M. Stahl). With Gene Tierney, Cornel Wilde, Jeanne Crain and Vincent Price. Reviewed on FNB April 18, 2013.

3 p.m. (12 p.m.): “Night Must Fall” (1937, Richard Thorpe). Emlyn Williams’ famed suspense play about a seductive young psycho (Robert Montgomery) and his rich lady target (Dame May Whitty) is given a plush MGM treatment. With Rosalind Russell. [Read more…]

The Noir File: Tracy is tops in Lang’s anti-lynching classic ‘Fury’

By Michael Wilmington and Film Noir Blonde

A guide to classic film noir and neo-noir on cable TV. All the movies 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

Fury” (1936, Fritz Lang). Monday, Oct. 8, 8 p.m. (5 p.m.)

Spencer Tracy stars in “Fury,” one of the most Germanic of Fritz Lang’s American movies.

The two great American anti-lynching movies are Fritz Lang’s 1936 classic “Fury,” and William Wellman’s great 1943 Western “The Ox-Bow Incident.” “Fury” is the more powerful of the two, the more effective, the more memorable. Lang’s film, which he also co-wrote, is an explosive saga of a Depression-era small city descending into lynch hysteria. Spencer Tracy, at his youthful naturalistic best, is Joe Wilson, a decent, ordinary, working-class guy who stops his car in the town and is mistaken for a kidnapper. Locked in jail despite his desperate protestations of innocence, Joe is then subject to a terrifying nocturnal assault by the maddened townspeople, who drive away the craven police guards and burn the jail down, killing Joe – they think.

But Joe is alive, having fled back to the big city and his family and fiancée (Sylvia Sidney). And he is now consumed with obsessive dreams of fiery revenge and awful retribution. What happens in the course of that revenge may be unlikely, but “Fury” is still gripping, frightening and hypnotic. It’s one of the most Germanic of Lang’s American movies, one of the strongest social message dramas of the ’30s, and as obvious a precursor of ’40s film noir as Lang’s1931 masterpiece “M.” With Walter Brennan, Bruce Cabot, Walter Abel and Frank Albertson. Screenplay by Lang and Bartlett Cormack, from a story by Norman Krasna.

Saturday, Oct. 6

“Party Girl” is pure Nick Ray: romantic, moody and violent. Shown: John Ireland, Cyd Charisse.

6 a.m. (3 a.m.): “Party Girl” (1958, Nicholas Ray). In Nick Ray’s lusciously colorful and nervy gangland tale, Robert Taylor is a handsome mob attorney who milks sympathy from juries by walking on his crutches. Cyd Charisse is the leggy nightclub dancer/party girl he loves and Lee J. Cobb is Cyd’s other lover: Rico, the Chicago mob boss who carries a little vile of acid for anyone who double-crosses him. Set in 1930s Chicago, this is pure Ray: romantic, moody and violent. With John Ireland and Kent Smith.

Sunday, Oct. 7

4 a.m. (1 a.m.): “No Orchids for Miss Blandish” (1948, St. John Legh Clowes). A real oddity: British novelist James Hadley Chase’s bizarre take on American crime fiction, complete with a twisted gang boss, a kidnapped heiress, a cynical newsman, gunsels galore and pink gin. (Later remade quite well by Robert Aldrich in 1971 as “The Grissom Gang.”) With Jack LaRue and Linden Travers.

John Garfield

Tuesday, Oct. 9

1:30 p.m. (10:30 a.m.): “The John Garfield Story” (2003, David Heeley). Documentary-bio of the great, sensitive tough guy and New York City-born film noir star.

Wednesday. Oct. 10

8 p.m. (5 p.m.): “The Haunting” (1963, Robert Wise). From Shirley Jackson’s shivery, intellectual, supernatural novel “The Haunting of Hill House” – about a group of mostly amateur spook watchers (Richard Johnson, Claire Bloom, Russ Tamblyn and movie-stealer Julie Harris) in an “old dark house” – noir and horror master Robert Wise (“The Body Snatcher,” “Born to Kill”) and screenwriter Nelson Gidding weave a classic ghost movie, seemingly without ghosts. (Or is it?)

Thursday, Oct. 11 (Robert Aldrich Night)

(Robert Aldrich Night begins at 8 p.m. (5 p.m.) with a great adventure movie: Jimmy Stewart, Richard Attenborough and Peter Finch in 1965’s “The Flight of the Phoenix.”)

10:30 p.m. (7:30 p.m.): “Whatever Happened to Baby Jane?” (1962, Robert Aldrich).

1 a.m. (10 p.m.): “The Legend of Lylah Clare” (1968, Robert Aldrich). Perverse backstage thriller about an obsessive Hollywood movie director (Peter Finch) trying to recreate the image of his dead wife, film legend Lylah Clare, in the body of a new blonde bombshell actress (Kim Novak). Echoes of “Vertigo” and “Baby Jane” abound. With Ernest Borgnine.

3:15 a.m. (12:15 a.m.): “Kiss Me Deadly” (1955, Robert Aldrich).

Noir City festival returns to Chicago with darkness aplenty

The Music Box Theatre will host Noir City: Chicago.

The Film Noir Foundation’s Noir City festival returns for the fourth time to Chicago’s Music Box Theatre, from Aug. 17-23.

The FNF’s Alan K. Rode and noted writer/historian Foster Hirsch will share hosting duties. All titles are presented on the big screen in glorious 35mm prints.

This year’s lineup looks great! Highlights include:

William Castle’s “Undertow” (1949), which was shot on location in the Windy City.

Alan Ladd x 2: “The Great Gatsby” (1949, Elliot Nugent) and “This Gun for Hire” (1942, Frank Tuttle).

Jean Negulesco’s “Three Strangers” (1946) starring Geraldine Fitzgerald, Sidney Greenstreet and Peter Lorre. Screenplay by John Huston and Howard Koch.

Cornell Woolrich x 3: Noir master Robert Siodmak directs Ella Raines and Elisha Cook Jr. in “Phantom Lady” (1944). Based on a Woolrich novel. “Black Angel” (1946, Roy William Neil) More suspense from Woolrich, this time starring Dan Duryea, June Vincent, Broderick Crawford and Peter Lorre. “The Window” (1949) Ted Tetzlaff directs an adaptation of Woolrich’s “The Boy Who Cried Wolf.”

Virginia Mayo and James Cagney star in "White Heat," directed by Raoul Walsh.

Phil Karlson’s “99 River Street” (1953) Evelyn Keyes comes to the rescue when her buddy John Payne, a washed-up boxer, is framed for the murder of his wife.

Robert Ryan x 2: “Caught” (Max Ophuls, 1949) and “On Dangerous Ground” (Nicholas Ray, 1952).

Kiss Me Deadly” (1955, Robert Aldrich) Screenwriter A. I. Bezzerides adapted Mickey Spillane’s detective novel to create this film noir classic. Ralph Meeker stars.

White Heat” (1949, Raoul Walsh) James Cagney is unforgettable in one of noir’s greatest roles, outlaw and killer Cody Jarrett. The superb cast also includes Edmond O’Brien, Virginia Mayo, Steve Cochran and Margaret Wycherly as the bad-ass mama at the core of it all.

Also, be sure to check out the FNF’s Marsha Hunt interview. The actress joined Eddie Muller and Alan K. Rode at the 14th annual Noir City: Hollywood for a rare screening of “Mary Ryan, Detective” (1950, Abby Berlin). Hunt discussed her work with Fred Zinnemann, Jules Dassin, Orson Welles and others. I watched the event live and it’s terrific – it’s hard to believe she is 94! You can watch the interview at the FNF Video Archives.

The Noir File: Bette Davis and Joan Crawford, dueling noir queens in ‘Whatever Happened to Baby Jane?’

By Michael Wilmington

A noir lover’s guide to classic film noir on cable TV. All the following movies are 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

Saturday, July 28

Bette Davis earned an Oscar nom for this role; Crawford was overlooked. When Anne Bancroft won but was not there to accept, Crawford was poised to stand in and accept on her behalf.

8 p.m. (5 p.m.): “Whatever Happened to Baby Jane?” (1962, Robert Aldrich) Bette Davis and Joan Crawford, rivals for most of their careers, got two of their greatest roles when they were cast by director Robert Aldrich as the house-bound Hudson sisters, Blanche (Crawford) and Baby Jane (Davis) – two ex-film-stars turned eccentric recluses – in this mesmerizing, darkly funny, sometimes-touching suspense classic. Together with Billy Wilder’s “Sunset Blvd.,” it’s the cinematic definition of Hollywood Grand Guignol. With Victor Buono as the fat mama’s boy pianist, Marjorie Bennett as mama, Maidie Norman as the good housekeeper and Anna Lee as the kind neighbor.

Adapted by Lukas Heller from Henry Farrell’s novel; shot and edited by two masters, Ernest Haller (“Gone with the Wind”) and Michael Luciano (“Kiss Me Deadly”). A grisly, poignant masterpiece. If you aren’t both chilled and moved by Baby Jane’s line “You mean all these years we could have been friends?” you may have a heart of stone.

Sunday, July 29

10:15 a.m. (7:15 a.m.): “Boomerang!” (1947, Elia Kazan) True-crime drama thrillers, shot in real locations (“Kiss of Death,” “Naked City“) , are among the gems of film noir. Here’s a top-notch example, based on fact, about a prosecutor (Dana Andrews) and his crusade for justice for a defendant he’s convinced is wrongly accused. Scripted by Richard Murphy.

The superb cast of Kazan regulars includes Lee J. Cobb, Arthur Kennedy, Karl Malden and Ed Begley, Jane Wyatt and Sam Levene.

4 a.m. (1 a.m.): “The Fugitive” (1947, John Ford) John Ford usually isn’t ranked among noir directors, though 1935’s grim I.R.A. film “The Informer,” is definitely a noir precursor. “The Fugitive” – based on Graham Greene’s great novel “The Power and the Glory” and one of Ford’s own favorites of his work – qualifies as Western noir just as much as Raoul Walsh’s “Pursued” or William Wellman’s “The Ox-Bow Incident.”

Henry Fonda stars as an alcoholic, conflicted priest fleeing the police in “The Fugitive,” which is based on Graham Greene’s novel “The Power and the Glory.” John Ford directs.

With Henry Fonda as a sinful and alcoholic man of God fleeing the police in a tyrannical, anti-clerical Latin American state, Pedro Armendariz as his relentless pursuer, Dolores Del Rio as their mutual love (a point fudged in this censor-bound film), and Ward Bond as the gringo outlaw.

The sublime monochrome cinematography is by Mexican genius Gabriel Figueroa (“Los Olvidados”). The script is by Ford regular, master dramatist and occasional noir scribe Dudley Nichols (“Scarlet Street,” “The Informer,” “Stagecoach”).

Incidentally, the other Fords I would classify as Western noir are “Stagecoach” (1939), “The Searchers” (1956), “Sergeant Rutledge” (1960) and “The Man Who Shot Liberty Valance” (1962). “Stagecoach” and “The Searchers” are on TCM on Wednesday, Aug. 1, as part of the John Wayne tribute.

Thursday, Aug. 2

11 p.m. (8 p.m.): “The Thin Man” (1934, W. S. Van Dyke) The first and best of all the plush M.G.M. films in which William Powell and Myrna Loy impersonated Nick and Nora Charles, the slightly pixilated and urbanely witty couple who alternated screwball romps with tough, brainy detective work, solving murders and finishing champagne bottles with equal flair. That golden couple was inspired by the relationship between Dashiell Hammett and his longtime companion, playwright/screenwriter Lillian Hellman.

This is the only one of the Thin Man movies actually based on a Hammett novel. The adaptor/scenarists were another witty couple, Frances Goodrich and Albert Hackett (“It’s a Wonderful Life”). The supporting cast includes Maureen O’Sullivan and Cesar Romero.

Non-stop film noir on the big screen in Los Angeles

The enduring appeal of film noir shows no signs of waning – there are scads of noir screenings in and around LA over the next several weeks.

Noir City Hollywood continues at the Egyptian Theatre through May 6. Tonight, actress Julie Adams will talk with Alan K. Rode between the films 1957’s “Slaughter on Tenth Avenue” (in which Adams co-stars with Richard Egan, Jan Sterling, Dan Duryea, Walter Matthau and Charles McGraw) and “Edge of the City” (1957).

And a must-see for me: Ida Lupino in “Private Hell 36” (1954) by director Don Siegel. Lupino also co-wrote this flick, which runs on Wednesday, May 2, after “Shield for Murder” (1954), co-directed by Howard Koch and star Edmond O’Brien.

In conjunction with the Herb Ritts: L.A. Style exhibition, running through Aug. 26 at the Getty Museum, a companion (free!) film series starts today. Ritts (1952–2002) was a top 1980s photographer and his preference for outdoor locations such as the desert and the beach helped to distinguish his work from his New York-based peers.

Admittedly, “Gilda” is the only true noir on the roster, but Ritts’ work taps retro Hollywood glamour. As the Getty puts it: “Ritts’ relationship with his subjects echoes certain director-actor relationships dating from the silent era and the eight films in this series showcase this special relationship.”

On Friday, May 4, the New Beverly Cinema is showing John Frankenheimer’s sci-fi neo-noir from 1966 “Seconds,” which stars Rock Hudson; cinematography by James Wong Howe. “Seconds” is paired with 1997’s “Face/Off” by director John Woo starring John Travolta, Nicolas Cage, Joan Allen, Dominique Swain and Nick Cassavetes. Screenwriters Mike Werb and Michael Colleary are scheduled to appear in person.

Also worth a watch: Universal Pictures celebrates its centennial with a series of screenings (“The Black Cat” and “The Birds” caught my eye) at UCLA’s Billy Wilder Theater in Westwood from May 4 to June 24.

You’ll certainly get a full-on noir lineup at the 12th annual Arthur Lyons Film Noir Festival, which runs in Palm Springs from May 10-13.

Van Heflin and Joan Crawford star in “Possessed” from 1947.

Festival programmer and film historian Alan K. Rode has selected a great lineup, including Fritz Lang’s “The Big Heat” (1953), starring Glenn Ford, and “Possessed” (1947) by Curtis Bernhardt.

Ford’s son Peter will attend “The Big Heat” screening. “Possessed” earned Joan Crawford her second Oscar nom (she won for 1945’s “Mildred Pierce”); co-starring are Van Heflin, Raymond Massey and Geraldine Brooks.

Other titles, screened from new 35 mm prints, include: “Shield for Murder” (1954), “I Love Trouble” (1948), “Slaughter on Tenth Avenue” (1957) and “The Face Behind the Mask” (1941), starring Peter Lorre.

I’m also very much looking forward to The Sun Sets in the West: Mid-Century California Noir at the Los Angeles County Museum of Art (LACMA), from May 18-26.

Says LACMA: “Experience the dark side of modern living with this series of mid-century film noirs. Shot on location and set amid the bustle of major cities such as Los Angeles and San Francisco – as well as their sun-soaked periphery, beach cities, and desert oases – these 10 films inject the Golden State’s benign climate with a heady dose of postwar angst.”

The titles in the series are: “Kiss Me Deadly” (1955, by director Robert Aldrich); “The Crimson Kimono” (1959, Sam Fuller) “Experiment in Terror (1962, Blake Edwards); “Criss Cross” (1949, Robert Siodmak); “M” (1951, Joseph Losey); “The Damned Don’t Cry” (1950, Vincent Sherman); “Slightly Scarlet” (1956, Allan Dwan); “Murder by Contract” (1958, Irving Lerner); “Nightfall” (1957, Jacques Tourneur) and “The Prowler” (1951, Joseph Losey).

The one and only Bogart

Additionally, UCLA’s Film & Television Archive and the Million Dollar Theater are presenting three interesting double bills in downtown Los Angeles:

Brian De Palma in the 1970s (“Sisters,” his first Hitchcockian thriller, and “Phantom of the Paradise”) on Wednesday, May 2.

“The hunted and the hunter” film-noir night, featuring “Mickey One” (1965, Arthur Penn) and “Blast of Silence (1961, Allen Baron) on Wednesday, May 16.

Nicholas Ray directs Humphrey Bogart in “Knock on Any Door” (1949) and “In a Lonely Place” (1950) on Wednesday, May 23.