Teresa Wright — Film Noir Blonde

Film Noir File: Hitchcock’s favorite: ‘Shadow of a Doubt’

October 9, 2014 by Film Noir Blonde

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

“Shadow of a Doubt”
(1943, Alfred Hitchcock). Sunday, Oct. 12; 8 p.m. (5 p.m.)

Joseph Cotten and Teresa Wright star in “Shadow.”

A bright and beautiful small town girl named Charlotte “Charlie” Newton (Teresa Wright) is bored, bored with her well-ordered home in her pretty Norman Rockwellish little city of Santa Rosa, California. It’s a place where trees line the sunlit streets, everyone goes to church on Sunday and lots of them read murder mysteries at night. Charlie has more exotic dreams. She adores her globe-trotting, urbane Uncle Charlie Oakley (Joseph Cotten) – for whom she was nicknamed – and is deliriously happy when he shows up in Santa Rosa for a visit.

But Uncle Charlie has some secrets that no one in his family or among their friends knows about. Not Uncle Charlie‘s adoring sister (Patricia Collinge), nor his good-hearted brother-in-law (Henry Travers), nor their murder-mystery-loving neighbor Herbie (Hume Cronyn), nor Charlie herself.

Uncle Charlie, who conceals a darker personality and profession beneath his charming persona, is on the run, pursued by a dogged police detective (Macdonald Carey), who suspects him of being a notorious serial killer – a murderer who seduces rich old widows, kills them for their money, and whose signature tune and nickname come from Franz Lehar’s “Merry Widow” waltz. As handsome, cold-blooded Uncle Charlie, Cotten, who called “Shadow” his personal favorite film, is, with Robert Walker and Anthony Perkins, one of the three great Hitchcockian psychopaths.

“Shadow of a Doubt,” released in 1943, was Hitchcock’s sixth American movie and the one he often described as his favorite. As he explained to Francois Truffaut, he felt that his critical enemies, the “plausibles,” could have nothing to quibble about with “Shadow.” It was written by two superb chroniclers of Americana, Thornton Wilder (“Our Town”) and Sally Benson (“Meet Me in St. Louis”), along with Hitch‘s constant collaborator, wife Alma Reville. The result is one of the supreme examples of Hitchcockian counterpoint – an American small town nightmare: with a sunny, beguiling background against which dark terror erupts.

Friday, Oct. 10

6:30 p.m. (3:30 p.m.): “Illegal” (1955, Lewis Allen). Edward G. Robinson in one of his better later roles: as a district attorney turned big-bucks defense attorney for mostly rich guilty clients, who tries to regain his integrity with a sensational murder trial. Directed by Lewis Allen (“Desert Fury,“ “Suddenly”); based on Elliot Nugent’s 1932 “The Mouthpiece.” With Nina Foch (the defendant), Jayne Mansfield, Hugh Marlowe and Albert Dekker.

Sunday, Oct. 12

8 p.m. (5 p.m.): “Shadow of a Doubt” (1943, Alfred Hitchcock). See Pick of the Week. [Read more…]

Facebook

Twitter

Film noir greats ‘Shadow of a Doubt,’ In a Lonely Place,’ Double Indemnity’ and more on the big screen in LA

February 3, 2014 by Film Noir Blonde

By Film Noir Blonde and Michael Wilmington

“Shadow of a Doubt” (1943, Alfred Hitchcock) is the 1 p.m. matinee Tuesday, Feb. 4, at the Los Angeles County Museum of Art (LACMA).

A bright and beautiful small town girl named Charlotte “Charlie” Newton (Teresa Wright) is bored. Bored with her well-ordered home in her Norman Rockwellish little city of Santa Rosa, Calif., – where trees line the sunlit streets, everyone goes to church on Sunday and lots of them read murder mysteries at night. Charlie has more exotic dreams. She adores her globe-trotting, urbane Uncle Charlie Oakley (Joseph Cotten) – for whom she was nicknamed – and is deliriously happy when he shows up in Santa Rosa for a visit.

Joseph Cotten and Teresa Wright play kindred spirits, sort of, in “Shadow.”

But Uncle Charlie has some secrets that no one in his circle would guess – not Uncle Charlie’s adoring sister (Patricia Collinge), nor his good-hearted brother-in-law (Henry Travers), nor their mystery-loving neighbor Herbie (Hume Cronyn), nor Charlie herself. Uncle Charlie, who conceals a darker personality and profession beneath his charming persona, is on the run, pursued by a dogged police detective (Macdonald Carey), who suspects him of being a notorious serial killer who seduces rich old widows and kills them for their money. As handsome, cold-blooded Uncle Charlie, Cotten, who also called “Shadow” his personal favorite film, is, with Robert Walker and Anthony Perkins, one of the three great Hitchcockian psychopaths.

“Shadow of a Doubt,” released in 1943, was Hitchcock’s sixth American movie and the one he often described as his favorite. As he explained to François Truffaut, this was because he felt that his critical enemies, the “plausibles,” could have nothing to quibble about with “Shadow.” It was written by two superb chroniclers of Americana, Thornton Wilder (“Our Town”) and Sally Benson (“Meet Me in St. Louis”), along with Hitch’s constant collaborator, wife Alma Reville. The result is one of the supreme examples of Hitchcockian counterpoint: with a sunny, tranquil background against which dark terror erupts.

On Thursday night at 7:30 p.m., the American Cinematheque presents a Nicholas Ray night at the Egyptian Theatre in Hollywood: “Johnny Guitar,” starring Joan Crawford and Sterling Hayden, and “In a Lonely Place,” starring Humphrey Bogart and Gloria Grahame. As Jean-Luc Godard said: “Nicholas Ray is the cinema.” And speaking of Godard, the AC’s Aero Theatre is hosting a Godard retrospective, starting Feb. 20.

Femmes fatales don’t particularly like birthdays, but here’s an exception: “Double Indemnity” turns 70 this year! Did you know Raymond Chandler made a cameo in the film? Read the story here.

And be sure to attend on Sunday, Feb. 9, at the Aero Theatre in Santa Monica: Barbara Stanwyck biographer Victoria Wilson will sign her book and introduce a screening of “Double Indemnity” and “The Bitter Tea of General Yen.” The signing starts at 6:30 p.m. and the show starts at 7:30 p.m.

Wilson has two other signings coming up; for details, call Larry Edmunds Bookshop at 323-463-3273.

Facebook

Twitter

Filed Under: Classic Noir Reviews, Neo Noir Reviews Tagged With: Aero Theatre, Alfred Hitchcock, American Cinematheque, Barbara Stanwyck, Double Indemnity, Egyptian Theatre, film noir, Gloria Grahame, Humphrey Bogart, In a Lonely Place, Jean-Luc Godard, Joan Crawford, Johnny Guitar, Joseph Cotten, LACMA, Nicholas Ray, Shadow of a Doubt, Sterling Hayden, Teresa Wright, Victoria Wilson

The Noir File: French style from Jean Gabin in ‘Grisbi’

November 26, 2012 by Film Noir Blonde

By Michael Wilmington and Film Noir Blonde

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on cable TV. All movies below are from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard). Lots of Robert Mitchum and Gloria Grahame this week!

PICK OF THE WEEK

Legendary, stylish Jean Gabin plays a legendary, stylish gangster named Max le Menteur.

“Touchez pas au Grisbi” (1954, Jacques Becker). Friday, Nov. 30, 11:15 p.m. (8:15 p.m.): Film noir is a French term and the masters of the form include major French filmmakers as well as Americans. One of those masters is New Wave favorite Jacques Becker (“Casque d’Or“). And Becker’s noir masterpiece is “Touchez pas au Grisbi.” The film takes a wonderfully atmospheric and psychologically acute look at the Parisian underworld: at a legendary, stylish old gangster named Max le Menteur (played by the legendary, stylish Jean Gabin), at the spoils of Max’s last big job and at the unbreakable ties of friendship that entrap him. Adapted by Becker and Albert Simonin from Simonin’s novel, with two later noir mainstays in small roles: Jeanne Moreau and Lino Ventura. The title translates as “Don’t Touch the Loot.” (In French, with subtitles.)

Monday, Nov. 26

7 a.m. (4 a.m.): “The Narrow Margin” (1952, Richard Fleischer).

6:30 p.m. (3:30 p.m.): “The Steel Trap” (1952, Andrew L. Stone). In a neat twist from writer-director Stone, Joseph Cotten plays a bank employee/embezzler, desperately trying to return the loot he filched. With Teresa Wright. A favorite of noir expert Foster Hirsch.

Tuesday, Nov. 27

6 p.m. (3 p.m.): “Brighton Rock” (1947, John Boulting). From Graham Greene’s classic novel about a babyfaced killer on Brighton beach named Pinkie (Richard Attenborough), smartly co-scripted by Greene.

2:30 a.m. (11:30 p.m.): “The Unsuspected” (1947, Michael Curtiz). Lesser-known but strong noir about a radio true crime show, whose producer (Claude Rains) becomes a murderer. With Joan Caulfield, Constance Bennett, Hurd Hatfield and Audrey Totter.

4:30 a.m. (1:30 a.m.): “The Woman on the Beach” (1947, Jean Renoir). Renoir’s U.S. noir: A disturbed guy (Bob Ryan) gets involved with a blind painter (Charles Bickford) and his sexy wife (Joan Bennett).

Wednesday, Nov. 28

7:15 a.m. (4:15 a.m.): “Crossfire” (1947, Edward Dmytryk). The famous postwar thriller about an anti-Semitic murder, co-starring Robert Mitchum, Robert Ryan, Robert Young and Gloria Grahame.

1:15 p.m. (10:15 a.m.): “Macao” (1952, Josef von Sternberg & Nicholas Ray). Robert Mitchum and Jane Russell strike sultry sparks in this exotic thriller from Howard Hughes’ RKO. Directed by Josef Von Sternberg, with uncredited reshooting by Nick Ray. Co-starring Gloria Grahame, William Bendix and Thomas Gomez.

2:45 p.m. (11:45 a.m.): “The Big Heat” (1953, Fritz Lang).

Friday, Nov. 30

12:30 p.m. (9:30 a.m.): “White Heat” (1949, Raoul Walsh).

8 p.m. (5 p.m.): “The Locket” (1946, John Brahm). Flashbacks within flashbacks adorn this stylish psychological noir about a troubled seductress (Laraine Day). With Robert Mitchum and Brian Aherne.

Facebook

Twitter

Filed Under: Classic Noir Reviews Tagged With: Albert Simonin, Andrew L. Stone, Brighton Rock, Crossfire, Edward Dmytryk, film noir, Gloria Grahame, Graham Greene, Jacques Becker, Jane Russell, Jean Gabin, Jean Renoir, Jeanne Moreau, Joan Bennett, John Boulting, John Brahm, Josef von Sternberg, Joseph Cotten, Lino Ventura, Macao, Michael Curtiz, Nicholas Ray, Richard Fleischer, Robert Mitchum, Robert Ryan, Robert Young, TCM, Teresa Wright, The Locket, The Narrow Margin, The Steel Trap, The Unsuspected, The Woman on the Beach, Touchez pas au Grisbi

Hitchcock blends noir, Americana in ‘Shadow of a Doubt’

September 28, 2012 by Film Noir Blonde

By Michael Wilmington and Film Noir Blonde

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

“Shadow of a Doubt” (1943, Alfred Hitchcock). Thursday, Oct. 4, 3:15 a.m. (12:15 a.m.)

A bright and beautiful small town girl named Charlotte “Charlie” Newton (Teresa Wright) is bored, bored with her well-ordered home in her pretty Norman Rockwellish little city of Santa Rosa, Calif., – where trees line the sunlit streets, everyone goes to church on Sunday, and lots of them read murder mysteries at night. Charlie has more exotic dreams. She adores her globe-trotting, urbane Uncle Charlie Oakley (Joseph Cotten) – for whom she was nicknamed – and is deliriously happy when he shows up in Santa Rosa for a visit.

Joseph Cotten and Teresa Wright play kindred spirits, sort of, in “Shadow.”

“Shadow of a Doubt,” released in 1943, was Hitchcock’s sixth American movie and the one he often described as his favorite. As he explained to François Truffaut, this was because he felt that his critical enemies, the “plausibles,” could have nothing to quibble about with “Shadow.” It was written by two superb chroniclers of Americana, Thornton Wilder (“Our Town”) and Sally Benson (“Meet Me in St. Louis”), along with Hitch’s constant collaborator, wife Alma Reville. The result is one of the supreme examples of Hitchcockian counterpoint: with a sunny, beguiling background against which dark terror erupts.

Saturday, Sept. 29

8 p.m. (5 p.m.): “The Fallen Idol” (1948, Carol Reed). In 1948, a year before they made the nonpareil thriller “The Third Man,” director Carol Reed and screenwriter Graham Greene collaborated on another tilted-camera film-noir classic: this mesmerizing story of a little French boy (Bobby Henrey), a French diplomat’s son, who hero-worships the embassy butler (Ralph Richardson), but mistakenly comes to believe his idol has murdered his wife, and keeps unintentionally incriminating him. With Michele Morgan, Jack Hawkins and Bernard Lee – and stunning cinematography by Georges Perinal.

Sunday, Sept. 30

12 p.m. (9 a.m.): “Carmen Jones” (1954, Otto Preminger). From Georges Bizet’s great, tuneful, massively popular opera, based on Prosper Merimee’s novel about a lusty cigarette girl and the soldier who is obsessed with her, unwisely: A compelling noir musical, with an African-American cast (headed by Dorothy Dandridge as femme fatale Carmen and Harry Belafonte as soldier Joe), lyrics and libretto by Oscar Hammerstein II, and direction by Otto Preminger. The rest of the cast includes Pearl Bailey, Diahann Carroll and Brock Peters.

Monday, Oct. 1

2 p.m. (11 a. m.): “The Fortune Cookie” (1966, Billy Wilder). Billy Wilder, mastermind of that quintessential film noir “Double Indemnity,” comes up with another ingenious insurance swindle in this dark, very funny comedy noir. Jack Lemmon is Harry Hinkle, a likable pro- football TV cameraman who is run down before millions of spectators on a punt return. Walter Matthau won the Oscar playing Harry’s brother-in-law, a sneaky, cynical, loot-smelling lawyer.

Thursday, Oct. 4

1:30 a.m. (10:30 p.m.): “Marked Woman” (1937, Lloyd Bacon). Bette Davis plays a feisty “hostess” and Humphrey Bogart plays a crusading D. A. Together with Bette’s pals, other “hostesses” (aka ladies of the evening), they go up against the mob, in this feminist pre-noir crime classic, co-scripted by Robert Rossen. Based on a famous real-life New York City prostitution case. The Bogart and Eduardo Ciannelli characters are modeled on Thomas Dewey and Lucky Luciano. With Lola Lane, Allen Jenkins and Mayo Methot (Mrs. Bogart).