Barton_Keyes

Noir Alley

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2 hours ago, LornaHansonForbes said:

THE DAMNED DON'T CRY also has a great score by RAY HEINDORF, composed for the film (I think), which is a step up from FLAMINGO ROAD, where they borrowed the score from an earlier WB juvenile crime picture.

as I recall it, FLAMINGO ROAD performed surprisingly well at the Box Office, so all the stops were pulled out for THE DAMNED DON'T CRY.

The Damned Don't Cry is one of my favorite Joan Crawford films and a fine all around movie.    While Kent Smith is typically just a serviceable actor (does the job but doesn't add a lot either),  here his screen persona really fits that of the character.    I also enjoy the 'I'm just a dame trying to get my share of the pie' aspect of the film. 

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all this said, if any of you catch THE DAMNED DON'T CRY either Saturday or Sunday and you don't like it, do not fear my wrath in speaking up and saying so.

there are some films where the style reserves run way deeper than the substance, but so deep are those style wells that they make the shortcomings of the script or story (or questionable casting) at least tolerable- THE DAMNED DON'T CRY is onesuch film. It also helps that it's got that wonderful LATE FORTIES WARNER BROS STYLE BANG-BANG-BANG PACING, which are how I really feel all films should move.

i'm not spoiling anything to tell you, one big problem with the movie is that it is very unfocused on just who Joan's romantic lead is SUPPOSED to be.

In fact I'll do you a favor and let you know this beforehand (and i think it'll help how you view the movie:)You are better off not expecting one, because in this film, JOAN IS HER OWN MALE LEAD.

she and her Director (and lovah!) VINCENT SHERMAN turn the rather prurient story into a PERSONAE PARADE OF JOAN: GRAND HOTEL to THE PRESENT.

During the run of the movie, we have JOAN in MINK, JOAN the TRAGIC HAUSFRAU (sans make up!), JOAN the SHOPGIRL, JOAN the SOCIETY CLIMBER, JOAN IN HER SLIP...

JOAN IN A PEPLUM:

ab8aeaa8bc3593c73355b33967487a12.jpg

 

tumblr_m8fdb8FiNJ1qbsne0o1_500.gifKABUKI JOAN

and of course, JOAN, THE LADY ELEGANTE.....

50damned16jan11.jpg

Thankfully Joan the Dancing Lady is left out. 

There are also some issues I have with the ending, but more on that after you guys hopefully see the movie- which still is (I think) an awful lot of fun and visually a fantastic ride (there are also some Palm Springs exteriors and some cool cars too.)

 

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On 10/7/2018 at 9:23 PM, cigarjoe said:

misswonderly3, I'm patiently waiting for your Odds Against Tomorrow post :D

I had to go out of town on some business. And I had a little trouble with the law.

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3 minutes ago, misswonderly3 said:

I had to go out of town on some business. And I had a little trouble with the law.

Intriguing... 

tumblr_mbsbguBrld1qaad4ao1_500.gif

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On 10/8/2018 at 6:26 AM, cigarjoe said:

We know what she was looking for, it's the way she spoke, her stilted speech, what was the reason? was it a "stage direction" in the screenplay?

And I repeat where is misswonderly3 for her insight. ?

Umm...besides the little incident in that small town I had some business in, I also had an appointment with a cosmetic  surgeon..... Busy week !

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I really love Joan in most of her post MGM roles, especially 1945-1952. It's too bad she wasted so many production code era years on some really bad material over at MGM. She had some good roles such as in "The Women", but largely she was just in a dramatic straight jacket courtesy of the censors. Warner Brothers seemed like they knew what to do with her and put her in films that played to her strengths.

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I was surprised to hear THE P WORD uttered in this movie, in the car scene between JOAN and KENT SMITH. Guess they figured coming from Kent, it'd be tame enough.

("the P word" being prostitution, of course.)

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Enjoyed Eddie's comments and the backstory. I'm curious about Case History by Gertrude Walker now.

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2 hours ago, calvinnme said:

I really love Joan in most of her post MGM roles, especially 1945-1952. It's too bad she wasted so many production code era years on some really bad material over at MGM. She had some good roles such as in "The Women", but largely she was just in a dramatic straight jacket courtesy of the censors. Warner Brothers seemed like they knew what to do with her and put her in films that played to her strengths.

I also enjoy Joan in her post MGM roles.  I like her 1940s through 1950s films--before she got into that horror genre--"hag horror" is that what it's called?

I am not a fan of Joan's starlet career.  Her dancing is horrible.  I cannot even watch Dancing Lady, despite Fred Astaire being in there, someone whose dancing I like.  I've seen Dancing Lady once and spent the whole time fearing the next time Joan would dance.  Then her non-dancing glamour queen roles are just meh.  Nothing that exciting.  There's nothing about her that is appealing to me.  

But I love her 1940s-1950s career.  She's no longer the floozy.  She's a strong woman who knows what she wants.  She's fantastic in Mildred Pierce and deserved her Oscar, even though she won it over Gene Tierney, whom I also thought was deserving of it for her work in Leave Her to Heaven.  I wish Ann Blyth would have won for Mildred Pierce as well.  I just love Mildred Pierce.  I even like Humoresque even though others here don't.  However, more of my love for Humoresque is probably more for John Garfield.  Joan's also great in Flamingo Road, Harriet Craig, Sudden Fear and one of my favorites from this period in her career--Autumn Leaves

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2 minutes ago, speedracer5 said:

I also enjoy Joan in her post MGM roles.  I like her 1940s through 1950s films--before she got into that horror genre--"hag horror" is that what it's called?

I am not a fan of Joan's starlet career.  Her dancing is horrible.  I cannot even watch Dancing Lady, despite Fred Astaire being in there, someone whose dancing I like.  I've seen Dancing Lady once and spent the whole time fearing the next time Joan would dance.  Then her non-dancing glamour queen roles are just meh.  Nothing that exciting.  There's nothing about her that is appealing to me.   

But I love her 1940s-1950s career.  She's no longer the floozy.  She's a strong woman who knows what she wants.  She's fantastic in Mildred Pierce and deserved her Oscar, even though she won it over Gene Tierney, whom I also thought was deserving of it for her work in Leave Her to Heaven.  I wish Ann Blyth would have won for Mildred Pierce as well.  I just love Mildred Pierce.  I even like Humoresque even though others here don't.  However, more of my love for Humoresque is probably more for John Garfield.  Joan's also great in Flamingo Road, Harriet Craig, Sudden Fear and one of my favorites from this period in her career--Autumn Leaves

I like Humoresque too, but I think it was rather misleading to put it in a Joan Crawford DVD collection when this is really John Garfield's film.

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3 minutes ago, calvinnme said:

I like Humoresque too, but I think it was rather misleading to put it in a Joan Crawford DVD collection when this is really John Garfield's film.

I agree.  Flamingo Road would have been a better addition. 

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...they just complain endlessly, belt back a few drinks and then go about their business

as before. I knew the fix was in when the little kid, can't recall the tyke's name, was killed

in a car crash on his brand new high-quality bicycle. Oh, c'mon man, that thing has cobwebs

upon cobwebs on it. It was all downhill from there. There's something about David Brian, or

at least the characters he plays, that is off putting, but maybe that's the point. I was hoping

against hope that bad ol' Steve Cochran would knock him off instead of the other way around.

I think Edward had something when he mentioned that people were starting to wise up to the

sameness in many of these types of JC movies. As entertaining and visually appealing as it is,

TDDC is awfully familiar plot wise. But it is definitely a enjoyable piece of semi-camp. 

 

(UPI) Lorna Hanson Forbes, born Lutie Mae Humdinger of Cornpone, Texas, has just returned

from a three month trip to Europe. Having a near encyclopedic knowledge of the Old Masters,

she enjoyed touring the museums of Europe and also meeting various royalty in different

countries. The high point of her trip was an extended audience with the Pope. She gave His

Holiness a special gift of matching Kiss Me, I'm Etruscan Coffee Mugs. Though she loved seeing

all the Old World had to offer, she said that she was happy to be back in the good old U.S.A.

and couldn't wait to get back to having oil derricks pumping up her backyard. 

 

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I just finished THE DAMNED DON'T CRY and though it was good, I was a little disappointed. At the risk of offending some on this site, I'm not a big fan of Joan Crawford. I know she was (or still is) a Hollywood icon. No offence to her fans intended. Maybe seeing MOMMY DEAREST clouds my appreciation of her gifts.                                                 The most interesting thing about TDDC was how closely it resembled the real life story of Virginia Hill and Ben (Bugsy) Segal which Eddie said was intentional. 

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4 hours ago, speedracer5 said:

I've seen Dancing Lady once and spent the whole time fearing the next time Joan would dance.

So Joan Crawford needs to have a dance-off with Ruby Keeler.

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1 hour ago, Fedya said:

So Joan Crawford needs to have a dance-off with Ruby Keeler.

I don't even know who would win and what they win? Best "worst" dancer? The least "bad" dancer?

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Well, now I know what our LornaHansenForbes is talking about when they say The Damned Don't Cry is vintage classic Joan. Damn ! I had fun watching this. Full-on melodrama Joan is hugely entertaining to watch, and full-strength Joan is exactly what we get in TDDC. It's fascinating watching her character transform from a typical ordinary housewife to a slightly trashy wise-cracking "model" (yeah, right), to a super ambitious social climber, to a classy gangster's "mistress"  (quaint word, that) who can identify Etruscan art with the best of them.

There was never a dull moment in this one. As (our) Lorna said, the pacing never let up, and every scene illuminated something about Ethel's ("Ethel" ? ! really? !) /Lorna's character. Poor old Kent Smith; I really liked him in this. Come to think of it, I kind of like him in Cat People too. All the men were good in TDDC. Loved the scowling David Brian as the man Ethel thinks will "give her the world". But then there's Steve Cochrane as the "low class" gangster, hanging out in Frank Sinatra's house. I've always thought Steve was one of the sexiest guys in noir. He's got a "bad boy", dark, kind of look that's very appealing.  I like the way we can't really tell which one, if any, of these three men Joan really loves. But then, she loves herself more than any of them.

SPOILER   I think the ending would have been more effective if Lorna had actually died when Castleman shot her. After all, how much further can her life story go after all that? Instead, we find her, somewhat anti-climactically, recovering in her childhood home, her ancient parents peering anxiously at her as she smiles wanly at them. Definitely would have been a better ending if she'd been killed by Castleman's gunshot.

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Crawford is so remote from my appreciation...there may only be two films total out of the twenty or so I've ever seen her in, which I can admire at all. 'Mildred Pierce' and 'Rain'. Oh wait, one more. 'Strange Cargo' opposite Gable.

The famous duel between her and Bette Davis...sheesh; Mothra vs Ghidra as far as I'm interested. Don't get me wrong; I'm glad they were who they were; I respect their contribution and their talents and their careers... but only in a detached, cerebral way.

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7 hours ago, misswonderly3 said:

SPOILER   I think the ending would have been more effective if Lorna had actually died when Castleman shot her. After all, how much further can her life story go after all that? Instead, we find her, somewhat anti-climactically, recovering in her childhood home, her ancient parents peering anxiously at her as she smiles wanly at them. Definitely would have been a better ending if she'd been killed by Castleman's gunshot.

Yea agree, dead in the mink would have been the perfect ending. ?

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7 hours ago, Sgt_Markoff said:

Crawford is so remote from my appreciation...there may only be two films total out of the twenty or so I've ever seen her in, which I can admire at all. 'Mildred Pierce' and 'Rain'. Oh wait, one more. 'Strange Cargo' opposite Gable.

The famous duel between her and Bette Davis...sheesh; Mothra vs Ghidra as far as I'm interested. Don't get me wrong; I'm glad they were who they were; I respect their contribution and their talents and their careers... but only in a detached, cerebral way.

Agree pretty much, about their contributions....

As far as superficial matters she looked a lot better as Ethel with the longer locks than Lorna with whatever you call that bobbed look. Almost the same feeling I have about Rita Hayworth in Gilda as opposed to Rita as Elsa in The Lady from Shanghai.

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1 hour ago, cigarjoe said:

Agree pretty much, about their contributions....

As far as superficial matters she looked a lot better as Ethel with the longer locks than Lorna with whatever you call that bobbed look. Almost the same feeling I have about Rita Hayworth in Gilda as opposed to Rita as Elsa in The Lady from Shanghai.

Definitely agree on the "superficial matter."

THE DAMNED DON'T CRY - I enjoyed it.  I found it to be a little dull until the transformation into Lorna occurred.  I thought Crawford was great.

So here is something I felt, and if I missed someone else saying this please let me know, but isn't this a Noir movie from the Femme Fatale's point of view?  That is what I kept thinking. It was a movie where you see where the Femme Fatale is coming from and why she is the way she is.   Am I wrong?  Have others been discussing this and I missed it?  She basically destroys three men's lives and her own, unintentionally but for selfish reasons.

I can't say I loved this movie, but I do feel like it is a must see just because it focuses on a female lead in this type of story.  I thought the script was great and it was well made.

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A Woman's Noir yes!

3 minutes ago, Looney said:

Definitely agree on the "superficial matter."

THE DAMNED DON'T CRY - I enjoyed it.  I found it to be a little dull until the transformation into Lorna occurred.  I thought Crawford was great.

So here is something I felt, and if I missed someone else saying this please let me know, but isn't this a Noir movie from the Femme Fatale's point of view?  That is what I kept thinking. It was a movie where you see where the Femme Fatale is coming from and why she is the way she is.   Am I wrong?  Have others been discussing this and I missed it?  She basically destroys three men's lives and her own, unintentionally but for selfish reasons.

I can't say I loved this movie, but I do feel like it is a must see just because it focuses on a female lead in this type of story.  I thought the script was great and it was well made.

 

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On 10/13/2018 at 10:55 AM, LornaHansonForbes said:

all this said, if any of you catch THE DAMNED DON'T CRY either Saturday or Sunday and you don't like it, do not fear my wrath in speaking up and saying so.

there are some films where the style reserves run way deeper than the substance, but so deep are those style wells that they make the shortcomings of the script or story (or questionable casting) at least tolerable- THE DAMNED DON'T CRY is onesuch film. It also helps that it's got that wonderful LATE FORTIES WARNER BROS STYLE BANG-BANG-BANG PACING, which are how I really feel all films should move.

i'm not spoiling anything to tell you, one big problem with the movie is that it is very unfocused on just who Joan's romantic lead is SUPPOSED to be.

In fact I'll do you a favor and let you know this beforehand (and i think it'll help how you view the movie:)You are better off not expecting one, because in this film, JOAN IS HER OWN MALE LEAD.

she and her Director (and lovah!) VINCENT SHERMAN turn the rather prurient story into a PERSONAE PARADE OF JOAN: GRAND HOTEL to THE PRESENT.

During the run of the movie, we have JOAN in MINK, JOAN the TRAGIC HAUSFRAU (sans make up!), JOAN the SHOPGIRL, JOAN the SOCIETY CLIMBER, JOAN IN HER SLIP...

JOAN IN A PEPLUM:

ab8aeaa8bc3593c73355b33967487a12.jpg

 

tumblr_m8fdb8FiNJ1qbsne0o1_500.gifKABUKI JOAN

and of course, JOAN, THE LADY ELEGANTE.....

50damned16jan11.jpg

Thankfully Joan the Dancing Lady is left out. 

There are also some issues I have with the ending, but more on that after you guys hopefully see the movie- which still is (I think) an awful lot of fun and visually a fantastic ride (there are also some Palm Springs exteriors and some cool cars too.)

 

Frankly, after repeated viewings, I dont rate the film highly, but it's entertaining. The sequence with Steve Cochran is too rushed.  The film takes too long to get going. Although he explained his reasons, I dont rate this film at the top of the heap of Joan's WB films. But it's better than her later ones, Goodbye My Fancy and especially her last, THIS WOMAN IS DANGEROUS! (Great title!)

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21 hours ago, LornaHansonForbes said:

I was surprised to hear THE P WORD uttered in this movie, in the car scene between JOAN and KENT SMITH. Guess they figured coming from Kent, it'd be tame enough.

("the P word" being prostitution, of course.)

Yeah, I'm surprised the Breen Office kept it in.......

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