TomJH

>Take the scene in Robin Hood after the capture of caravan carrying the gold and Lady Marian. There is the feast and this scene is played with a lot of humor, but then Robin takes Lady Marian to the back woods; here we see the people Robin is fighting for. This scene isn't too dark but it is serious enough to create an emotional connection between us and these 'little people'. If Robin Hood has such a great concern for the "little people," how come he doesn't invite them to the great feast? Opps, sorry, nit picking. >Even the ending is somewhat 'off' to me compared to Robin Hood. Bromberg's characters gets to go back to Madrid. His wife is actually happy because now she can catch up with the latest fashions. So ordering the torture of the people results in no punishment, just a new wardrobe. Because, as you've stated yourself, Bromberg's corrupt character is also a bit of a buffoon, I really don't think that audience members particularly want to see him pay a heavy penalty for his misdeeds. Maybe we're turning a bit of a blind eye to his former injustices, but he's simply not the blaggard that Rathbone was. For that matter, Claude Rains gets exiled at the end of Robin Hood, in exactly the same manner as Bromberg in Zorro, and his Prince John was a sly nasty creature.

Yes, James, I read your take on the 1940 Mark of Zorro, and I have to say that I am very firmly in Arturo's camp when it comes to an appraisal of what I consider to be one of the great film swashbucklers. What you regard as a film weakness and a cartoon character in J. Edward Bromberg's portrayal I see as a skillful amalgamation of oily corruption and comical buffoonery. Audiences are expected to neither hate nor fear Bromberg. All of that is clearly reserved for Basil Rathbone's swaggering, strutting soldier-of-fortune, Bromberg's ruthless right hand man who really runs the show and of whom Bromberg is more than a little leery himself. Just as Flynn had a magnificent opponent in Rathbone that made him look even better in Robin Hood, so, too, does Power in The Mark of Zorro. But Power brings charm and a deft comic touch of his own to his witty scenes as a fop, with macho Rathbone beside him as contrast. I've seen The Mark of Zorro more times than I can count. It continues to satisfy me as what I regard as a brilliant illustration of the studio system at its best - as an exercise in style and elegance that is, at the same time, also so much fun to watch.

Well, Thelma Todd, you've certainly made an impressive study of the paranormal. Thanks very much for some of your insights on spiritualists. I wonder if you have written a book on the subject or perhaps had a few articles published. If not, perhaps some time you would consider doing so. Perhaps you've been to an establishment where sightings are reputed to have occured. You stated earlier that you have had some personal experiences with the paranormal, including, I believe, witnessing poltergeist activity . Obviously, that has had a profound effect your belief system, as it would so many others who are now confirmed skeptics. As for myself, after the conversations with those two friends to whom I referred earlier, I have kept my mind open to all possibilities. And, of course, these exchange with you, in turn, have also made me wonder even more about my own "dream" experiences lo those many years ago.

I assume that most people who like films about the supernatural have a strong affection for The Uninvited as Hollywood's first "serious" ghost film. There are no psychic charlatans in this film, though. And, yes, there is a seance sequence in The Uninvited, of course: There were earlier films made that had "real" ghosts in them, as well, spooks that did not turn out to be frauds. One example would be Bob Hope's The Ghost Breakers, or the Topper series. The fact that they are comedies, however, disqualifies them, in turn, from serious consideration as films dealing with the spirit world. (Ironically, though, the Hope film has moments that are genuinely more creepy than many of the more serious film efforts. Well, anyway, it sure scared me).

Arturo, there were a few Zorro serials, but probably the most celebrated was the 12 chapter Zorro's Fighting Legion from Republic in 1939. It starred Reed Hadley. Quite frankly, for me all Zorros pale next to Tyrone Power.

Hi Thelma Todd, I saw your comment on the Fake Spiritualists thread, and I'm certainly glad you enjoyed our exchanges here. Having said that, I doubt that you enjoyed them any more than I did, as it was a real education for which I am most grateful. It was almost like talking to a ghost detective. And, yes, I did see that 50 minute documentary about voodoo in Haiti. (I've got a real problem in dealing with the animal sacrifices). As far spiritualism is concerned, I don't have any particular questions off hand, though must express some surprise when I read Wikipedia's definition of it to see that it was actually called a religion. If you have any insights on the subject it would be great to read, but please don't feel any pressure to do so. You've already provided a lot of food for thought with your speculations that my recurring "nightmares" years ago may have been something more ominous than that.

>Tom you read way too much into my comments. I just agreed with someone else that in this ONE scene she was a LITTLE over the top. Well, James, I hope you don't think I went a little over the top in my response to your comment. I just wanted to express my feelings about the same scene, that's all.

> The carnival characters didn't seem to cheat each other. With the telling exception of the film's chief protagonist, Stan Carlisle. He's a user. He seduces an admittedly willing Zeena so he can get the code that she had created with Pete. Once he has the code he's then on to seduce Molly, telling her that he's through with Zeena. If he hadn't been found out and forced into a marriage with Molly, there's no reason to believe that he wouldn't have dropped her once someone else came along that interested him. Mike Mazurki's character acts like a protective big brother to Molly, without the film ever offering any explanation as to why. Just a big lug with a soft spot for a fresh face new to the carny business, I guess.

I thought that Joan Blondell gave a wonderfully believable and sensual performance as Zeena in Nightmare Alley. Zeena was about to get the money to send Pete to a sanitarium, you may recall. Not only was she trying to save his life by that act but also, I suspect, undo some of the guilt she felt over her past promiscuity and its large responsibility for Pete's alcoholism. To have him suddenly and inexplicably die at this very moment that might have been a turning point for him would, I think, have had a tremendous emotional impact upon her character, especially since she had known this man so long and during far better times. In a film brimming with dark cynicism, Blondell's portrayal of anguish at this stunning moment seemed very real and honest to me. James, we definitely have different takes on this scene.

Here's a few behind the scenes shots that I found for Nightmare Alley: That's Edmund Goulding with his two stars Here's a link to a writeup on the film at the Greenbriar website. MissW, you might be interested that the author of the website has the EXACT same interpretation of the film's ending as do you. You are not alone! http://greenbriarpictureshows.blogspot.ca/2006/01/we-just-watched-nightmare-alley-let-us.html

MissW, I'm pretty sure Carlisle is at a different carny at the end, and it's a very convenient coincidence that Molly happens to be there (to rescue him, of course). The carny manager at the film's beginning was played by James Flavin and at the end by Roy Roberts. I understand, though. If you've seen one seedy carny manager, you've seen 'em all. James Flavin 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! Roy Roberts

It's interesting that you mentioned Freaks, Andy, since I've always thought that Tod Browning would have loved to have had material like Nightmare Alley to work with. But I'm glad this film got Edmund Goulding as director. Think of the terrific performances that have been in past Goulding films (Grand Hotel, Dawn Patrol, Old Maid, among others), and then look at the performances from the cast of this film. The scene in which Taylor Holmes, as crusty millionaire cynic Ezra Grindle breaks down in his garden, pleading for forgiveness from God and what he believes is the spirit of his long lost love ("What right do I have to ask for mercy when I've never shown mercy to anyone?" he cries) has never failed to touch me. It's a wonderful great moment of acting. And I love the scene in which the tables are turned on Power in the psychologist's office. Power, so smooth and self confident until now in the film, is wonderful as he starts to unravel before our eyes. And, of course, sharing this scene with him is the marvelous Helen Walker, the one character in the film who has outwitted him. Her cold blooded dismantling of his wavering confidence is chilling to behold. The con artist has been conned. It's that moment when you hear the siren of the police car approaching, Walker smoothly saying "What siren?" and a shaken Power now looks like he is starting to question his own mind, that you know this poor guy is a goner. Nightmare Alley is one of Hollywood's great films of the post-war period, box office failure or not, Oscar nominee or not. Time, I feel, has been far kinder to this production than many of the more celebrated films of its time. Tyrone Power was right to battle to play this role.

Thanks Hibi. Thirteen Women, occasionally shown on TCM, is an interesting mention, with suave C. Henry Gordon as the fake swami. What adds to the real life eeriness of this film is that it was the one film featuring Peg Entwistle, the stage actress and wouldbe Hollywood starlet who, after 13 Women tanked at the box office and her studio contract was not renewed, commited suicide by jumping off the Hollywoodland sign. There are those who claim to have seen Entwistle's ghost near the sign, part of the lasting legacy of one of tinsel town's tragedies. EDIT: Sorry Thelma, I didn't know you were writing something up about Peg Entwistle, as well. This is eerie - we're both doing it at the same time. Edited by: TomJH on Oct 18, 2013 12:33 PM

Andy, having known a few people myself who have been a part of the seedy underworld drug scene (I went through a period of trying to "save" one of them), I know that distrust and paranoia runs rampant among them. Your friend's observations sound pretty realistic to me. By the way, I don't believe that there was any love attachment between the Power and Walker characters in the film. At one point I know she makes a suggestion that they meet somewhere privately which he nixes for fear that they might be seen together, and it could spoil their planned swindle of the millionaire. Is it my imagination, or hasn't virtually EVERYONE who has responded to MissW's thread stated that they liked Nightmare Alley? There haven't been any dissenters, which is a bit unusual. Then any, this extremely well crafted and provocative study of the dark side human nature, involving carny acts and fake spiritualism, among other things, is truly a fascinating film, so the approval rating that it is receiving is, to me, something that the picture fully deserves. There is, like it or not, a part of the human psyche, I believe, that is both attracted to and horrified by tales of depravity. You would think, such as were the fears of Fox and Darryl Zanuck when they produced a strong film which they then refused to promote, that it would be a huge turnoff for many viewers. That's not reflected by the comments on this thread - so far.

Does anyone remember Supernatural, a rather neat little 1933 thriller starring Carole Lombard the year before the world discovered she could play madcap comedy? There's a fake medium in this Paramount feature, if memory serves me correctly, arranging a seance for Lombard to see her diseased brother. At the same time as the seance, however, a murderess is executed and somehow her spirit inhabits Lombard's body. One of the very few illustrations of spiritual possession to be found in a '30s film. This film was directed by Victor Halperin the year after he was at the helm of White Zombie. 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!

To have Helen Walker get away with theft is not so much an untidy ending to me as it is a small miracle that the production code boys didn't clamp down on the film because of it before its release.

Tikisoo, that shot of swami Lugosi is from You'll Find Out. It's interesting that you made reference to Houdini. As we know (or many of all do) he thought all spiritualists were frauds, and proceeded to try to debunk many of them. He even, most famously, set up a code word or words of communication with his wife (only she knew the words) for any seances she attended after his death, as he would try to communicate with her, if he could. Houdini's wife never did hear those code words in any of the seances she attended. As I speculated in the original post of this thread, I think that Harry Houdini would have been very approving of the cynical portrait of spirit world charlatans presented in Nightmare Alley. Would Harry Houdini have approved of Nightmare Alley? Unfortunately we will have to contact him in a seance to know for sure. Could be a problem.

>I think your question needs to be clarified. They are people who believe that anything that claims to be "spiritualism" is a fake and fraud. And others that believe it is real in some cases and some times. Yes, Eve, I agree with you that by some of the responses here some of the posters believe that anything involving "spiritualism" is a fraud, and, in some cases by their replies, have gotten away from the thread's original concentration which was upon the spirit world. Here's Wikipedia definition of spiritualism: "Spiritualism is a religion postulating the belief that spirits of the dead residing in the spirit world have both the ability and inclination to communicate with the living." So I'm really not thinking about preacher frauds or Wizard of Oz frauds, as you can see. (Sorry, James). I guess there was a little initial confusion for some. Having said that, however, if people wish to discuss fortune tellers or films with seances or anything involving the supernatural, that all seems to be a part of the same territory for exploration. My original question in the first post I thought pretty well staked out my intention for the thread: Was Nightmare Alley the first major "A" Hollywood production to deal with the subject of charlatans in the "spook racket" in a serious manner? And I have to say that I've had second thoughts about clore's suggestions of The Mind Reader and The Clairvoyant as qualifying, since those films don't, if memory serves me correctly, deal with the spirit world in any way. They do, however, involve mind reading, and, in the case of the Warren William film, I believe, fake mind reading, at that. So it's fair enough to make reference to them. But they're not quite the same thing. Still, nothing has been suggested here to dissaude me from my earlier conjecture - that Nightmare Alley was the first Hollywood film to deal in a serious manner with fake spiritualists (much as The Uninvited is hailed as Hollywood's first serious ghost film).

By all means, Max. And now I hope this thread can return to any observations or insights about Nightmare Alley. Such as my earlier one . . . that Helen Walker's character gets away scott free with the $150,000 she stole from Ty Power- no repercussions upon this lady, at all. Isn't that a little surprising for a 1947 production?

No, Max, I've never fenced. Therefore, I would be interested in any insights that you may care to offer as one who has participated in the sport. Certainly the duel in Robin Hood, extended through half a castle and with looming shadows on columns, is far more theatrical than the one held in tight close quarters in Mark of Zorro. The latter duel is far more furiously paced. Still, we have to keep in mind, of course, that we aren't watching duels but merely the illusions of them. What we are watching are carefully choreographed dances, and that requires great conditioning, of course, and attention to details (lack of attention and an actor can lose an eye). At the same time, though, this thread is about Nightmare Alley, so I hope MissW doesn't mind since we have deviated a bit from the film noir aspect of her original topic (though still, in our defense, including a Ty Power film as a part of the discussion).

Well, Fred, since you mentioned Lugosi as a psychic, there's also that Kay Kyser musical, You'll Find Out, with Bela as a fake fortune teller or psychic (I forget which). Karloff and Peter Lorre are in this one, too. Needless to say, though, this is a perfect illustration of the kind of small budget light fare Hollywood would churn out dealing with charlatans, unlike a serious effort like Nightmare Alley. 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!

Isn't it interesting that in this 1947 feature film the calculating character of Lilith, played by Helen Walker, gets away with it? There are no production code repercussions upon her character for stealing all of Carlisle's $150,000. (Not to mention the fact that this sweet kid was obviously going to try to use her academic credentials to try to shove him into a mental institution, as you pointed out, MissW). Meanwhile, Power's character is an alcoholic at the film's end, who has a long road to recovery, assuming that he even makes it.

Max, perhaps you misunderstood my assessment. I didn't try to imply that Rathbone was deliberately trying to insult Flynn or ruffle his feathers. For starters, Flynn was dead when he made the statement and, secondly, it's my understanding that the two actors actually got along quite well while working together. I was referring to the possibility (and I think it's a pretty strong one) that Rathbone simply liked Power more as a person (based on reports of what a nice guy he was as opposed to mercurial Flynn) and was a little tired of the fact that Flynn received so much praise for the seeming ease of his on screen swordsmanship (far more than Power, by the way) while Basil knew, and was perhaps a little exasperated, by the fact that he was a far superior fencer to the legendary Tasmanian. That may have coloured his assessment (unfairly) at the expense of Flynn's swordsmanship. Do you seriously think, from what you have seen of the two actors on screen, that Power was more athletic than Flynn, and had greater fencing ability? If you do, then you will find it easy enough to accept Rathbone's statement. If you don't, then you may look for a possible logical explanation as to why Rathbone would make such a statement. As for Leslie Howard and John Barrymore, Rathbone could not have possibly made such a statement. Howard was clearly inept with a sword while Barrymore was a wild man with it (as everyone saw on the set).

Well, James, in my original posting, I referred to films about "charlatans in the spook racket." That, I think, is clearly about con artists exploiting the gullible and innocent regarding the spirit world. Nightmare Alley is an excellent illustration of it. Still, if people want to discuss psychics or films involving seances, in general (such as Ministry of Fear), that's fine. It might not be exactly what I was thinking of originally but it could still be an interesting derivation on the same subject. Truth is, that seance sequence in Ministry of Fear is a pretty darned good one, though no spooks were involved.

MissW, I have seen Ministry of Fear and very much recall the beautiful, sleek Hillary Brooke as the spiritualist (though there are no attempted communications with the great beyond, are there?). Having said that, it's still a pretty impressive seance sequence, if memory serves me correctly. And I also remember that our man Dan Duryea doesn't come out of one of that seance very well.