TomJH

Addison, you've really got the blood lust up in you by wanting the villain to meet a violence end. This is a fairly sedate, "civilized" Victorian thriller, however, and kick-*** action, especially, as you pointed out, with Cukor at the helm, is just not on the agenda. What I do enjoy about the ending, and what presumably appealed to Charles Boyer (who is excellent) as an actor, is that, after his character realizes that he had been caught, his wife won't free him and, as they say, the jig is up, he retains his dignity while being lead away by police, nods at the servents and even gives Angela Lansbury a little smile. Bounder, cad, murdererer and all-round rotten egg that he is (Call him Mr. Nasty), Boyer is departing in style. And the audience will feel a certain grudging admiration for him, at least for that. So while you may want to see Laird Cregar-like melodramatics here, I can appreciate the film's ending for what it is, at least in its presentation of Boyer's character.

*fredbaetz wrote: Bowers was bright, realistic, and talented. He knew enough not to try to make a silk purse out of a mediocre script. We all settled for the sow's ear with Bowers sharp dialogue..."* I suppose we could come up with a list of films for which you love the script because of the dialogue, rather than the story. The Epstein brothers and Casablanca would be at the top of my list.

Thanks a lot for the background information from Robert Parrish, Fred. I know that Rhonda Fleming said that she had to miss the premiere of Cry Danger because her father had been suddenly hospitalized (and, unfortunately, would also soon pass away). She, unfortunately, didn't communicate with Powell about it, and his wife, June Allyson, replaced her. This caused some additional friction between them though when Powell later learned about her father it must have lessened his anger. About 10 years later Powell invited Fleming to appear on his television show so obviously any rancour on his part was long over. Fleming said that she couldn't even view Cry Danger for about a year after its release because of the stresses she associated with the film (her father's death, plus her appenticitis attack). When she finally saw the film, though, she was impressed by it.

Thanks very much, mark. I appreciate the compliment.

In regard to Powell as producer, I read an interview of Rhonda Fleming's in which the actress called Cry Danger "Dick Powell's production" and said that he was the one that hired her for her role. Since he was the one that went to the press to complain about Fleming taking sick leave off the film's set, it shows that he really was involved with the film. I don't think that any mere acting co-star is as likely to do that as is someone whose own money is involved.

It was a pleasure for me to view Cry Danger again last night. With a strong screenplay by William Bowers, one that supplemented some dark humour and sharp dialogue with a hard edged tale of revenge, it was a lovely illustration of what skilled filmmakers can do with a miniscule budget (apparently shot in about 22 days at LA locations). Dick Powell's trenchant delivery of hard-edged one liners showed that he was one of the very best in the business whne it came to that. Few could seriously rival him, though years later James Garner could (watch him in Marlowe or, of course, Rockford Files), Garner supplementing the delivery with that wry humour of his so well. The film also allowed character actor Richard Erdman what may have been the role of his career, and he really matches Powell's contribution, in my opinion. I love watching Erdman's little bit of business in the seedy trailer in which he has a sandwiche ready, and pours himself a glass of milk, only to then carefully pour the milk back into the jug, toss the sandwiche away, and take a swig of liquor, nodding his head approval. There's the sleaziness that Jay Adler always seemed to bring to his roles, even though the character he plays as the trailer park proprietor really is a mouse. When's the last time you heard someone derive so much apparent pleasure as did Adler from strumming a guitar and vocally butchering a tune the way he did? There was also, of course, William Conrad as Castro. The highlight scene, of course, is that in which Powell plays one sided Russian roulette with him. It struck me as I watched the scene last night that since the audience only sees Conrad's face from Powell's perspective, upside down, with his large frightened eyes at the bottom of the screen and his mouth at the top in that large fat face, that he almost looked like a big toad or even some kind of science fiction creature. It added to the unsettling nature of the scene, even if, deep down, you just know that "good guy" Powell won't fire a bullet into his head. Cry Danger works well. It doesn't have the same hard hitting street brutality as 99 River Street or characterizations with quite the same strength as those that so distinguish The Breaking Point. But it's representative of smart filmmakers who knew how to craft an economic budget into an efficient '50s-style crime drama. It also shows us the last time that Dick Powell worked in the genre that revived his career. I'm happy to say that Powell was still very much on top of his game. 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! The Russian roulette scene. A wonderfully shot and edited sequence.

There never really have been many tough guy tears shed on the screen, but this is particularly true of the macho stars of the '30s and '40s, I think. Cagney started in all, I believe. At least, he was the first major star to cry.

The following is a link to a tribute site that Lori had created for John Garfield, including a reference to her excitement over tonight's broadcast of The Breaking Point. http://garfieldgal.tumblr.com/

This is a great night for film noir fans, showing four noirs not as well known as others, and an introduction of them, I'm sure, to so many. And it would have been a great night for Lori, whose passion on the subject created this thread.

My apologies. I didn't realize that Lori's thread on this same topic had been bumped up on the message board. Please let any comments about tonight's features go to Lori's thread, where they rightfully belong.

Just a reminder that Eddie Muller, head of the Film Noir Foundation, has selected this evening's four film noir treats to be shown on TCM. 8pm (EST): *Cry Danger (1951)* 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****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! Dick Powell's last film noir, and it's a corker. Shot on an economic budget in seedy LA locations, this little beauty of a thriller shows Powell, just released from prison, out to get those who framed him for a crime. Jay Adler, as the proprietor of a seedy trailer park, Jean Porter as a good time girl, and particularly Richard Erdman as a wise cracking character who lives in a bottle ("When you drink as much as I do, you have to get started early") all add to the ambience of this hard bitten tale. Oh, and there's also the beautiful Rhonda Fleming as the wife of Powell's buddy still stuck in prison. Who handled wise cracking dialogue better than Powell in these kind of films? Well, Erdman matches him in this one with some great, dark humour of his own. Watch out for the scene in which Powell plays one handed Russian roulette with gangster William Conrad. You'll be sweating along with Conrad. 9:30 pm (EST): *99 River Street (1953)* 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! A cab driver, accused of murder, sets out to find the real culprits involved in this bristling, hard bitten street drama. John Payne, like Dick Powell, another light musical performer who had a career transformation into a tough guy, is remarkable in this film. Payne is completely convincing, bringing at times a brutish conviction to his scenes. And he really looks like a hard case capable of breaking someone in half. One of director Phil Karlson's major achievements, co-starring Evelyn Keyes, Peggy Castle and Brad Dexter. Is there a more cold blooded son-of-a-***** in crime dramas than Brad Dexter? (Okay, okay, there's Charles McGraw). 11pm (EST): *Tomorrow Is Another Day (1951)* 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! An ex-con becomes involved with a hard boiled dance hall girl with a killer smile. A film noteworthy for its casting, with the normally sleazy Steve Cochrane somewhat naive and sympathetic, and, a real revelation, Ruth Roman as a female nasty. 12:45am (EST): *The Breaking Point (1950)* Brilliant film adaption of Hemingway's To Have and Have Not, with bristling direction by Michael Curtiz and terrific performances by all cast members. John Garfield is a standout, however, as a starving fishing boat captain who becomes involved with gangsters in order to feed his family. While this film works as a high voltage drama, it also achieves unexpected depth for its series of sensitive character studies, bringing an emotional resonance to the production unusual for what might otherwise be dismissed as a "light entertainment." Garfield's second last film, with one of the great performances of his career. It was also the last masterpiece of director Curtiz. This film was unjustly neglected for many years, and is only now starting to achieve some recognition as a major accomplishment. To my mind, this film is deserving of the 8pm timeslot. I'd also like to take a moment here to mention our dear friend Lori. Although she was a fan of all things Garfield, The Breaking Point had become a film of his that was particularly special to her. As ginnyfan has confirmed to me, this is an evening that Lori was really looking forward to.

Thanks very much, Ray. There's a YouTube interview by Eddie Muller with Richard Erdman in which Erdman says that his favourite film role was that in Cry Danger.

MissW, we obviously share a great enthusiasm for Cry Danger. Isn't it a shame that Dick Powell only played in a handful of film noirs (about six). This man could deliver wise guy cracks with a sting. That's why he aslo prospered in his Richard Diamond radio detective series (a singing detective yet!) for a number of years, as well. Cry Danger was the last of Dick Powell's film noirs. At least he closed his series of films with a really terrific effort, "B" production or not. In fact, the small production values of this film and its expressive use of LA locations for shooting makes me admire the film all the more. Not too mention that crackling screenplay!

Thanks very much for the link. Since Cry Danger is being presented by Eddie Muller, head of the Film Noir Foundation that did the restoration, one would hope that TCM would be presenting that version so that viewers can see the final work. By the way, on YouTube you can see both Rhonda Fleming and Richard Erdman interviewed by Film Noir about their work with Dick Powell on this film. Fleming, it turns out, made a financial contribution to the restoration of the film. Fleming had a medical crisis while making the film which caused some stresses between herself and Powell and the producers of Cry Danger. It was a small budget production shot in just 22 days, and Powell was angered when Fleming suddenly said she had to leave the set one day when she felt a great pain. With her sudden departure, Powell contacted Louella Parsons who blasted Fleming for walking off the set. As it turned out, Fleming didn't have much choice inasmuch as she was suffering from a case of appendicitis and was hospitalized. Powell and Parsons were both apologetic when they later found out, but it does rather seem if, at least the way Fleming tells the story, that they were both rather fast at pulling the trigger on her.

Would anyone know if this is the version of the film that TCM will be showing this Thursday at 8pm? I've recorded the film off them before but I'm not certain if they've ever shown the restoration.

*movielover11 said; Brando cried in Streetcar.* But that was in a later era in filmmaking. Cagney did it almost 20 years before. Cagney's tears lead the way for later tough guys stars, like Brando, to show deeper emotions on screen. Does anyone challenge my statement that James Cagney was the first macho actor that cried on screen? I think this may be a little discussed movie convention barrier that Cagney was the first to breach when he cried on his girlfriend's shoulder after his brother died in Taxi, a film released in January, 1932. Much has been made of the fact that Brando was not afraid to show the sensitive, even feminine side, of a screen tough guy, such as in On the Waterfront. He didn't cry in that film, as he did in Streetcar, but it was an extension of much the same thing. Brando may well have carried it further than previous screen tough guys such as Cagney or Garfield but they lead the way for him. And, as I have stated numerous times, but I think it bears repeating - it all started with a little 1932 Warners programmer called Taxi. If anyone can think of a film earlier than this in which a screen tough guy shed tears, I would welcome their input.

deadendkid, Cagney's character was having an emotional breakdown in that chilling prison cafeteria scene in White Heat. I don't recall that tears, per se, were visible but, even if they were, it's not that same kind of thing that I'm talking about. I'm talking about Cagney crying or weeping out of emotional grief (yes, there was grief in that prison scene but the character was a psychotic going over the edge), such as when his character lost his brother in Taxi or was frustrated that he couldn't get a prison release in Each Dawn I Die. I can't recall that Bogart actually cried in Dead End, though I could be wrong. I still strongly suspect that, although few, if any, ever mention it, when Cagney openly wept on screen in 1932's Taxi it was the first time that audiences ever saw a tough guy actor do that. Cagney was such a great performer and dynamic personality, though, that he could get away with it, and it didn't compromise his screen image.

Sepiatone wrote: Many of these guys weren't obsessed with their on-screen images. I don't think any of them would pass on using the act of crying if it were integral to the story of the character they portrayed, or the storyline. In spite of what some are led to believe, or have allowed themselves to believe, it takes a REAL man, secure in his manhood, to allow himself to cry, especially if the situation warrants it. Sepiatone, your statement reflects an attitude about men crying that many would feel today. I'm not so certain that that attitude was so prevalent during the '30s, though, certainly not regarding macho male screen stars. I strongly suspect that when Cagney first cried on screen in Taxi, released in January, 1932, it was probably something of a revelation for audiences to see from a tough guy actor. It has been pointed out that Cooper also did it in a later 1932 release, A Farewell to Arms. I don't know with certainty but I wonder if Warners and Cagney broke an unwritten code about the proper way in which an actor with a tough guy image should behave on screen when they included that crying scene in Taxi. As has been pointed out, Cagney would cry on occasion in a few other films (Yankee Doodle Dandy, Angels with Dirty Faces, Each Dawn I Die, I believe The Crowd Roars) and a few other actors would also do it. I wonder, though, if Cagney in 1932's Taxi wasn't the first to break the no-crying barrier for a macho star. The closest to it might have been Edward G. Robinson in Little Caesar. There were a few tears in his eyes in the scene in which he can't shoot his best friend (Douglas Fairbanks Jr), but, with Cagney in Taxi, it was virtually a flood of emotion.

Yeh, lavender, just like Cooper in High Noon, Bogart does the same kind of head-down-on-the-table-so-you-can't-see-him-crying thing in Casablanca. When Cagney did it, however, people could probably hear him a block away.

Rosebette, thanks for the reminder about A Farewell to Arms, a 1932 release. Coop does tear up when Helen Hayes is dying. You don't actually see him cry in High Noon. He puts his head down on his desk but it doesn't matter - you know that his character is probably weeping from frustration and fear. Not a lot of cowboys cry in the movies, and I can't think of another western in which Coop did either. I guess the difference is that, unlike Cooper, Cagney was a high voltage actor. When Cagney cried in a scene it was played full out with cries and heavy sobbing. When he weeps on Loretta Young's shoulder in Taxi it's almost like his character reverts back to being a little boy leaning against his mother for support. It took a lot of courage for Cagney to play a scene that way.

lavender, thanks for mentioning the Cagney crying scene from Yankee Doodle Dandy. Certainly we don't see him cry in Angels but I forgot that you do hear the sounds of his pleading in the death house scene. Those, however, that feel that Cagney's Rocky character was faking fear in that sequence might argue that any sounds of crying in this scene doesn't count. I suppose that's an ambiguous scene to discuss in that respect but, still, it deserves mention because it does portray a macho guy potentially breaking down. I really don't think that Cary Grant in Penny Serenade is quite what I'm talking about. The film itself is a soap opera (the land of tears) and Grant, a major star, to be sure, was actor enough to play some macho parts but he never specialized it in like a Cagney or Gable or Garfield or Flynn.

Lavender, the only Cagney tears that I can recall from Angels with Dirty Faces are when the cops hit him with tear gas. But I'll take your word for it. But you're certainly right about San Francisco. I had fogotten about Gable's final scene in that film (considering how unconvincing Gable is in that scene, maybe he would have preferred that we all forget it). But that's not the point- MGM did allow his decidedly type A character to shed tears (I bet Gable wasn't happy about it, though, considering his reluctance to do the same in GWTW).

This morning I briefly watched a scene from Each Dawn I Die. It's a sequence in which James Cagney, as an innocent man unjustly sent to prison, has a meeting with a parole board in order to seek an early release from the institution. The head of the board, played by Victor Jory, clearly already has his mind made up to not let Cagney get out. Cagney has a typical tough guy moment in which he suddenly has an emotional outburst and swears that one day he'll get back at the board members for keeping him locked up. The power of the scene comes next. Cagney then breaks free of the guard who had placed a strangle hold on him and walks back to the table where the board members are now standing on their feet in reaction to his threat. Leaning forward on the table with his hands, starring down at the table, Cagney starts to cry. He apologizes for his outburst and pleads with the members to please let him out. "I can't take it anymore," he says, "I can't take it". He comes as close as he can to grovelling. One of the board members has a look of compassion, saying that they'll do what they can. Cagney is lead from the room, still weeping, as Victor Jory cold bloodedly says, "Next case." It's interesting, considering Cagney's tough guy image, that Warners would allow him to cry like that on screen. Perhaps because in his early screen days there was something of the man child about Cagney, but he cried on a few other occasions in the movies too. He cried after his brother was killed in Taxi, weeping uncontrollably on Loretta Young's shoulder. It's been a while since I've seen The Crowd Roars but I think he cries in that film, too. In no way did any of these crying scenes compromise Cagney's on screen manhood. He could compellingly play a human being in anguish and then, in the next scene, convincingly be playing the tough guy once again. Audiences accepted Cagney crying, as long as he didn't do it too much, which meant that, when he did do it in the occasional film, the scene had far greater impact. Cagney cried as a time in Hollywood filmmaking when not many macho screen stars would ever contemplate doing such a thing. It's a reflection of Cagney's courage as an actor, allowing the audience to see his character's vulnerablity so openly without concern that some viewers (I guess we're talking about some of the men watching) may feel contemptuous towards him for "weakness." Can anybody think of other male stars in the '30s or '40s (and I'm talking macho male stars) who had scenes in which they cried? Gable, of course, did it once and only once, in Gone with the Wind. Gary Cooper had a few tears role down his face at the final scene of Meet John Doe, though that was a Capra film and Coop wasn't playing it macho that time. John Garfield had some tears in his eyes at one moment in The Breaking Point. Flynn shed a couple of tears when he saw a friend die in Objective Burma. Almost all those actors were shedding a few tears in films in the '40s. Cagney was doing it before any of them, at the beginning of the Depression in 1932. Am I wrong in considering Cagney is be fairly unique in his time for being almost the only tough guy actor who had no problem throwing in some tears when the occasion called for it? And aren't you a bit surprised, too, that an image-conscious studio, keeping their eyes on the box office returns at all time, also had the courage to allow him to do that? Since Taxi, the first film in which Cagney cried, was a box office hit, I guess Warners thought it was okay. Still, they had the courage to experiment by allowing that scene to occur in the first place. Pretty amazing.

We will never forget you Mr.Garfield. How can we forget you, when you left such an array of beautiful, powerful, poignant and believable performances on the silver screen for us to enjoy and marvel at? We never forget your bravery too, for while many “gave in” you did not. You stayed true to your friends and to yourself. A remarkable God given talent lived in you and we are so thankful you shared your genius with this world.To us your fans, you are "Our Beloved Star." Sorry, I had to do this since 60 years ago today, John Garfield left this world. A victim of a heart attack or broken heart, we will never know. "Say not in grief 'he is no more' but live in thankfulness that he was"- Hebrew proverb Lori And we will never forget you, Lori. Lori wrote that beautiful, heart felt tribute to John Garfield on the 60th anniversary of his death last year. I will never forget Lori for the passion that she felt in her devotion to this actor, as well as the warmth and sensitivity that always came through in her writing. It's really no surprise that with her chosen career in nursing Lori had so much empathy for a man she felt had received a raw deal in life, and whose career had been largely unjustly forgotten. I always found a sweet innocence in her postings, a sense that she was an idealist in a far too often cynical world. She wanted to correct a wrong. Farewell, beautiful Lori, and thank you for allowing us to know your kind spirit, even if only for such a short while.

Thanks very much, ginnyfan, for providing that YouTube link for Lori's touching tribute to her film favourite. The love and sensitivity that I know was behind her selection of photographs, combined with the selection of Charlie Chaplin's "Smile (Though Your Heart Is Breaking)" as musical accompaniment, made it a very emotional experience for me. I will never view another John Garfield film without thinking of Lori and her passion for this actor. Even though I never met her, I feel like I've lost a friend. Lori always felt that life just hadn't been fair to John Garfield, dying at such a young age. Now I feel the same way about her.