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Posts posted by arpirose

  1. Saturday August 11, 2018

    Screen Shot 2018-05-29 at 5.45.10 AM.jpg

    24 hours of Gary Cooper on TCM

    SARATOGA TRUNK with Ingrid Bergman


    THE LIVES OF A BENGAL LANCER with Franchot Tone

    THE WESTERNER with Walter Brennan

    MR. DEEDS GOES TO TOWN with Jean Arthur

    LOVE IN THE AFTERNOON with Audrey Hepburn

    THE FOUNTAINHEAD with Patricia Neal

    THE PRIDE OF THE YANKEES with Teresa Wright

    SERGEANT YORK with Joan Leslie

    THE STORY OF DR. WASSELL with Laraine Day


    I do not understand why TCM did not include Cooper's PARAMOUNT FILMS such as PETER IBBETSON, THE GENERAL DIED AT DAWN, BEAU GESTE  AND others.  it is very shortsighted.

  2.   On 8/14/2018 at 10:18 AM, DVDPhreak said:

    The 1940 UK version of Gaslight is vastly superior to the 1944 Hollywood version with Ingrid Bergman.

    Dead of Night (1945) is shown quite often on TCM and its influence to the horror genre is far and wide.

    The Seventh Veil (1945) is a moving study of emotional oppressiveness that is often the theme in British films.  I've never seen it aired on TV anywhere, and there is only this UK DVDwhich is all-region but in PAL.

    Rarely seen and hard to find is the 1949 thriller Obsession (aka. The Hidden Room), with an Englishman wrecking a most unusual revenge on his wife's American lover.  It can be found in this budget-price DVD with average video and audio qualities.

    There are other well-known 30-40s British films like Odd Man Out, The Fallen Idol, Things to Come, all of Hitchcock's British films, David Lean's Great Expectations, Brief Encounter, The 49th Parallel, and so on, which are often shown on TCM and readily available to rent or purchase.

    I admire these films for their artistry as well as the unmistakable "Britishness" in them.

    I can keep going with 50s British films and beyond, as I have a vast library of British films.  Let me know if we should make another thread.

    Oh, lordie...all three of those films [G, DON and TSV] are fabulous and you are so right that the Anton Walbrook film is superior to the American version, even though Boyer is good, but Walbrook's imperiousness is astounding. I also own the others you mention and love "Dead of Night" and anything with Robert Newton, Alastair Sim, James Mason and so on. "The Seventh Veil" is so seductive with the guardian-ward theme taken to the nth degree of the extreme of psycho-sexual melodrama. Going past that time period of the 1950's, I am much attuned to things with Dirk Bogarde like "The Servant" which is beyond any American film at the time in concept and execution of a profound British nature, even though directed by Joseph Losey.

    CG Your post is wonderful.  I love the SERVANT AND DIRK BOGARDE.  To be bit silly, but I think he was so handsome during the beginning of his career. I love those witty DOCTOR FILMS.  They are a bit silly, but a lot of fun.  In one one of them,  THE DOCTOR AT SEA, BRIGITTE BARDOT makes an appearance.

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  3. Always wondered why he died so young at just 44, Flynn was a huge partier, but not Power?

    There was a genetic component with his massive coronary.  His father died at about the same age with the same condition.  Perhaps, with advances in Medicine, his life would have been prolonged.  But, that is pure speculation.

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  4. Hi Top Billed

    In my MAN GODFREY there is a wonderful supporting cast.  GAIL PATRiCK plays her dishonorable sister Cornelia. Alice Brady plays her ditsy mother.  Eugene Pallette, plays her rational father totally frustrated with goings on.The other supporting players excellent as well.

  5. One of my favorite British Films is BILLY LIAR with Tom Courtney.  It is a film directed by John Schlesinger.One of the best parts of the movie is Billy juggling two girlfriends to no avail. The film introduced Julie Christie to audiences, who played the free spirited LIz.

    Here is  a clip from the film.


    You will notice that Julie is wearing a NEW MOD HAIRDO, WHILE THE OTHER WOMEN ARE WEARING the traditional BOUFFANT HAIRDOS. Fashion and hair Styles were changing before the BEATLES hit it big.

  6. I am a great fan of BRITISH CINEMA mainly from the 1930s and 40s. I like some 1950s films as well, especially the ones with ALEC GUINESS.  I love the RED SHOES AND BLACK NARCISSUS DIRECTED BY MICHAEL POWELL.

    There is British Noir as well, that is terrific. There is one called THE FINGER OF GUILT 1956 that was directed by JOSEPH LOSEY using a pseudonym.   It starred Richard Basehart, Mary Murphy AND CONSTANCE CUMMINGS The Blacklist was felt in England as well.  In order to work the artists had to use different names to  get financial backing the US.

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  7. Regarding Carole Lombard, her portrayal of the character Reggie in another Paramount Film HANDS ACROSS THE TABLE (1935) is one to look for.  It was played once on TCM when the director MITCHELL LEISEN WAS recognized  by critics for his vast film accomplishments,.  When Mr Osborne was alive, he played an eclectic mix of films that are surely lacking with today's TCM programmers. He educated the viewers with his knowledge of film and its history.  He is surely missed.

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  8. Hey, Arpirose, glad to see you back.

    I definitely agree that Carole Lombard was way ahead of her time. She had a lot more humor and self awareness I think than many of the female glamourous stars from that period. And she was a comic treasure plus being wonderful at dramatic roles also.

    CG This is for all CAROLE LOMBARD FANS.  On OCTOBER 11, TCM WILL PLAY the original  MY MAN GODFREY with Ms. Lombard, her former Husband Bill Powell and with Gail Patrick, Alice Brady, Eugene Pallette, Alan Mowbray, Mischa Auer, Franklin Pangborn.  This is a terrific cast. My Man Godfrey is one of the best of the SCREWBALL COMEDY GENRE ever produced.  This showing is a rare appearance of this film on TCM.  If anybody loves Ms, Lombard, please DVR it.

    I have been away due to personal reasons.

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  9. here is another clip from the 39 STEPS> . You will notice what a letch Hitchcock was in this clip.  One more thing I will take the great MADELAINE CARROLL over Kim Novak any time.  Madelaine was extremely intelligent being a school teacher before she became an actress.  The only reason she quit acting was because her younger sister was killed during the LONDON BLITZ.  She then devoted her life to the war effort by opening her home to war orphans.  That is a noble woman.

    You guys do not know that she was STERLING HAYDEN'S first wife.  They met while filming Virginia at Paramount.


  10. I am so surprised that 39 STEPS BY ALFRED HITCHCOCK DOES not get the respect that it once had.  When I was younger, Hitchcock fans absolutely adored the 39 Steps.  They would speak about the character Richard Hanney's (Robert Donat) adventures escaping a spy ring while searching for Mr. Memory to clear himself. Hitchcock knew about the Nazi menace in Europe before the rest of the world figured it out. Therefore, he made the spy ring and Mr, Memory a generic Fascist story.

    Unfortunately,  It happens to be a British film so it now takes a backstages to Hitchcock's American film.

    Here is the trailer for THE 39 STEPS.


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    1.39 STEPS.  ROBERT DONAT AND MADELAINE CARROLL are the stars.  By the way, Madelaine Carroll was Hitchcock's first blonde.  39 STEPS HAS TO BE HITCHCOCKS BEST FILM EVER.

    2.  THE LADY VANISHES, which has a blend of suspense and comedy.

    3.  SECRET AGENT, also starring the forgotten Madelaine Carroll.

    4.  the other HITCHCOCK BRITISH FILMS are wonderful as well.





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  12. I feel like Carole Lombard was ahead of her time. When I watched her cheeky spoof of Garbo in THE PRINCESS COMES ACROSS, it seemed like she was poking fun at Hollywood celebrities who take themselves too seriously. It felt exactly like the kind of thing we'd see in a Saturday Night Live skit. She knew how to have fun with the role but use the character to mock things that deserved some pointed criticism. 


    • Top Billed you are so right about Carole Lombard.  She was definitely was a great actress and comedienne.  PRINCESS COMES ACROSS IS A GREAT SCREWBALL ÇOMEDY MOVIE.  Leave it to Paramount to make first rate comedy films . They were the best in the genre.Like They gave PRESTON STURGES  THE OPPORTUNITY TO SHINE.  First as a screenwriter,  then he became one of the best directors in Hollywood history.  Finally, in October, TCM WILL SHOW MY MAN GODFREY. It hasn't aired in ages. It is one of the greatest Hollywood comedies ever produced.  Both Carole and William Powell are at their best.  Besides Carole, Bill Powell shines in this film.  I recommend this film for viewing.
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  13. Well, we are in agreement about the BACKLOT COMMERCIALS.  It is so phony.  Why would they receive the same perks for doing the commercials for Backlot?  If they are rewarded with the same cheap products from TCM, wouldn't they want a better reward for doing those crappy commercials.  Essentially, they are doing a commercial for next to nothing, which only TCM will get the monitary reward.

    I agree with the rest of you  that the philosophy of these commercials are so bogus. Watch these items go on discount, which many of TCM products eventually do.


  14. CAVE GIRL do you mean a character or an actor.  For a character, i will give to RICHARD BASEHART in TENSION, where he plays a meek but sympathetic character that gets emotionLLY abused by his wife Claire.  The rub is that he will not stay humble towards the end of the film.The film will be back on August 6th on a Monday as a part of the tribute to AUDREY TOTTER. 


  15.  TCM can't keep catering exclusively to your generation forever, because frankly, you'll all be dead eventually. Sorry to be so cruel about it, but TCM has to be more inclusive than just trying to continue to appeal to the oldest of its viewers.

    That is a horrible thing to say about THE BOOMERS. We were the first to love the old classics.  A BOOMER never feels old.  By the way, you will  be dead sooner or later.  We don't know when we are called.  There is no time limit for death.  Arrogance does not get you anywhere.

  16. Those long films were called EPICS in the recent past.  I usually don't mind them because, I will take a break and watch the rest of the film in the future.  

    One of my favorite long films is FAR FROM THE MADDING CROWD 1967 DIRECTED BY JOHN SCHLESINGER. I AM A BIG THOMAS HARDY fan ever since I read D H LAWRENCE'S critique of HARDY IN THE STUDY OF THOMAS HARDY.  Hardy was Lawrence's muse.  MADDING CROWD IS one of a few Hardy books that has a happy ending.  Well, Sargent Troy gets murdered by Boldwood.  Bethshiba Everdine  finally gets wise and marries poor long suffering Gabriel Oak. The cast of  fantastic BRITISH ACTORS INCLUDE JULIE CHRISTIE, ALAN BATES, PETER FINCH AND TERRANCE STAMP. They were all good.

    I also love the beautiful pastoral photography BY NICOLAS ROAG of the real DORSET  (Hardy country) that the film was shot. It literally made me sad, when  Oak shoots his dog after it chases his sheep down the long cliff to their deaths.

    As a side note, did anybody watch MASTERPIECE THEATRE in the 1970s with ALISTAIRE COOKE.  The series  or BBC to be more accurate produced two dramatizations of Hardy's novels THE RETURN OF THE NATIVE AND THE MAYOR CASTERBRIDGE.


  17. Cave Girl

      1 hour ago, cigarjoe said:

    If you think Eddie is funny on his own you should here the commentary track he did with author James Ellroy for Crime Wave, it's a hoot. He did another with Ellroy but I don't remember which title.

    Actually I was being sarcastic, CigarJoe and I"m sorry to have misled you.

    I find you and many here a lot more verbally entertaining in a comedic way than Muller, due to my personal standards of what constitutes wit in action. See to me,  Muller's bits are all prerehearsed and not spontaneous, as are the remarks of people on this site. A true wit can be clever in impromptu fashion, like David Niven during the streaker event at the Academy Awards. I'm afraid Muller will never make that cut for me.

    As for not finding him that noirishly knowledgeable, I will also say that his seminars on film noirs are not very impressive either, since when he does not have the IMDB to look up things to discuss [as for his talking head film intros] he is quite lackluster.

    Sorry to seem harsh but I don't compliment those who I don't think deserve acclaim, just to be part of the crowd.  

    You go Girl.  I loved your accurate assessment of Eddie's wit and knowledge. I know of several posters would have a stroke when one does not compliment Mr. Eddie or that no talent , wooden Charles McGraw.

  18. Nice write up about the film Tension,  but I see this misguided statement is made: Basehart is married to Audrey Totter, whose bread and butter in those days was B-noir bad dames. 

    A review of Totter's film legacy shows that she was cast more often as a good \ neutral gal, than a bad dame,  with her role in Tension being the nastiest character of her career.

    Hi James;

    I see Audrey's legacy as half and half.  She played both good and bad girls.  Give it to her for her versatility.  Audrey is Great.  MGM let her go due to her playing more edgy roles.  They wanted  the June Allyson type.

    One more thing, both my sister and I love Noir so much that we named our little kitten Mrs. Clair Quimby.  She has Claire's personality to boot.


    Jacuiline Lynch , the blogger is not an expert on Audrey's Career.

  19. Eddie never made a point when he was speaking aBout THE FILM TENSION (1949) that the Detective Barnabel, who is played by the underrated Barry Sullivan, is ethically challenged to say the least. In Tension blogs, he is well noted as the slimiest character in the film. He goes out of his way, to trap  Warren Quimby for Barney's murder, while the true murderer Claire Quimby is slipping through the cracks. He even makes a false deposition by Claire (made up by Barnabel) to frame Warren in the jail scene. To Barnabel, it would be easy to frame Quimby due to the fact that he is an easy mark. Claire is tough and he has a hard time confronting her. He is slightly infatuated with her.

    This is another example of police not being in the best light in a Noir Film.


    Thursday, February 2, 2012

    Tension - 1949


    “Tension” (1949) stretches the limit of tolerance in the rocky marriage of a mousy pharmacist, and becomes the plaything of a savvy detective solving a murder.

    Actually, it’s the rubber band that’s the plaything of Barry Sullivan as the detective. He uses one as a visual aid in the first few moments of the film, breaking the fourth wall, speaking to us directly. He tells us that by manipulating tension, he breaks down criminals.

    “Everybody’s got a breaking point.” At several points in the film, he takes out another trusty rubber band and stretches it in his fingers to remind us.
    Plausibility is stretched, too, at times, but it’s a fun movie as a post-War period piece, and for the careful, deliberate way we see a one man walk to the precipice of doom, and then make a choice. This is Richard Basehart, a really fine actor especially adept at fragile, sensitive men struggling with inner turmoil. The first half of the movie belongs to him. We don’t even see Barry Sullivan again until the second half. The first half sets up the crime, or what we think is going to be the crime, and the second half follows Mr. Sullivan’s actions to solve it.

    Mr. Basehart is Warren Quimby, a mousy name for a mousy guy. He works the night shift at the all-night drugstore in a post-war southern California where suburban sprawl is pulling highways after it like a loose thread unraveling. Where Malibu beach houses are inevitably the scenes of trysts, and murder.
    Basehart is married to Audrey Totter, whose bread and butter in those days was B-noir bad dames. She sulks, she pouts, and holds out for what she wants, which is always more. She goes to the movies at night while her husband works, and gets picked up by guys with flashy cars, and by one guy in particular. He is Lloyd Gough, a liquor salesman in a pinstripe suit and a perpetual cigar clamped in a plastic tip between his teeth. She calls him a big man, and he thinks he is.

    Mr. Basehart worries about his wife being alone -- or rather, not being alone -- while he is working. Calls the movie theater to see when the show ended, checking up on her. Fears that when he goes upstairs to their little apartment she won’t be there some night. We might think him a fool and deride his obsession with a woman so unworthy of him. But, that is because we are the audience and we are omniscient. When she enters a room, we hear the blaring, bluesy saxophone music that is her signature. In old movies, a sax equals sex, and a saxophone follows her everywhere.
    She flirts with her husband’s employee, played by Tom D’Andrea, a stalwart palooka who mans the lunch counter at the drug store. Though he always respectfully refers to Basehart as Mr. Quimby, we might conclude he is his only friend. Mr. D’Andrea has no use for the boss’s wife. He sees her for what she is, a woman who does not finish her hamburger, and pushes it aside for pie with whipped cream on it instead.

    Nice girls finish their supper before they have dessert.
    But Basehart dotes on her. His puppy dog devotion is tested constantly, and only once does he seem to bristle under her rudeness. This comes when he surprises her with a ride to a housing development where he has put a down payment on a tract home. The treeless, orderly suburban subdivision is dotted with identical modern ranch homes. His handsome, boyish face beams as if he is offering her Shangri La. She won’t even get out of the car. When he counts off the selling points, including a dishwasher, she leans on the car horn over his talking, like a petulant teenager who refuses to listen to what she does not want to hear. 
    For a moment he turns and glares back at her, and we wonder if he finally sees how contemptible she is.

    But, obsessions make us helpless.  He shuts up and gets dutifully back in the car. He has lost our respect. He never had hers.
    One night all that’s left on their bed in the apartment above the drugstore is her doll with the frozen expression on her porcelain face, much like Audrey Totter’s perpetual scowl is chiseled on her pretty pale, porcelain countenance. 

    When she returns, it is only to pack. She and her dolly go to live in the liquor salesman’s beach house.

    But Richard Basehart can’t let go. He goes to the beach, stomping in his loafers on the sand to ask her to return. He is such an annoying pest -- even we have to admit it -- that Liquor Salesman Lloyd punches him from here to next Tuesday. When Basehart retreats, his glasses broken, the “big man” calls him a four-eyed punk.
    By the way, if you don’t want spoilers, you should have gotten off at that last exit.

    Mr. Basehart goes to the eye doctor and gets a new pair of spectacles. They cost $5. 

    Five dollars. In a word, cripes.

    Then Basehart begins to work on a germ of an idea of killing Liquor Salesman Lloyd for humiliating him in front of his wife. 

    It’s a plan worked out carefully, with us in on his thought processes. He decides to create a fake identity, and have that fake person do the killing, and then fade away into nothing. He goes back to the eye doc for a set of contact lenses, because he has seen a poster there that announces contact lenses will make him a new man.
    He chooses a fake name, a fake profession as traveling salesman, and rents a furnished apartment in another part of town. He will live there only on weekends to lay down an alibi. It’s a logical process, and it’s interesting that his crime of passion can be so purposeful and practical. It says a lot about his character, a little man who plods along, works hard, and plans his future with precision. His passion now isn’t really for her; that’s dimming fast. His passion is for taking his methodical personality and using it for one big showy deed.

    But his plan begins to unravel, like the miles of California highway, but the unforeseen complications turn out to be a good thing. He doesn’t see it at first, but eventually he will.
    Foremost among the unforeseen complications is his new neighbor, played by Cyd Charisse in a non-dancing role. She is quite literally the girl next door, wholesome, winsome, elegant in her very fresh-faced appearance, and falling fast for the quiet little guy in contact lenses. He wishes for, more than succumbs to, the idea of a life with her. He holds himself a little aloof because he has a nasty job to do, and he thinks maybe he still loves his wife. He is afraid of getting too close to the lovely Cyd, and does not want to involve her in what he is beginning to see is a real mess.

    But Basehart is a man who finishes what he starts, so he finally picks the day to go kill Liquor Salesman Lloyd. 
    A very dramatic scene, and nicely played out, is when he slips into the darkened beach house at night and finds Lloyd Gough asleep in a chair. He is alone. Perfect. About to impale him with an implement from the outdoor barbecue (which Lloyd had threatened him with earlier -- Basehart is keen on the fine details of revenge) -- Basehart suddenly notices Audrey Totter’s dolly on the table. 

    Audrey isn’t here.

    Audrey isn’t here.

    The scales fall from his eyes, and Richard Basehart sees she has taken a night off from Liquor Salesman Lloyd to pursue, or be pursued by, another “big man”.
    Lloyd wakes, stunned to see Basehart about to jab him with a very large pointy thing. Basehart gets his revenge, but in a way he never expected. Like the old saying, the best revenge is living well.

    “I must have been crazy. She’s not worth it. If it hadn’t have been you, it’d be some other guy.”

    He gloats over Lloyd, who we see is clearly humiliated that she’s bored with him already.

    “She’s all yours,” Basehart says with a sneer, and we can sense the weight off his shoulders and the rejoicing in his soul now that he is emotionally and psychologically free of that rude woman who doesn’t finish her hamburgers. Now he is free to love Cyd and start his life over.
    Until the moment he’s shaving the next day, and Audrey Totter shows up in his bathroom mirror. We can hear the sax.

    She is loving, contrite, and wants him to take her back. 

    Liquor Salesman Lloyd has been found murdered. Mr. Basehart’s nightmare is only beginning.
    Barry Sullivan, and his rubber band collection, finally returns -- we had forgotten about him -- and he brings his partner, William Conrad, to solve the crime. Always fun to see William Conrad.
    The rest of the movie is his show. We saw the crime plotted in the first half of the movie, and Sullivan dismantles the scenario in the second half. It’s a very interesting telling of a story, if a little hard to swallow here and there, including Sullivan’s phoney romancing of Audrey Totter to trick her and keep her off balance.

    Some things I like:

    First of all, the drugstore. I know the exteriors were shot in and around Culver City and Malibu, but I don’t know where. Film locations are Robby Cress’ specialty. If you haven’t seen his blog, check out Dear Old Hollywood here.

    I don’t know about the interior of this drugstore set. My gut feeling is it’s a real store, because it is so wonderfully packed to the gills with everything a drugstore sold at that time, with the lunch counter and the somewhat worn-looking diamond pattern of floor tile. It almost seems too detailed for a set on a soundstage. But I don’t know.
    I like how when Basehart is searching for a fake name for his new identity, he picks the surname Sothern, because he sees Ann Sothern on the cover of “Screen Digest” magazine.

    A young boy of Asian ancestry, and a pretty young African-American woman are among the patrons having their prescriptions filled by Basehart. They are minor roles, but these two individuals should be noted for their not being stereotypes. Also, William Conrad’s name is Edgar Gonzales; we see a police detective with a Spanish surname, also not stereotyped. These three characters are presented naturally, as being all-American, and that is perhaps what is most effective.
    Note when his friendly and ever-talkative counter man sidles up to Basehart with the newspaper, commenting on the news, “They’re still at it, trying to figure out who owns Germany, who owns the atom bombs…” See our series on “Uneasy Victors” about America’s involvement in post-War Germany as seen through the movies -- “A Foreign Affair”, “The Big Lift”, and “Judgment at Nuremberg”.
    Most especially, I love the scene where Barry Sullivan takes Cyd Charisse to Basehart’s drugstore. She still thinks he is her Paul Sothern - neighbor, and prospective husband. She does not yet know he is Warren Quimby, murder suspect. When her sweetie seemed to disappear into thin air, she notified Missing Persons and gave them a photo. Through that action, the police were able to identify Warren Quimby as Paul Sothern, the man they were looking for in the murder of Liquor Salesman Lloyd.
    Basehart’s not arrested yet, but he knows he’s being watched. It’s a wonderfully tense scene when Barry Sullivan, who just loves messing with people and causing TENSION, “introduces” Cyd to Basehart under the pretense of stopping in for coffee at the lunch counter. Both are shocked to see each other, Cyd is even more shocked to see him wearing his $5 glasses as Warren Quimby, Pharmacist and Murder Suspect.
    But neither acknowledges they know each other. They pretend to be strangers while Sullivan plays them like a fiddle, also pretending not to know they are connected. Miss Charisse and Mr. Basehart want to protect each other, and struggle with their emotions. Sullivan needles them both a bit, especially Cyd, when he rapturously talks about Basehart’s gorgeous wife. 

    We wait for Cyd Charisse to lose it, hurt or outraged to learn that her boyfriend is already married -- which is even more insulting than being a murderer, too.

    But, she’s too much a lady. She swallows her distress, and play acts disinterest.

    At one point Cyd, deeply offended by Sullivan’s manipulation, tells him off without ever admitting she knows Basehart. Then in a rising voice as she’s about to stomp out of the place, she turns to Basehart, 

    “And you do make wonderful coffee!” What she means is I’ll never betray you no matter what, but that’s what comes out of her mouth. Exquisite.

    Another fun scene is when Barry Sullivan pulls a similar trick on Audrey Totter. He brings her to Basehart’s furnished apartment and tells her Basehart’s been romancing the neighbor lady. Audrey is no Cyd, and she blows her top in an instant, furious at the thought that the husband she had been two-timing was two-timing her.

    “Why that four-eyed little pill pusher!” She is deliciously jealous. She tells Sullivan all about how Basehart murdered Liquor Salesman Lloyd.

    Now Sullivan has everyone where he wants them, and pulls one final stunt to unmask the murderer, because so far all he has is hearsay and his gut instincts. 

    Audrey Totter’s final exit is accompanied by the sultry notes of a sax. 

    A saxophone never plays like that when I enter or exit a room. I wish it would sometimes. 

    I have only two questions about this movie. One, the reason for the murder is never really explained, or else I missed it. 
    And how does Audrey Totter manage to keep such a slim, tiny figure with all those burgers and wedges of pie with whipped cream on them? There’s a shot of her in those high-waisted trousers of the day that is quite stunning.

    Maybe it’s because she doesn’t finish her burger.
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