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RAMBLES Part II

MissGoddess

By MissGoddess,
in Films and Filmmakers

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CineMaven Advanced Member

CineMaven

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TCM's FILM NOIR(ISH ) TRIPLE DECKER TRIPLE FEATURE

 

MARTHAIVERS.jpgIWALKALONE.jpgOUTOFTHEPAST.jpgKIRKDOUGLAS.jpg

 

On Tuesday, September 8th, TCM will air three films back-to-back (...to back) featuring guns, fedoras and femmes fatale. "THE STRANGE LOVE OF MARTHA IVERS" "OUT OF THE PAST" and "I WALK ALONE" will be part of the film fare highlighting the career of KIRK DOUGLAS every Tuesday night in September. "...Martha Ivers" and "Out of the Past" are like dear old friends to me. And Paramount's "I Walk Alone" is a film I haven't seen in a while but I like very much. I'm looking forward to hunkering down with some junk food and movie snacks while I watch our heroes: HEFLIN, MITCHUM and LANCASTER step on every landmine a blonde or brunette leads them to.

 

The interesting thing for me about this triumvirate triple decker is how they're all enmeshed with a variety of movie star pairings. Many of the stars in Tuesday night's noir roster have appeared in other films with each other. These are some of the pairings I came up with. Trying to think of more will keep me busy until Tuesday night...

 

Wendell Corey appeared in "The Furies" with Barbara Stanwyck who appeared in "East Side, West Side" with Van Heflin who appeared in "Airport" with Burt Lancaster who appeared in "Desert Fury" with Lizabeth Scott who appeared in "The Company She Keeps" with Jane Greer who appeared in "The Big Steal" with Robert Mitchum who appeared in "Holiday Affair" with Wendell Corey who appeared in "Loving You" with Lizabeth Scott who appeared in "Variety Girl" with Burt Lancaster who appeared in "Sorry Wrong Number" with Barbara Stanwyck who appeared in "The File on Thelma Jordon" with Wendell Corey who appeared in "The Rainmaker" with Burt Lancaster and you can see how this can go on and on and on. And on.

 

...And all of these actors worked with Kirk Douglas. Yeah yeah yeah...you have these movies already either on tape or DVDs. And that's going to stop you from watching, this Tuesday night?

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CineMaven Advanced Member

CineMaven

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...AND SPOILERS GALORE

 

Tonite ( date correction: September 6th ) is a great night of TCM programming, for me anyway...and for you, hopefully, as it's the introduction into the career of Star of the Month: KIRK DOUGLAS. This evening's noirish triple decker triple feature, "The Strange Love of Martha Ivers" "Out of the Past" and "I Walk Alone" are samples of some of the best movies film noir has to offer.

 

( Miss G., I hope you like "I Walk Alone." I find it to be a quintessential dyed-in-the-wool 1940's movie. )

 

All three films dress themselves differently. If they were quilts, they'd have distinct patterns. They evince different shades and shapes of the noir pallette. I find "Out of the Past" the glossiest dime in this bunch with its outdoor scenes filmed in bright sunlight. The movie's silver nitrate "pings" with crispness. The message also seems to come across how small we humans are; see Mitchum walk along the lake when he's fishing, with those mountains as a backdrop.

 

"...Martha Ivers" and "I Walk Alone" look flatter to me with all the in-studio shooting; a matte finish instead of a glossy one. (This is not a criticism; just highlighting the differences of how each movie feels and looks to me). "Out of the Past" has the more complex plot with flashbacks and sub-plots weaving seamlessly in and out of its noir-y tapestry. I love its involvement.

 

"I Walk Alone" and "...Martha Ivers" have plots that go forward in a simpler, laser beam sort of way... straight and true. When I travel these three films noir, I can gaze along the way at the scenery of a straight road just as easily as I can check out the scenery of a winding, twisty road. All three films give me something to look at and enjoy. Part of the scenery along the road is...our heroes. They each have a distinct persona. And some I feel sorrier for than others.

 

*************

 

VAN HEFLIN as The Sardonic, SAM MASTERSON

 

HEFLINALLBEATUP.jpg

 

"I don't like to get pushed around. I don't like anyone I like to be pushed around. I don't like anyone to get pushed around."

 

LIZABETHANDVANHEFLIN.jpgHEFLINWOOING.jpg

 

"I wasn't there, Martha."[/i]

 

It took me a good thirty-five years and 11,329,099,632 viewings of "THE STRANGE LOVE OF MARTHA IVERS" to really fall for Van Heflin. Now, I'm crazy about him in this movie. He plays Sam Masterson and Sam is a wise-guy, wry and smart alec, he roams from thing to thing. Did a stint in the Army. He's very flippant ("the road turned and I didn't.") Heflin's is the easiest and breeziest of performances of tonite. But there are a couple of layers to our Sammykins. HURT - As he talks about his "people" we see a glimpse of the hurt of a boy who has been abandoned. SENSITIVITY - He covers Toni with a blanket when she falls asleep in his bed. He does so, tenderly, with Miklos Rosza's music sweetly underscoring the scene. (Oh those lush violins make my heart swoon). To be honest, Toni could really be his for the asking as he wryly watches her eagerness to be with him. But she's been victimized enough. OPPORTUNISM - Sam looks for a favor from his old childhood friend when he kind of stumbles onto his past. Maybe this film should be called "Out of the Past." If he can cut himself a piece of the coal-baked pie...he's in. He'll roll the dice with his grandmother if he had to. When he hooks up again with Martha, is it true love, passion with him? I don't think so. Their first kiss was a tender nostalgic one, but when Martha opens her eyes in that glorious close-up, and then Sam does...it becomes something else; calculations and machinations I think Sam has more feeling for Toni than he does with Martha "roll-in-the-hay- for-old-times-sake" Ivers. You know, sometimes you really can't go home again. Sam is very different from Jeff Markham. If you want to see what it looks like when the mighty falls, you ought to stay tuned at 10:00pm and watch Robert Mitchum in "Out of the Past."

 

P.S. Love ANN DORAN's little spot as Douglas' secretary. She's intriguing.

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MissGoddess Advanced Member

MissGoddess

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How wonderful that Powell will be SOTM in December...I didn't know. Thank you for the notice, musicalnovelty, I won't fail to look over that schedule.

 

I hope you enjoyed *After Tomorrow*, I don't believe I've ever seen it. I miss the days when the Fox Movie Channel used to air its early 'thirties films.

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musicalnovelty Advanced Member

musicalnovelty

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> {quote:title=MissGoddess wrote:}{quote}

> I hope you enjoyed *After Tomorrow*, I don't believe I've ever seen it. I miss the days when the Fox Movie Channel used to air its early 'thirties films.

 

Actually that one hasn't yet been on Fox Movie Channel, even though it's been preserved and looks great and as such, seemingly should be no problem for them to run there. The DVD we watched was from that Murnau/Borzage box set from a few years ago.

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CineMaven Advanced Member

CineMaven

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MITCHUM as Laconic Fatalist, JEFF BAILEY

 

MITCHUMINAFEDORA.jpg

 

"You build my gallows high, Baby."

 

There's something devastating about a man who falls in love, and gets his heart broken. That's part of the story of "OUT OF THE PAST." I think it's safe to say this film is considered by many to be the gold standard of film noir. From the crisp dialogue and cinematography to die for, the melancholy music that doesn't intrude but underscores, the perfect cast and the fluid direction of Jacques Tourneur, "Out of the Past" has it all; the night shrouds events, the requisite wide-brimmed fedoras and trenchcoat, a hero who stolidly meets his fate, and Jane Greer walking in from the sunlight.

 

Now, it's not like our hero doesn't try to get out of fate's way. He does try. ROBERT MITCHUM as Jeff Bailey changes his name and profession to start a new life. But his past catches up with him when Kirk Douglas' character & "big-time operator" Whit Stirling brings Jeff back into the fold. You've seen a bunch of movies where two guys fall for the same girl. Well, it happens here too. Whit sends Jeff to bring back his girl. Why would a man want back a woman who stole his money and shoots him? Believe me, he doesn't care about the money. Jeff finally sees the girl. The build-up to WHO the Object of Desire is is great.

 

GREER.jpgJANEGREER3-1.jpg

 

She walked in out of the sun...and blinded him.

 

Even with Lana and Ava and Rita and Gloria and Joanie et al trying their hand as lethal ladies, I find Jane Greer the most devastating femme fatale I've ever seen. Her lies are as deadly as her eyes.

 

I've seen this movie a slew of times and never noticed until tonight that the earrings Jeff buys from the guide and offers to Kathie in the bar, which she refuses, are the same earrings she wears when they come in out of the rain running into her cabin. So you see, you can find something you haven't seen before in a movie you've seen umpteen times. Jeff and Kathie have like a "Last Tango in Paris" type arrangement where he meets her on her terms, at night and asks no question. It's Jeff's falling that gets me. He's so big, man of few words...waits for her like a school boy. When he's betrayed it's rough. He doesn't drink like Bogie in "Casablanca" but it is a kick in the teeth. He sees who he's dealing with now. And he's got to beat her at her own game. But you don't know Kathie Moffatt.

 

I have to beg to differ with TCM guest host, Illeana Douglas when she says the plot of this film is confusing. It's not in the least.

 

*****************

Musical Novelty writes: Just catching up with a few "thanks" for your recent comments on SHANGHAI EXPRESS, STAND-IN, and even ATTACK OF THE 50-FOOT WOMAN. Even with movies I know well, your entertaining reviews always bring out things I hadn't thought of or noticed myself.

 

Hi there M.N., thanxx so much! Nice of you to say so. Hope Hurricane Irene didn't treat you folks too badly.

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musicalnovelty Advanced Member

musicalnovelty

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> {quote:title=CineMaven wrote:}{quote} Musical Novelty writes: *Just catching up with a few "thanks" for your recent comments on SHANGHAI EXPRESS, STAND-IN, and even ATTACK OF THE 50-FOOT WOMAN. Even with movies I know well, your entertaining reviews always bring out things I hadn't thought of or noticed myself.*

>

> Hi there M.N., thanxx so much! Nice of you to say so. Hope Hurricane Irene didn't treat you folks too badly.

>

 

Thanks so much for the concern. But it turned out that even though we weren't far from the worst local damage the whole thing was just a slightly stronger-than-usual wind & rain storm for us. But I feel bad for all the folks who had power loss, flood damage, etc.

 

And I trust all was well for you down in NYC.

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wouldbestar Advanced Member

wouldbestar

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:) Thanks to our local version of WGN I finally got to see *Veronica Guerin* yesterday afternoon. That was toped by at last getting to see *Mr. Roberts* last night. Both were well worth the wait. If you've not seen either one, don't neglect the opportunity to do so.

 

It was sad but ironic that Guerin's murder did more to bring down the drug lords of Dublin that her news articles did while she was alive. They did indeed reap what they sowed. The statement at the end that 196 other recent journalists had also died doing their jobs was shocking. Those of you who are or have been a part of the profession have my appreciation. I might not agree with all of you at times but you give me the chance to hear all sides and make up my mind. Thank you.

 

 

I enjoyed the mix of comedy and drama as well as the performances in *Mr. Roberts.* The ending reminded you of Henry Blake's departure on *MASH,* a sad but realistic one but in this case buffeting as well. No wonder it was such a hit.

 

Both movies seen to have a kinship with what was being remembered yesterday. I hope to see *All the Young Men* again when I can stay awake. The guests made great choices, were very informative about what they did that day and Ben was so gracious and respectful of them. Good tribute.

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CineMaven Advanced Member

CineMaven

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I was thinking of the choices that had to be made in *"THE WORLD, THE FLESH and THE DEVIL."* The song you picked to highlight Belafonte was very touching and poignant, especially in light of the memorials that were going around NYC this Sunday. They would have done well to have Belafonte go down to Ground Zero...and sing this soothing and (hopefully) healing rendition. Thanx for posting the song, Jack.

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JackFavell Advanced Member

JackFavell

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Oh I guess I just have that hamburger scene at the end on my mind. Food always looks so good in the movies, and I've been dieting. :D

 

Powell is the most disarmingly gracious at being turned down of any man I can think of, in any movie. She was crazy to have turned him down, but love is blind. Gosh, I haven't seen HTMAM in so long, now I have a craving for it. I just love seeing Alexander D'Arcy in it as well, he's so cute with that eyepatch. And Marilyn was never funnier.

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JackFavell Advanced Member

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I was just thinking about the studios copying one another while watching *Riffraff* (1936) day before yesterday, which is MGM's answer to Warner's "plain folks" picture.

 

It's a topical Depression era story of tuna fishermen starring Spencer Tracy and Jean Harlow. It's a great movie, thanks to brilliant performances by Tracy and Harlow. The wonderful supporting cast includes superb turns by J. Farrell MacDonald, Joseph Calleia, Una Merkel and George Givot. Because it was made at MGM, *Riffraff* cuts quite close to being a disaster - in fact, after going to IMDB and reading some of the reviews, I was shocked to find that there were people who hated this movie, and thought it was awful. The music in particular really annoyed me, MGM's treatment is like a sledgehammer compared to Warner's orchestrations - the score touting it's own Arthur Freed/Nacio Herb Brown song, "You Are My Lucky Star" got more and more annoying to me as they pounded it to death. And I like the song. It made me wonder if sheet music sales were tied up in this film.

 

Luckily the director J. Walter Ruben keeps a tight reign on the proportions of the film, not letting it get too epic, though one can see it was a struggle at MGM to keep the film within bounds. It crackles like a Woody Van Dyke film, and it stays sweet and unassuming. I think this might be one of the first films where Tracy takes his time and really lets us see how he feels, he's sublime here especially in the second half, and Harlow matches him in every scene - whether they are fighting or making love.

 

J. Farrell MacDonald is the only actor I have ever seen who can steal a scene from Tracy.... make sure you bring a box of kleenex while watching his scenes. There is one rather exciting moment where Mickey Rooney (as Harlow's nephew) and Tracy meet up, long before *Boys Town* - Mickey does some wonderful acting in this picture.

 

Joseph Calleia is just hilarious and a little heartbreaking in this film for a couple of reasons. His character is pathetic, losing the girl not once, not twice, but three times to Tracy. On a deeper level, it must have been a real bummer to play such a stereotypical "greaser" role - coming from Malta, and having pride in his Italian/Arab heritage, it must have hurt on some level playing this Italian maroon who destroys the English language at the drop of a hat. On the other hand, he is so good, so funny and endearing, it's impossible not to appreciate his comic timing and hysterical patter with George Givot. Joe is definitely the more subtle, and tosses off his humorous lines with an effortless delivery, making every line he speaks an absolute riot.

 

Una Merkel gets a great meaty role as Harlow's married sister, always pregnant, letting her kids run rampant. She's just as much fun to watch as the rest of the stellar cast.

 

This is an A production all the way, and it is almost done in by that classification. Luckily, the MGM bigwigs didn't falter and start beefing the movie up, trying to ensure that their top stars got the "proper" treatment. I really enjoyed Riffraff, and think it deserves a second look.

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