I Just Watched...

[TomJH]

44 minutes ago, LawrenceA said:

Disheartening to hear, as this will be the next Fields film I watch. It won't be for a couple of weeks until I get to my 1936 stack, but your review makes the proposition less appealing. 

Sorry, Lawrence. Perhaps you'll like Poppy more than I did, but, outside of Fields, it's a difficult film for me to care about.

At least in anticipation of getting to 1941 and Never Give A Sucker An Even Break, you can enjoy the fact that golden days are ahead.

[LawrenceA]

The Man Who Broke the Bank at Monte Carlo (1935) - Enjoyable Continental romance from 20th Century and director Stephen Roberts. Paul Gallard (Ronald Colman) goes to the casino in Monte Carlo and, using seed money provided by Russian ex-pats in Paris, proceeds to "break the bank", that it is, win so much money as to shut down operations at the baccarat table, 10 million francs in all. The casino bosses are understandably upset by this turn of events, so they set out to lure Gallard back to the table to lose his money. When Gallard meets and falls for lovely Helen (Joan Bennett), she make be the one to bring him back to the gambling den. Also featuring Colin Clive, Nigel Bruce, Montagu Love, Ferdinand Gottschalk, Frank Reicher, Lionel Pape, Lynn Bari, John Carradine, E.E. Clive, and Gino Corrado.

I enjoyed seeing Colman, Bennett and Love together again after Bulldog Drummond. Bennett hasn't yet morphed into the noir demoness of the second phase of her career, although there are hints starting to show through her sweet blonde exterior. Bruce is amusing as a put-upon valet. This is nice, light entertainment of the period that's forgotten as quickly as it's seen.  (7/10)

Source: TCM.

[TomJH]

14 minutes ago, LawrenceA said:

The Man Who Broke the Bank at Monte Carlo (1935)

 

This film is pretty lightweight but, darned, if the Colman charm doesn't make it an easy going pleasure anyway. When he brought that same larky debonair air to even better material, such as Bulldog Drummond or Bulldog Drummond Strikes Back, the delightful results were more memorable.

[Fedya]

Would you rather watch WC Fields as Poppy? 

[Bethluvsfilms]

Got done watching Hamlet, the 1948 movie starring Laurence Olivier.

As someone who has NEVER read a word of Shakespeare, while I admit sometimes the dialogue was hard to follow, it's still an interesting film to watch and I did manage to get the gist of it.

Spotted a young Peter Cushing as the messenger boy (or guard or someone whose job it was to deliver messages).

And Jean Simmons was very sympathetic (and quite lovely) as the unfortunate Ophelia.

[LawrenceA]

No More Ladies (1935) - Cliched but occasionally amusing romantic comedy from MGM and director Edward H. Griffith (with help from an uncredited George Cukor). Joan Crawford stars as Marcia, a wealthy socialite determined to marry serial womanizer Sherry (Robert Montgomery) rather than stable, dependable Jim (Franchot Tone). When Marcia convinces Sherry to tie the knot, it soon becomes a question of if their "modern marriage" will survive Sherry's impulsive behavior. Also featuring Edna May Oliver, Charlie Ruggles, Gail Patrick, Reginald Denny, Arthur Treacher, Vivienne Osborne, Jean Chatburn, and Joan Fontaine in her debut. 

This closely resembles the multitude of "rich and privileged marriage trouble" flicks from the advent of sound through the Pre-Code era. There are lots of posh parties with people drinking too much and acting mildly eccentric. The Crawford-Montgomery-Tone love triangle was never as interesting as the supporting players, though, and the scenes with Oliver, Treacher and Ruggles are the stand-outs.   (6/10)

Source: TCM.

[ChristineHoard]

I haven't seen Man on the Flying Trapeze in years but I remember it being very funny, especially the scene where Field gets drunk with the burglars.  I wish TCM would run it.

[LawrenceA]

Brawl in Cell Block 99 (2017) - Brutally violent indie crime drama from writer-director S. Craig Zahler. Vince Vaughn stars as Bradley Thomas, a man with a past who tried to clean up his life only to go back to drug trafficking out of desperation. When a deal goes wrong, he ends up in prison, and he's forced to do the violent bidding of those on the outside who have his pregnant wife (Jennifer Carpenter) captive. Also featuring Don Johnson, Marc Blucas, Dion Mucciacito, Tom Guiry, Fred Melamed, Clark Johnson, Willie C. Carpenter, and Udo Kier.

Vaughn is a terrific actor who got stuck playing the same character type in multiple bad comedies over the last 20 years, occasionally showing his early promise in a few choice roles. This is one of the best performances of his career, underplayed and highlighted with sharp wit and effective minimalism. Vaughn is a big guy but he's rarely exploited that in his work. Here his 6'5" frame is put to maximum use, and he's believable when he starts clobbering everyone in sight. The fight scenes, of which there are many, are also presented in a minimalist way, with none of the hyper-kinetic rapid edits common in modern action films. In fact, many of these scenes are shot with one stationary uncut take, adding to the visceral impact of the bone-breaking and blood-letting. And there is a lot of both, so viewers with weak stomachs or low thresholds for screen mayhem should steer clear. There are still a lot of rough edges in director Zahler's work (he also made 2015's excellent horror western Bone Tomahawk) but they can be attributed to the lower budgeted independent filmmaking necessary to see these kinds of movies to the screen, as no major studio would allow some of this stuff to be shown. I enjoyed this quite a bit, a really tough movie, and one of the best of the year. Recommended, with warnings.  (8/10)

Source: RLJE Blu-Ray.

[hamradio]

"Godzilla Raids Again" (1955)

Whats with the inaccurate title, the monster is called Gigantis?  The other, Anguirus must had the shortest life iof any monster in these "Godzilla" films.  Godzilla was only briefly mentioned, stating it was a different moster that attacked Japan earlier.

 

[EricJ]

6 hours ago, Bethluvsfilms said:

Got done watching Hamlet, the 1948 movie starring Laurence Olivier.

As someone who has NEVER read a word of Shakespeare, while I admit sometimes the dialogue was hard to follow, it's still an interesting film to watch and I did manage to get the gist of it.

And Jean Simmons was very sympathetic (and quite lovely) as the unfortunate Ophelia.

At least you weren't "corrupted" by Kenneth Branagh's messy and misdirected version--

Olivier went more for the intellectual "Shakespeare student" approach of trying to analyze Hamlet's indecisiveness, and cutting out a number of scenes of the story.

For our generation, though, Franco Zefirelli was still our first high-school exposure to Romeo & Juliet and Taming of the Shrew, and his '90 Mel Gibson version still Cliff-noted everything we needed to know for a popcorn audience.  (And Helena Bonham Carter as Ophelia, playing spooky-mad long before Harry Potter or Tim Burton).

[Bethluvsfilms]

6 hours ago, EricJ said:

At least you weren't "corrupted" by Kenneth Branagh's messy and misdirected version--

Olivier went more for the intellectual "Shakespeare student" approach of trying to analyze Hamlet's indecisiveness, and cutting out a number of scenes of the story.

For our generation, though, Franco Zefirelli was still our first high-school exposure to Romeo & Juliet and Taming of the Shrew, and his '90 Mel Gibson version still Cliff-noted everything we needed to know for a popcorn audience.  (And Helena Bonham Carter as Ophelia, playing spooky-mad long before Harry Potter or Tim Burton).

A friend of my has the Mel Gibson version on DVD, maybe I should have watched that version first before I gave the Olivier version a view.

[JamesJazGuitar]

Love Affair,  1932 film with Dorothy Mackaill and Humphrey Bogart.    While a standard "rich women falls for working man with ideas" plot it was interesting to see Bogart in a leading role in 1932.   He was very animated in this film.    Mackaill was a big star in the late 20s \ early 30s but she retired in 1937 to care for her aging mother.

This was on the 'retro' station that my cable company just added a few weeks back.  

[LawrenceA]

Peter Ibbetson (1935) - Unusual, uneven but effective romantic fantasy from Paramount Pictures and director Henry Hathaway. Peter Ibbetson (Gary Cooper) is an English architect hired to design and supervise the construction of horse stable for the Duke of Towers (John Halliday). Ibbetson falls in love with the Duke's wife (Ann Harding), but tragedy separates them. They devise a unique way of staying together, though. Also featuring Ida Lupino, Donald Meek, Douglass Dumbrille, Virginia Wiedler, Dickie Moore, Doris Lloyd, Gilbert Emery, and Leonid Kinskey.

Cooper admitted to being miscast in the lead, and he is. I can see how this would have been improved with Cary Grant or Leslie Howard in the lead. However, it still manages to succeed despite Cooper's very American presence. I've been a bit vague in the plot description in order to avoid spoilers as to where this story goes. The first 2/3rds are a well-done if fairly standard romance set in rarefied circles. The last third takes an unexpected direction that elevates the material while walking a narrative tightrope over the absurd. Hathaway's direction, along with Charles Lang's terrific cinematography, keep things visually interesting. My only complaints, besides the casting issue, would be that story could have had another 15-20 minutes added on to flesh out some aspects of the remaining 84 minute film. The movie earned an Oscar nomination for Best Score (Ernst Toch). This is also one of the 1001 Movies You Must See Before You Die. Recommended.  (8/10)

Source: YouTube (a very good print is currently available).

[TomJH]

7 hours ago, LawrenceA said:

Peter Ibbetson (1935)

Peter Ibbetson is a highly unusual film, both its photography and sets quite magnificent. It is also noteworthy for the casting of Gary Cooper in the title role. It was a courageous stretch for him as an actor and, while I can understand your calling him miscast, Lawrence, he also has one extraordinarily effective scene, in my opinion.

That is the one in which he returns to the grounds of the Paris home in which he had been raised as a boy. At the time he had had one childhood friend, a little girl, who lived next door and played with him in the garden. And whenever they first shyly greeted one another as a little boy and girl it would be with a simple one word, "Hello."

Now Cooper returns to those grounds for the first time in twenty years, not having seen his little friend since then but still remembering her. He looks about the property eagerly, recognizing spots where he had once played, fond memories sweeping back in upon him for the first time in years.

There is then a moment in which Cooper walks up to a tree. This is the same tree where he last saw his small friend as she sat crying on one of its branches as he was dragged away as a boy to move to another country, much against his will.

The film's camera is in the tree as Cooper, in closeup, looks directly into it, his character thinking of his little companion from so many years ago. The actor's eyes glisten and his lips struggle for a moment before he finally simply says, "Hello." In fleeting seconds the actor's eyes capture conflicting emotions, happiness at the memory followed by a sadness that his friend is gone.

Reading about it like this I realize it might not sound like much. It's a scene that has to be seen for its simple sweetness, and it's a tribute to Cooper's sensitivity as an actor that this touching little moment is as highly effective as it is.

 

[LawrenceA]

19 minutes ago, TomJH said:

Reading about it like this I realize it might not sound like much. It's a scene that has to be seen for its simple sweetness, and it's a tribute to Cooper's sensitivity as an actor that this touching little moment is as highly effective as it is.

I thought Cooper was better in the film than he himself did. He's often best in the smaller moments, and I think he was a terrific underplayer of scenes. I'm one of the few Cooper supporters around here, it seems, as he's often singled out for being overrated and/or a bad actor. I think he can be awkward in moments that call for big emotions, but in scenes where it's just a glance or a tiny smirk or just a slight furrow of the brow, he's very good.

[LsDoorMat]

Nora Prentiss (1947) 8/10

Dr. Richard Talbot (Kent Smith) is a middle aged man with two good kids, a dutiful wife, and a good medical practice, respected in the community. And he has one of the dullest most routine lives in the history of the world and doesn't even realize it until one night on his way home from his office he sees a girl (Ann Sheridan as Nora Prentiss) hit by a car and stops to render aid. She has only minor injuries, and he treats her in his office while she flirts shamelessly. He tries to remain aloof, but does kiss her goodnight at her invitation. Something awakens in Richard.

And then the two begin seeing each other. Innocently at first - he shows up at her nightclub to watch her sing on the excuse of eating dinner. And it builds from there. Suddenly the doctor realizes just how dull and routine his life is. He doesn't want to slip into the trap of an extramarital affair, and he tries to get his wife to agree to do "fun" things with him, but she just poo poos him and says they are too old for that sort of thing.

Well, the initial bloom of the affair turns to unhappiness for both Nora and Richard as Nora wants more - and so does Richard for that matter - but he just can't commit the overt act of breaking up his family. He can't make real and open what has been the truth for months. So Nora decides to make a clean break. She is moving to New York to sing in a club for an old friend (Robert Alda as Phil Denardo).

Richard won't lose Nora, but he can't bring himself to ask for a divorce either. As the clock is ticking on Nora's train out of town, in walks a patient with a fatal heart condition complaining of horrible chest pains. Richard tries to save him, but the patient dies in his office. Richard and the patient were alone. The patient has already said he lives at the YMCA and has no friends or family. And the dead man is the same weight, age,  and height as the doctor.

So a cowardly solution comes to Richard's mind. He puts the dead man's body in his own car, dowses it with gasoline, sets it ablaze, and pushes it from the road off a cliff to the rocks below. The body is burned beyond recognition with all of Richard's identifying belongings on him. And then he catches up with Nora and lies to her about how he has asked for a divorce and is leaving town with her.

He reads the San Francisco papers in New York and reads of his funeral. But he also reads of an investigation caused by his partner in the practice noticing some funny things that might mean Richard was being blackmailed and was perhaps murdered. So Richard's plans - of which Nora knows nothing - are possibly foiled. I'll let you see how this all works out, but I'll just say the irony is astounding, and ask you - at the end of the film, what would you do if you were Nora?

Kent Smith never really caught on as a major talent, but here he is great as a man who starts out as dead on the inside but respected, then alive but torn, and then trapped in a jail of his own making as his sanity slowly unwinds. Nora is a tragic figure, even though she started the flirtation, probably just making fun of a guy she at first found unbelievably stiff given the world of nightclubs in which she lived. Robert Alda is as patient as a saint as the guy who loves Nora, knows all about the home she broke up but not about how Richard actually broke it, and doesn't judge her.

If you want to watch a noir in which everybody's life becomes a train wreck but you really can't find one evil character, just one cowardly one, this is your film.

Source: TCM this afternoon. Also on Warner Archive DVD but I wouldn't really recommend it as it does not seem restored at all.

[JamesJazGuitar]

53 minutes ago, calvinnme said:

Nora Prentiss (1947) 8/10

Dr. Richard Talbot (Kent Smith) is a middle aged man with two good kids, a dutiful wife, and a good medical practice, respected in the community. And he has one of the dullest most routine lives in the history of the world and doesn't even realize it until one night on his way home from his office he sees a girl (Ann Sheridan as Nora Prentiss) hit by a car and stops to render aid. She has only minor injuries, and he treats her in his office while she flirts shamelessly. He tries to remain aloof, but does kiss her goodnight at her invitation. Something awakens in Richard.

And then the two begin seeing each other. Innocently at first - he shows up at her nightclub to watch her sing on the excuse of eating dinner. And it builds from there. Suddenly the doctor realizes just how dull and routine his life is. He doesn't want to slip into the trap of an extramarital affair, and he tries to get his wife to agree to do "fun" things with him, but she just poo poos him and says they are too old for that sort of thing.

Well, the initial bloom of the affair turns to unhappiness for both Nora and Richard as Nora wants more - and so does Richard for that matter - but he just can't commit the overt act of breaking up his family. He can't make real and open what has been the truth for months. So Nora decides to make a clean break. She is moving to New York to sing in a club for an old friend (Robert Alda as Phil Denardo).

Richard won't lose Nora, but he can't bring himself to ask for a divorce either. As the clock is ticking on Nora's train out of town, in walks a patient with a fatal heart condition complaining of horrible chest pains. Richard tries to save him, but the patient dies in his office. Richard and the patient were alone. The patient has already said he lives at the YMCA and has no friends or family. And the dead man is the same weight, age,  and height as the doctor.

So a cowardly solution comes to Richard's mind. He puts the dead man's body in his own car, dowses it with gasoline, sets it ablaze, and pushes it from the road off a cliff to the rocks below. The body is burned beyond recognition with all of Richard's identifying belongings on him. And then he catches up with Nora and lies to her about how he has asked for a divorce and is leaving town with her.

He reads the San Francisco papers in New York and reads of his funeral. But he also reads of an investigation caused by his partner in the practice noticing some funny things that might mean Richard was being blackmailed and was perhaps murdered. So Richard's plans - of which Nora knows nothing - are possibly foiled. I'll let you see how this all works out, but I'll just say the irony is astounding, and ask you - at the end of the film, what would you do if you were Nora?

Kent Smith never really caught on as a major talent, but here he is great as a man who starts out as dead on the inside but respected, then alive but torn, and then trapped in a jail of his own making as his sanity slowly unwinds. Nora is a tragic figure, even though she started the flirtation, probably just making fun of a guy she at first found unbelievably stiff given the world of nightclubs in which she lived. Robert Alda is as patient as a saint as the guy who loves Nora, knows all about the home she broke up but not about how Richard actually broke it, and doesn't judge her.

If you want to watch a noir in which everybody's life becomes a train wreck but you really can't find one evil character, just one cowardly one, this is your film.

Source: TCM this afternoon. Also on Warner Archive DVD but I wouldn't really recommend it as it does not seem restored at all.

Kent Smith could be effective when cast in the right role and he has the right screen persona for the Dr. Talbot character.     I also find him to be very effective in The Dammed Don't Cry and Cat People.

 

[JamesJazGuitar]

Wagon Train.    The guest star in this one was Bette Davis.   She was just fantastic.   Yea,  of course she was a first rate actor so one expects such a performance but to see her in this T.V. show playing along side Ward Bond was a treat.

Oh,  and Bette looked really good given her age.    

[Swithin]

1 hour ago, calvinnme said:

Kent Smith never really caught on as a major talent, but here he is great as a man who starts out as dead on the inside but respected, then alive but torn, and then trapped in a jail of his own making as his sanity slowly unwinds.

Kent Smith loved theater and had a major career on Broadway, from 1932-1957. He appeared with Katharine Cornell at least four times, including in Saint Joan in 1936. His last appearance on Broadway was in Saint Joan with Siobhan McKenna in 1957. He played in new plays and in Shakespeare, including as Henry Bolingbroke in Richard II (Maurice Evans played Richard II).

 

[LawrenceA]

Phantom Ship (1935) - aka Mystery of the Mary Celeste. Creaky, dull British maritime mystery from Hammer Films and director Denison Clift. A crew set out to sea on the Mary Celeste, circa the 1870's, only to face foul weather, mysterious motives, and murder. The odds are stack against them as all sorts of seafaring bad luck omens pop up, from 13 crew members, to a black cat onboard, to a woman (Shirley Grey) on the ship. Also starring Bela Lugosi as a crazed one-armed sailor, Arthur Margeston as the square-jawed captain, Edmund Willard, Dennis Hoey, George Mozart, Johnnie Schofield, Gunner Moir, and Ben Welden.

No one knows what occurred on the real Mary Celeste, which was found adrift with all crew missing. The storyline that the film concocts is silly and lurid, and only vaguely entertaining. Lugosi, who looks terrible, hams it up uncontrollably, and his accent is so thick that his voice is dubbed near the end when what he says is important. This was only the second film produced by Hammer, which 20 years later would become synonymous with British horror.  (5/10)

Source: YouTube.

[Dargo]

1 hour ago, Swithin said:

Kent Smith loved theater and had a major career on Broadway, from 1932-1957. He appeared with Katharine Cornell at least four times, including in Saint Joan in 1936. His last appearance on Broadway was in Saint Joan with Siobhan McKenna in 1957. He played in new plays and in Shakespeare, including as Henry Bolingbroke in Richard II (Maurice Evans played Richard II).

 

I remember back as a teen-aged box boy at a local supermarket and talking "old movies" with one of the checkers one night, an "older lady" of about 40 at the time I'd guess(hey, I was a kid at the time and heck ANYBODY over 35 was "old" to me)  and I remember being somewhat incredulous when I asked her who her favorite classic actor was, and when she replied she always had a major thing for Kent Smith.

Now, I mean I knew who he was, as he had been a regular cast member on the '60s TV series Peyton Place and had guested on many another television series of the '50s and '60s, and I had occasionally caught the guy in some old B&W film from the '40s on that old Zenith TV. However, the reason I remember this being somewhat strange to me was that in almost every movie and TV show I had seen him in up to that time, he, well, just seemed like he was so damn "boring" for want of a better adjective here.

(...yep, as James here just said about the guy, given the proper role I suppose Kent Smith could be pretty good and reasonably effective...and especially IF that role was some dude who seemed incapable of showing a little "excitement" in his life) 

[LawrenceA]

Rainbow Valley (1935) - John Wayne B-western from Monogram/Lone Star and director Robert N. Bradbury. Wayne stars as John Martin, a nice-guy drifter who comes to the aid of the title locale, an isolated community in mountain country that is being terrorized by bandits. Also featuring Gabby Hayes, Lucile Browne, LeRoy Mason, Lloyd Ingraham, Jay Wilsey, Frank Ball, and Bert Dillard.

There's not a lot to differentiate this one from the others Wayne was making at the time. The one thing that stands out is that comic sidekick Hayes drives a beat-up car named "Nellie", and leads the bandits on a lengthy chase, a unique site for the genre. There's also a lot of shooting in this one, but as it's kid-friendly, very few people actually get shot. Also, while all of these are short, this one couldn't even make it to the 50-minute mark.  (5/10)

Source: YouTube.

[TomJH]

5 minutes ago, Dargo said:

(...yep, as James here just sad about the guy, given the proper role I suppose Kent Smith could be pretty good...and especially IF that role was some dude who seemed incapable of showing a little "excitement") 

Well, was Kent Smith exciting enough for you when he transformed himself into this guy?

 

Oh, wait, that was another Kent, wasn't it?

Never mind.

 

[Dargo]

Just now, TomJH said:

Well, was Kent Smith exciting enough for you when he transformed himself into this guy?

 

Oh, wait, that was another Kent, wasn't it?

Never mind.

 

LOL

Yeeeeah, sorry Tom, but this guy here's alter ego wasn't named "Clark Kent Smith", dude!

(...good try though, ol' buddy)

[speedracer5]

Gun Crazy (1950).  I'd heard a lot about this film.  In the synopsis in the Dish Guide, it stated that this was a cult classic film.  In many ways, this noir is a lot different than many of the other noir I've seen.  I liked the camera angles that were used in the film.  Many of the scenes feature Peggy Cummins and John Dall doing their own driving and the film is shown from the viewpoint of someone in the back seat.  I also liked the tension, especially the sexual tension that was present throughout the film.

Gun Crazy is about a young man, Bart (John Dall), who from a young age is fascinated by guns.  He practices shooting at targets often and is considered to be the best shooter around.  At the beginning of the film, the young Bart, played by Russ Tamblyn, is being tried in court for stealing a gun and ammunition from a shop.  The judge admonishes Bart about his obsession with guns and also warns Bart's older sister and guardian Ruby about allowing and enabling Bart's interest in firearms.  During Ruby's defense of Bart, we see a flashback scene showing a young Bart shooting his first gun.  He shoots a baby duck and is immediately overcome with grief.  It is from this scene that we learn that Bart is not interested in using the gun as a weapon.  It is stated and reiterated multiple times throughout the film that Bart's interest in guns lies in his desire to be good at something.  He likes the sport of shooting and only shoots at targets.  That is, until he meets Annie Starr (Peggy Cummins), a female marksman who is just as good a shooter as he is, except her motivation when shooting varies drastically from his.

Bart makes the mistake of not only getting involved with Annie, he ends up marrying her.  Both Bart and Annie harbor an intense sexual attraction for one another, but they are nothing but trouble for the other.  Annie tells Bart that she wants the finer things in life.  After they run out of money, Annie gives Bart an ultimatum: either he helps her knock over some stores and banks for income, or she will leave him.  Instead of making the sane choice and letting Annie leave him, Bart agrees to become her crime buddy.  The viewer is treated to a montage of Annie and Bart's robberies--each more brazen than the last.  Bart soon comes to realize that Annie's idea of being a good marksman varies greatly from his.  Annie wants to use her skills to injure and kill the victims who may impede her goals.  Bart struggles with shooting at people, because he doesn't want to hurt anyone.  He ends up shooting out a tire of a police car that is chasing him and Annie, but its a decision he does not feel good about.  

Throughout the film, the viewer gets the sense that Bart, deep down, really is a good guy, he just doesn't seem to know how to say no.  Or perhaps he's letting his "manhood" make his decisions.  Or both.  Annie on the other hand, is nuts and knows that she's found a good partner in crime in Bart.  After being on the lam for quite some time and seemingly having gotten away with their crimes, Annie and Bart plan one last job--they're going to rob a bank.  Despite having extensively planned the entire heist, Bart and Annie finally push their luck.  They are forced to run like they have never run before. 

I loved the style of the film and the overall aesthetic.  I thought the overall story was interesting and had a hunch about how the film would end.  I was off on the ending slightly, but the overall end result was what I predicted.  The ending scene was an interesting choice.  It was quite the juxtaposition, stylistically, from prior scenes in the film.

Overall, I enjoyed Gun Crazy and I would watch it again.  I don't know if it's the most scandalous or most shocking noir I have ever seen, but I liked it. This only the second film I'd ever seen John Dall in and I liked him in this film very much.  I had never heard of Peggy Cummins prior to this film.  It looks like she appeared in quite a few films before and after this film.  While I didn't think she was particularly a great beauty, I thought she was excellent as the off her rocker femme fatale.