Reviews
Detective Story (1951)
Overrated today
This film is an anachronism especially with Kirk Douglas's overly melodramatic delivery, it was as if he was in the play trying to reach the cheap seats . His moral outrage calling his wife a tramp for her past might have played well then but not today. His vacillation between moral outrage towards his wife then softening due to feelings of romantic love then back to outrage was ultimately shallow. His lack of subtlety in his jealousy and knowing that others knew what she had done, you knew and she knew he would never forgive her, he is that shallow. Ultimately this is a shallow performance reflective of the 50's that doesn't work well today. The Moral ambiguity in Detour for example is universal due to showing it rather than the preachyness of Kirk Douglas's character in this film. Or its simply that this movie has strong characters with strong statements that are now dated. The characters such as Lee Grants shoplifter and Charlie are under developed despite having considerable screen time. Was the shoplifter mentally ill or just quirky? Was Charlie Italian? Seemed so but he couldn't pull off even a clichéd Italian characterization. All in all a Detective story is definitely watchable but history has not been kind to this movie.
Gunman in the Streets (1950)
I doubt anyone was looking hard for this "lost" film
Based on other reviews I was looking forward to seeing this "lost" film. It was disappointing. The plot was simplistic even by B movie standards. The main protagonist Eddy Roback is in no way romanticized, there is not much character development or background or back-story which means he is just a vicious thug. The director built tension well; there were some interesting scenes such as the scene in the dept store where he temporarily abducts a kid for cover, adding sociopath to this thugs character. Dane Clark added little more than brooding and visceral reaction with minimal dialogue, he brought little to this role, definitely not a leading Man. This is a unique film noir in that its set in Paris in English but that's about the only reason to watch this movie.
Lady in the Lake (1946)
A great film noir, worth watching just for the first person POV experiment
This Movie should fit anyone's film noir definition: crooked cops, dames you cant trust, dark all interior or night scenes, protagonist as hardboiled as the bad guys, a twisted whodunit you almost forget about, who cares who did it although it still surprises in the end. The plot happens right over Christmas which often creeps into the story but Christmas is just a nuisance / inconvenience in this film noir. The first-person POV does have its hokey, awkward moments but other scenes such as the car accident and the very end make up for it. There are many films including modern films like being John Malkovich that might have first-person scenes, this is one of very few entirely shot this way, worth watching for this alone. But this film is more than a novelty, it stands on its own, the movie is two hours long, it almost feels like two movies, it reaches a certain point right at the one hour mark that feels like its going to wrap up but then goes sideways, the plot certainly did work, the time flies, you don't notice the length, always a good sign. Robert Montgomery was a believable Marlowe and the snappy wise cracking dialogue between Marlowe and Audrey Totter (Adrienne Fromsett) added up to a fun chemistry although I was having a hard time buying the usual transition to love interest. The first person technique helped Montgomery, he pulled of the dialogue but is not the greatest actor, hearing but not seeing him worked to Montgomery's advantage. Totter for the most part worked, perhaps a little melodramatic at times but undoubtedly her staring directly at the camera accentuated perhaps even created this feeling. The supporting actors were outstanding: Audrey Meadows had only two scenes, the first was captivating because we cant see her face, the second she stole to create an electric end. Lloyd Nolan as the corrupt cop totally carried his part in the plot, he was friendly enough at first but hit the just right notes as a corrupt cop. His turn at the car accident and then at the end combined with the first person technique created the two most unforgettable scenes in the movie. Even Lila Leeds had a small barely more than a walk-on role but she caught your attention, it looked like one of those "get you noticed" roles that leads to bigger and better things but alas it appears not, she went on to a series of uncredited and grind house movies.
The Narrow Margin (1952)
Punching above its weight
If this film is not covered in film school it should be. The right cast of relatively unknowns, a good script, excellent directing on a low budget. The opening hooks you and takes you for a fast, exciting perfect 70 minutes. Charles McGraw pulls off the Hardboiled detective perfectly but his charge Marie Windsor steals every scenes she is in, McGraw and Windsor have great Quotable chemistry. The plot sets up the twist perfectly, you never see it coming. Almost all of the film takes place on the train which ratchets up the cat and mouse game,every evasive trick is pulled off in a believable way. I would give the award for best noir film on a low budget to Detour but this film would definitely be nominated.
Detour (1945)
The tiny perfect film-noir
Film-Noir is more about style, a mood, the rules are fuzzy but you know it when you see it and this film is it. It does have one of my favourite film-noir devices: the doomed protagonist who lives in the gutter with everyone else, is trying to do the right thing or is a supposed victim of circumstance, tries to raise above the gutter, do right thing but never makes it. In retrospect I fell for the nice guy, the victim of circumstance shtick that the main character Al Roberts tries to sell, its possible he is deluded,insane yet for a film from this era I would have expected that if he was insane it to be more obvious, the plot and acting are ham handed in many respects, I would not have expected subtlety with insanity . The feeling that Al is deluded undoubtedly comes from the need to move the plot along as fast as possible, I am sure the failed marriage proposal was due to Al loving her and she not so much but why waste time on why she doesn't love him, besides its role was to provide the plot device for Als trip. Does Sue really want Al to come to LA or is she patronizing him ? who cares ? we don't get an answer from Sue he is coming one way or another the plot demands it. Was Al really trapped in a no win situation when Haskell dies ? He could have driven Haskell to the cops or the hospital, the cause of death would have come out even with the bump on Haskells head, is Haskell actually dead ? is this the way it actually went down or is it Als deluded version? if not deluded then he is incapable of doing the right thing. The movie races along until its inevitable conclusion, things are not going to end well for Al and we know it, we are wondering could things get worse (yes, it gets much worse)we certainly cant look away.