I love Raymond Chandler’s writing. It was one of the things that made me want to move to Los Angeles. Here’s a movie based on Chandler’s novel Farewell My Lovely. They changed the name to Murder, My Sweet because it was Dick Powell’s first non-singing, dancing role and they didn’t want the public to think this was a musical. I always liked this movie, it’s Studio filmmaking at it’s crazy noir best.
Some excellent montages credited to Douglas Travers, classic stuff, the sequence with the ever smaller doors influenced the opening of The Twilight Zone and there are some great opticals, whenever Marlow gets slugged he falls into an optically printed pool of inky blackness spreading out by his feet.
There’s also double exposed frozen smoke over a section of the film, that image was taken right out of the book and it works nicely.
Also Moose Malloy (Mike Mazurki) is revealled reflected in the window glass of Marlow’s office by the blinking of an sign on the exterior of the building. A nice touch.
The set-ups can feel a bit hackneyed but I still enjoy the hell out of this flick. The sequence at the fake sanatarium is priceless and oft repeated in other films. it is interesting to compare this film with D.O.A., both are bookeneded by the protagonist telling his story to a police detective at the station house. Murder is a studio production, RKO to be exact, D.O.A. is an independant film made mainly on location, with a lot of on the street photography, kind of proto New Wave. Anyway if you haven’t seen it you’re in for a fun time. It’s a classic tale, Chinatown rips it off, every L.A. detective movie was influenced by it. The one change I didn’t like was making Florian’s bar a white joint. It’s on Central Avenue and is a Black owned bar in the book. It makes the scene of Marlow and Malloy trying to get info on Velma even better, more tense. I’m sure the Black actors could have used the work!
This is a classic movie, iconic L.A. locations, a twisted noir plot, amazing San Francisco street footage, a crazy bebop Jazz sequence and Neville Brand. Where to begin? Well I had a friend in town visiting frome Rome, Italy that is, Trevi Fountain, Cinecitta. Anyway I wanted to show him around downtown L.A. and one of our stops was the amazing Bradbury building. Most people recognize it as the location in Blade Runner, where Harrison Ford fights Rutger Hauer but I think equally as important a use for this location was in D.O.A.
I recommended to my Italian friend that he watch D.O.A. and see how the building we just visited was used in that film. I wound up watching it again and I realized that Russel Rouse was one of the writers and Harry Popkin was the producer.
These guys were responsible for some of the hippest 50’s noir to hit the silver screen of your local drive in. I did not know they were part of the D.O.A. team. Popkin and Rouse worked on The Well, a searing indictment of racism, ahead of it’s time and The Thief. Rouse made Wicked Woman, a film I recently wrote about. So that got me re-interested in D.O.A. , Let me just vsay it right out front I am not a big fan of Edmund O’Brien, but his scene chewing style works pretty well at times in this film and he runs like no one in Cinema! His frenzied run for your life performance on the streets of San Francisco, crashing into innocent bystanders is a highlight of the film.
Other wonderful elements include an incredible sequence aboard a city bus, where the gangsters that want to kill O’Brien are following the bus he’s on and you can see them out the window of the bus at night as they stalk him. A beautiful nightmarish sequence. Actually the nighttime photography of downtown L.A. is particularly great, Neville Brand taking O’Brien for a ride especially.
There is a great wild man jazz sequence that has frenetic performances of Black Jazz musicians that is outstanding. I love musical sequences and this one is a doozy.
I think it would be educational to compare this sequence to some that Robert Siodmak did, like the crazy jazz jam session in Phantom Lady or the dance scene in Criss Cross. The D.O.A. scene is really great performances, great shots and great editing, Siodmak’s reveal a planned out sequence that works beautifully, it was created in the director’s mind while the D.O.A. scene was put together in the editing room.
Rudolph Mate’ the director of D.O.A. started as a camerman in Europe, shooting such masterpieces as Dreyer’s The Passion Of Joan Of Arc, this is the movie that Anna Karina watches in Godard’s Vivre Sa Vie. Mate’ also directed a film that was a location on another stop of my downtown tour, Union Station, a noir that takes place at perhaps the most iconic downtown L.A. location.
Rudy at the camera films Dietrich
Mate’ was director of photography on many, many classic Hollywood films, Pride Of The Yankees, Dante’s Inferno, Foriegn Correspondent, Stella Dallas, Sahara, Gilda and The Lady From Shanghai, to name just a few. He delivers a fast paced ( 83 minute) gem that never let’s up and has many especially well directed scenes, take for example the final confrontation, at The Bradbury Building. It is shot just like a classic shootout from a Western, incredible.
Whenever a director can put another subtext or layer of meaning onto a scene and it is harmonius with the action not obtrusive, it’s a wonderful thing. Watch it for yourself, a film class in 2 minutes. Then there’s Neville Brand, so over the top as Chester the thug or maybe goon is better, Sadistic, simple minded, evil but with a lot of personality.
Chester doesn’t like Bigelow. He’s soft in the belly!
I like Neville Brand, check him out in the underrated Eaten Alive by Tobe Hooper. And as Quentin Tarantino once told me, the second most decorated soldier of WWII after Audie Murphy. So check out D.O.A. then go down and visit the Bradbury building, you can park across the street at the Grand Central Market and have lunch.
P.S. Here it is on YouTube.
This is a great restoration of a seminal film. Masters Of Cinema has done it again. They release high quality material. The Cabinet Of Dr. Calgari went through a rigorous restoration by the F.W. Murnau Siftung. The original camera negative was used whenever possible, I believe for most of the film except the first reel. You can see so many details that were lost, like the chalk lines on Cesare the somnambulist’s black outfit and the painted sets, costumes, and characters faces have never looked so good, so full of expression.
Ceasare, the sensative somnambulist
It is fascinating to watch a film that takes place in such an unrealistic setting, almost all scenes were photographed in front of painted backgrounds and yet is so effective. A miraculous achievement. This film was a huge commercial hit as well. Perhaps owing to it’s unorthodox “You Must Become Calgari” ad campaign.
A still from The Blackguard, a film Hitcock worked on at Ufa in Berlin in 1925
Tony Perkins does resemble Cesare, Cesare (Conrad Veidt) later played Maj. Strasser in Casablanca, the Nazi Bogey shoots at the airport. He was also in The Thief Of Baghdad with Sabu.
Cesare in Hollywood, transformed into evil Nazi Maj. Strasser
There’s a story that Fritz Lang wanted to direct Calgari but wasn’t able to do so because of other commitments, I believe it, Lang later went on to direct the DR. Mabuse films and The Testament of Dr. Mabuse shares a similar theme with Calgari, the head of an insane asylum is an evil maniac, spreading mayhem and murder.Lang was not above borrowing from his peers, in Murnau’s Faust, a fantasy sequence shows rising rings of energy surrounding the transforming Faust, this same imagery was used by Lang in Metropolis during the creation of the robot Maria.
Such an incredibly rich period of German Filmmaking! They really set the stage for fantastic, dark, atmospheric, dreamlike Cinema. Then they fled Hitler came to the USA and created Film Noir, a great legacy.
UPDATE: I recently read that Murnau’s grave had been broken into and his head was stolen. They found melted wax at the scene from candles, suggesting an occult angle. Satanists wanted the skull of the man that made Nosferatu and Faust?
Here is a TV show that starred the great Lee Marvin! Wow , a treasure trove of unwatched pieces of Lee Marvin, how cool is that! You can watch episodes on the internet or buy a 16 dvd set of the entire series. I leave that up to you, how big a fan of Lee Marvin are you? Here’s a litmus test. Anyway it looks like they shot some second unit in Chicago, Lee’s big Ford barrelling around the city, so he could do some voice over, then cut to a process shot of him driving in front of projected footage of Chicago streets while he continued his expository VO.
I guess Revue later became Universal Television, where Leee Marvin would star in the first 2 hour movie made for Television, Ernest Hemingway’s The Killers, you can read about that here in a previous post. That’s probably what got me on this Lee Marvin kick in the first place.
Here’s a tasty noir treat from 1953, Wicked Woman. Written by filmmaking team Russel Rouse and Clarence Greene, directed by Rouse, produced by Greene on a shoestring, the movie works despite of our maybe partly due to it’s limitations.
Here’s a lesson to low budget filmmakers, keep your locations to a minimum. Wicked Woman basically has two, a bar and a cheap rooming house. The sets are pretty bad but that’s what makes them good, at one point Billie (the Wiced Woman) throws her sleazy neighbor out and slams the door, the wall of the set shakes, but I think that’s cool, it’s like Fellini said the magician must show the audience he has a card up his sleeve so when he does trick them it’s even more astonishing. This movie works on an iconic level, the Blonde Bombshell travelling from town to town leaving a trail of decimated men and women.
The Main Title Theme is sung by Herb Jeffries, The Bronze Buckaroo, a black singing cowboy star. Beverly Michaels is great as the Wicked Woman, too bad she retired after only a few more films, maybe she was too real, too ahead of her time to be appreciated. I think she’s great. Russel Rouse must have thought so too, he married her. They had a son Christopher Rouse, he’s a film editor that’s won an Academy Award.
The filmmaking is top notch, beautful images , great lighting, great sets. The wonderfully evil Dr. Cyclops, Albert Dekker.( I’ve got some great stories about him but I’ll save them for a later post) William Conrad and Charles McGraw are the amoral Killers of the title and they are bad news.
This movie besides being beautifully made by a master craftsman at the height of his powers is a very influential film. The Killers terrorizing ordinary citizens in a lunch box diner, a scene we have seen many times since , the guy from the Past recognizing his prey at an out of the way gas station, a lot like Out Of The Past. The intricate flashback structure, effortlessly pulled off.Miklos Rosza’s score, introducing the theme from Dragnet.
A seminal film! One of the first Film Noirs! Then we get Don Siegel’s The Killers with John Cassavettes, Angie Dickinson, The amazing Lee Marvin, Clu Gulager and in his last role Ronnie Reagen! As a bad guy no less, wow!
The sets are pretty amazingly fake looking, especially in BluRay, you can see the blown up photograph backgrounds and rear screen projection a mile away. But in spite of that the movie works, a tribute to good acting and directing. Reagen is great as an evil prick, he even takes part in a heist! I had never seen this gem before and I’m glad I did. I am a big fan of Siegel. This movie is a bit wack but it doesn’t disappoint.
We also get as an adeded bonus, Andrei Tarkovsky’s student film version of The Killers and it’s great. It’s great to hear this dialog in Russian! Super Noir american gangster speak in Russian, how cool is that. They throw in a radio play version acted by Burt, Shelly Winters, and I think William Conrad, it’s cool but the coolest thing is to here Robert Siodmak speak! He’s on the show nd they’re trying to spin that he was born in Memphis Tennessee, a bull story to make him American and not a German! WWII was just over. He sounds very funny! The guy was a genius, he got his US directing break by amusing Preston Sturges and making him laugh. Also we get a recorded interview with Siegel, man can he talk fast! All in all, alot of bang for your buck. Get one today!
I went down to the New Beverly to check out The Sand Pebbles, a 1966 film starring Steve McQueen, Richard Attenborogh, Candace Bergen, Richard Crenna, Mako, and featuring my pal James Hong.
The print was striped with 4 track magnetic sound, and it did sound great, a lot of dynamics, and an extended frequency range. The score sounded incredible, (Jerry Goldsmith) and there was a lot of music in this film. The print was pretty faded so it was kind of like watching a Black and White film with pink overtones, every once in a while a bit of color would appear but after a minute back to pinkville.
The Great James Hong as Shu
I had never seen the film before and this 3 hour and 15 minute version (complete with intermission) is longer than the regular release. A Road Show Print was usually longer or had mag tracks or maybe was struck from the original negative. These were screened at big venues, NYC, Chicago, LA. before the film went into wide release. Now I am not sure what scenes were included in this version that were left out of the regular release but I have a feeling that there was more engine room footage in this long version. Why? Because there is a 20 minute sequence of Steve McQueen lovingly working on the steam powered ship’s engine and it is great!
McQueen was a motor nut, racing cars, motorcycles and amassing a huge collection of both. I think he really identified with Jake Holman, the character he’s portraying. One of the best scenes in the movie is a tense sequence of repairing the massive engine, a tour de force of suspense. McQueen’s company, Solar Productions co-produced the film and I think he had a lot of say as to what went into the final product. It feels like a personal film for McQueen. Maybe the fascination with machines, with the mechanics of things says something about McQueen’s world view.
There is also a great battle scene as the ship (The San Pablo) runs a barricade in the Yangtze River. Great stuff.
I relly liked a scene in a chapel where Richard Attenborogh marries his Chinese girlfriend Maily while McQueen and Candace Bergen look on. Something about that scene, the way it’s staged, it just feels like a movie scene from another era, but in a good classical way.
Robert Wise does a great job directing this film. He directed classics in so many genres, a great filmmaker. William Reynolds, a super editor cut it. I met him once at Genghis Cohen, an L.A. Chinese restaurant, having lunch with his crew. A good friend of mine, another great editor Bud Smith, worked with McQueen on the television show Wanted:Dead or Alive. He and McQueen bonded, both were avid motorcyclists and car racers. They spent time riding in the SoCal desert. And if you ever find yourself at Casa Bianca, waiting for a tomato pie, look on the wall. There amidst the many celebrity 8X10’s is a picture of Steve McQueen from Wanted:Dead or Alive. I guess he was a fan of their pizza too.
This reminds me of a scene in a cool Italian film Grazie Zia, check that out too.Read all about it here. It also reminds me of a play I saw at the Public Theater in NYC. The Mabou Mines production of a Samuel Beckett Radio Play The Lost Ones. Man it was cool, more about that later.
Here’s a noir bombshell from1949. Byron Haskin directed it, he was a special effects guy at Warner Bros. and later directed The War Of The Worlds for George Pal. He also directed some of the best episode of The Outer Limits, Demon with A Glass Hand, and The Architects of Fear. Hunt Stromberg produced this “cookie full of Arsenic”. He had a long run as a successful producer at MGM, he came up under Thalberg and worked with Selznick, then he got into a beef with Louis B. Mayer and went independent. This is one of his independent creations. The script was by Roy Huggins, based on his novel and it’s a winner, great characters, excellent dialog, everything top notch except the very end, oh well. Huggins went on to be a giant among TV creators/Producers with such shows as The Fugitive, Run For Your Life and The Rockford Files.
But the real heroes of this opus are Lisabeth Scott as the one of the coldest killers ever to grace the silver screen and Dan Duryea, the slime king. Best known for slapping women onscreen, the poster for this film is Dan slapping Lisabeth! They marketed the film on his woman beater appeal.
I have a theory about noir, WWII is over, soldiers are returning home, a lot of G.I.s got Dear John letters, their wives left them while they were at war. Tokyo Rose would broadcast stories of infidelity by Statebound brides to the soldiers overseas. This led to the creation of the Noir Femme Fatale, the false female, who’ll smile , seduce, and kill without missing a beat, sure they can turn on the waterworks, shed tears at the drop of a hat, but underneath, all business. So here is the returning soldier’s nightmare come true. What’s the one thing a desperate soldier, far from home could think about to give himself some relief from killing, mayhem, explosions? Little Sally Jean, the girl he left swinging on the garden gate. What if Tokyo rose was right? She’s evil, corrupted. His dreams are all Lies! Well, here she is, the beautiful blonde with the morals of a scorpion. Lisabeth Scott is amazing in this film. She turns from a bitchy but seemingly happily married woman in an instant all because of money, the old do re mi, a lot of it that drops in her lap. I don’t want to ruin the story but there are some depraved scenes of her and Dan Duryea getting it on just because he can make her do it, they hate each other! It’s deliciously perverse! According to Eddie Muller, the czar of noir, almost all of the budget went to the two big stars, they were worth it!
It was later re-released under this title
So the production of the film was low budget, a lot of the action takes place in Scott’s apartment but it makes the film psycologically more real in a way. You feel trapped in that nest of evil. There are some scenes in Dan Duryea’s flop, it’s perfect as the dump a small time creepy crook would hang his hat in. Another couple of great locations are Union Station, maybe the most beautiful building still left in L.A. and the lake at McArthur Park, called WestLake Park in the movie. A one time high rent district that’s now kind of funky. Silent Film director William Desmond Taylor was murdered in his bungalow just around the corner. Anyway the film is in poor shape, Eddie’s Noir Foundation did a restoration with UCLA but I don’t think that’s out on video yet so you have to make do with what’s available. But next time it screens at the Noir Festival, I will be there.
Here’s the best looking Youtube version I could find.
I found this on Youtube. It’s a great story and more common than you would think. Hollywood logistics. But Rey is excellent in the role, the contrast between the sophisticated European enjoying a gourmet meal while Popeye is outside in the rain on stakeout, drinking bad coffee is delicious. So hats off to Friedkin for being open to making a mistake work for him. an important tool in the bag of tricks of any artist.
Look at this amazing color still from the production of Touch Of Evil, how cool, it makes it seem like it could be happening today not 57 years ago. That alley is probably still there in Venice, CA. Everybody talks about the opening shot, which I love, but the shot that also blows my mind is in the love nest apartment, where Quinlan plants the dynamite in the bathroom, check that out, it’s another very, very long take and the overlapping dialog plays like a radio play. It’s so masterfully done you don’t realize you’ve just watched a 5 minute take (or whatever legnth it is.) Watch it with the sound off then you can pay attention to the staging, there’s a lot of off camera dialog that directs your attention outside the frame. As Claude Chabrol said”Off screen dialog is extremely powerful.”
Another side note, I recently re-watched Godards Alphaville, Akim Tamiroff is in it as well as Toch Of Evil. In TOE he winds up dead with his tongue grotesquely protruding from his mouth, in Alphaville he keeps sticking out his tongue in the scene in his hotel room with the Seductress 3rd class and Lemmy Caution. Did Godard direct him to do that as a reference to TOE? The Cahiers du Cinema gang were the first to praise Welles movie as a masterpiece, the studio didn’t like it. He was a bit too far ahead of his time once again.