Review: The Steel Trap

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The Steel Trap is a classic film noir from 1952, directed and written by Andrew Stone. This was the second time that Joseph Cotten and Teresa Wright starred in a film together, following Alfred Hitchcock’s Shadow of a Doubt 9 years earlier. In Shadow of a Doubt they played uncle and niece, in Steel Trap they play a happily married couple.

Cotten plays Jim Osborne, an employee at a bank, where he has worked for 11 years and has moved up the ranks some. The beginning of the film shows him doing the same routine going to work, every day, over and over again.

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He has a crazy idea in his head that just will not go away. He keeps thinking about how he could get away with robbing the bank and not get caught. He starts studying in the library different laws and extradition rules. When he decides to do it and run to Brazil, he takes his wife with him. His wife, Laurie, played by Teresa Wright, is our barometer of all that is good.

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Cotten does a great job with the internal dialog, thinking things out and deciding what the next step is. This film really gave a sense of claustrophobia, as Jim seems to get in a deeper hole all the time and the audience roots for him to get away with the money. In the end this film asks the questions, what really makes you happy in life? and does money equal happiness?

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Without giving to much away, I really liked how this film was structured. I also liked the moral questions it proposes. I guess most things noir asks this question, but Jim has a little more to lose then some of our noir protagonists.

This is a very good film, and different enough to be entertaining and fresh. If you are a fan of either of the stars, or just a fan of classic film noir, this movie is worth your time.

 

Film vs. Film: M(1931) vs. M(1951)

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Here we look at the German Expressionist all time classic M and the 1951 Hollywood film noir remake M. A story about a serial killer of children and vigilante justice. Can a re-make hold a candle to one of the all-time greatest films ever? Well let’s step into the cage for an all out noir brawl.

Round 1: Direction and Cinematography

M from 1931 is directed by one of the all time greats, Fritz Lang. Even Lang has said this is his favorite film of his career. Released in 1931, this film broke new ground in so many ways. This movie also used filming techniques that all film noir would crib from over 9 years later.

M from 1951 is directed by one of film noir’s favorites as well, Joseph Losey. This was Losey’s third film and one he didn’t want to do. He didn’t figure he could re-make a work by Lang, but was broke and took the job. He would go on to make many more classics after this film. The cinematography of this film is very good looking. The street scenes of Los Angeles are a great time capsule to see. Some of the scenes might even be more creepy then the original, like the mannequins scene. Though there is nothing wrong with Losey’s direction, we are talking about Lang and one of the most influential films ever, so we need to give this round to the original. M(1931) 1-M(1951) 0

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Round 2: Screenplay 

M(1931) is written by Fritz Lang and his then wife Thea von Harbou. They really wanted to make a film about the most horrifying criminal they could imagine. Loosely based on a real case of a serial killer targeting children, Lang and Harbou could not think of anything more scary to make a film about. Still to this day, this subject mater is fairly taboo in film and television. Can you imagine how shocking this story would have been in 1931?

M(1951) Leo Katcher, Norman Reilly Raine and Waldo Salt took the original script and revised it for an American setting and audience. They added another dimension to the script with the drunk lawyer character played by Luther Adler. They did take away the element of the beggars union hunting to find the killer, which did take a bit away from the story.

I have to go with the original again in this round. Though the remake made some interesting changes, those changes are not enough or good enough to sway the judges. M(1931)2-M(1951)0

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Round 3: Male Lead

Peter Lorre became a household name around the world from this film. He is so scary, yet you feel sorry for him at the same time, it is a brilliant performance from one of the all time greats.

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David Wayne steps into some big shoes and bravely does the character totally different then Lorre. It is a great performance where he actually seems a bit scarier then Lorre in a few scenes. Maybe the scariest part of Wayne’s performance is that he looks a lot more normal then Lorre when he is hunting for his next victim.

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This round has to go to Lorre, though I liked Wayne’s performance. Lorre just has that it factor that makes him so watchable in almost anything. M(1931)3-M(1951)0

Round 4: Supporting Cast

The original film used real life criminals and the beggars had some amazingly interesting looks. Small people, men with wooden peg legs, and the blind are very interesting to watch.

The 1951 version has Raymond Burr, Howard Da Silva, Jim Backus and Norman Lloyd just to name a few of the cops and gangsters that appear in this film. Though this is a close one, but I have to give the round to the remake. M(1931)3-M(1951)1

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Though the remake showed a bit of brilliance in the last round, the fight goes to the original by a landslide. Though both films are good in their own right and the remake is a very good film noir the original is a masterpiece. Both are worth your time to seek out and watch. Now that a remastered version of the 1951 film is available, look for a copy.

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Favorite Tidbit: Both of these films where banned at one time or another. The original was banned a few years after its release in Germany by the Nazi party. Both Lang and Lorre fled Germany because of their Jewish heritage. The remake was basically shelved after some of the crew was put on the Communist Blacklist. Losey would soon flee to Europe after this film.

 

 

Review: Too Late for Tears

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Too Late for Tears is a classic film noir from 1949 from director Byron Haskin. The film is based on a “Saturday Evening Post” serial and screenplay by Roy Huggins. This film had fallen into public domain and good copies of this film where hard to come by. Thanks to The  Film Noir Foundation we got a restored version that took 5 years to complete. The restored version debuted on Turner Classic Movies this summer and has been shown fairly regularly on TCM since.

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This film has two of noir fans favorites in it, Lizabeth Scott and Dan Duryea.

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This film starts with Jane Palmer(Lizabeth Scott) and her husband,
Alan Palmer played by Arthur Kennedy, driving down a back road when Jane wants to go back home. They argue and the car swerves back and forth. When they pass an oncoming car, somebody throws a bag full of money into their car.

Jane always wanting to have money, wants to keep the cash. Alan wants to give the money to the police, knowing it will cause problems. Jane talks him into keeping it for two weeks before they make a decision. Things turn worse when Danny Fuller( Dan Duryea) comes looking for his money. Things get out of hand fast for Jane, who does whatever it takes to keep the money.

Things get even more dire when Alan’s sister Kathy played by  Kristine Miller and a strange man Don played by  Don DeFore both suspect something is a miss.

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If you get a chance to see a restored copy of this film, jump on it. If you are a Lizabeth Scott fan, it is a must see. Scott’s Jane maybe one of the deadliest ladies in film noir. She isn’t just a femme fatale, using her charms to get what she wants, she is not afraid to get her hands dirty herself.

 

Review: A Lady Without Passport

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In 1950, the same year Joseph H. Lewis’ classic film noir Gun Crazy was released, he also had a lesser known film noir released, A Lady Without Passport.

This film starts out with a man hunting down another man on the street. When the hunted man is on the run, he is hit by a car. The police find some interesting clues in his pocket that lead to Cuba. This leads to John Hodiak’s  U.S. Immigration Service Agent Peter Karczag going undercover in Havana to bust a human smuggling ring.

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All things seem to be going by the book until he meets the beautiful Marianne Lorress played by Hedy Lamarr. Lorress is trying to get to America where her father is. Now Karczag is torn between helping Lorress and busting the human smugglers. Though this film tackles the subject of illegal immigration, a subject still relevant today, this is not the most complex or compelling story line. The film takes us from Havana, Cuba to some great scenes in the Florida Everglades. The shoot locations and Hedy Lamarr do make this an entertaining film.

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This is another well directed and great looking film by Joseph H. Lewis and should be watched by fans of his. If you are new to Lewis, I would start with the more classic Gun Crazy or The Big Combo from 1955.

News: Noir Classic ‘Kansas City Confidential’ is Coming to Blu-ray

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Kansas City Confidential is coming to bu-ray! Read the full article here:

Noir Classic ‘Kansas City Confidential’ is Coming to Blu-ray

Here is Everythingnoir.com’s review of the film:

https://everythingnoir.com/2015/08/21/review-kansas-city-confidential/

Review: Seven Thieves

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You ever notice how two films seemingly are filmed and released at similar times with more then a passing resemblance of each other? Whether it is a film about an asteroid hitting earth or two bio pics about the same subject coming out within a few months of each other. I’m not sure if this is some weird coincidence or counter measures from rival studios. This must have been the case when in 1960, two films with similar plots and even similar names came out. Seven Thieves was released five months before Frank Sinatra’s Ocean’s Eleven. Ocean’s Eleven is a star studded comedy about a group of thieves who plan to rob a big casino. Seven Thieves is a star studded film with a more noir flavor, about a group of thieves who plan to rob a big casino.

The film starts out with Edward G. Robinson recruiting Rod Steiger for a casino heist. Steiger is reluctant, but agrees to join the group as long as he can be in charge. Robinson is the brains and money man behind this heist and agrees to Steiger’s demands. The rest of the group is not as happy about the addition.

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Part of the existing team is femme fatale Joan Collins. Her job is to seduce the man that will be able to get them into the casino.

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She is a dancer at a club and her target is her number one fan. Collins is good friends with Eli Wallach, who has taken care of her since she was young. Another noir notable is Michael Dante as the safe cracker.

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This film is based on a book by Max Catto and is directed by Henry Hathaway. This has to be influenced by the film Bob le Flambeur. If you are a fan of Ocean’s 11, but would like something a little darker, check out Seven Thieves. This film is nothing ground breaking, but is a fun movie worth watching.

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Article: The Movie Star, the Gangster Boyfriend, and the Daughter With a Knife

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Lana Turner is one of film noir’s favorite femme fatales, but she found herself in a real life film noir in 1958.

Karina Longworth has a great article about Turner’s life and the incident in 1958 that changed Turner’s and her daughter’s lives forever. Here is a link to that great article over at Slate.com:

http://www.slate.com/articles/podcasts/you_must_remember_this/2015/12/you_must_remember_this_lana_turner_cheryl_crane_and_johnny_stompanato.html

Here is a great short documentary from the old television series, Mysteries and Scandals, covering Turner’s life.

 

Review: The Crimson Kimono

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The Crimson Kimono is a classic film noir from writer and director Samuel Fuller. Fuller is an interesting artist that tackled some interesting topics and pushed the boundaries with his films and this one is no different.

Glen Corbett and James Shigeta play police detectives. Not only are these two partners, but also best friends. They even live in the same apartment and have fought side by side in the war. Corbett plays white detective Charlie Bancroft while Shigeta is Japanese detective Joe Kojaku. This film was released in 1959 and I don’t know if this is the first buddy cop film with a white police officer and a minority partner, but it has to be one of the earliest.

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This film starts out with a stripper being shot and killed in the street. When a painting of the stripper in her dressing room is also shot and the only lead to the case, our two detectives track down the artist. Victoria Shaw plays Chris, the artist of the painting. When both of our detectives fall in love with the lovely Chris and Chris falls in love with Joe Kojaku, the drama starts. Will our heroes be distracted by Chris? Will they solve the murder?

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Fuller dives into the Japanese culture in this film with a lot of Japanese martial arts being highlighted as well as a Japanese community parade. The big topic this film tackles is a biracial relationship. I liked how the criminal motives and Joe’s inner struggles parallel each other. The pull of love over friendship as well as Joe trying to figure out what is right and what is wrong for him and those he cares about is well portrayed.

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Fuller was a pioneer in many ways in this film, taking themes and subject matter like martial arts, minority cultures and interracial relationships and using them in a story line. Common themes we almost expect in films today, but in 1959 this had to be new to the audience.

I like this film overall, but felt the love triangle was rushed or forced at first. This could be because of editing or budget and time constraints on the film. An interesting film for those looking for for something unique to watch and fans of Fuller.

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2015, A Look Back at a Year in Noir

Coming off one of the best years in the genre in 2014, 2015 was a bit of a let down. With box office and critical hits Gone Girl and Nightcrawler and a cult classic in the making with surprise hit John Wick along with a crowd sourced funded return of Veronica Mars just to name a few of the highlights at the theater in 2014. 2015 really didn’t see any success at the box office for films in the neo noir genre.

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The year started out with a bang, when in January, Paul Thomas Anderson’s Inherent Vice was released. Inherent Vice was a critical success, even if it didn’t do well at the box office and was not well received by the general public, it was my favorite film of the year. Here is my review of that film:

https://everythingnoir.com/2015/06/02/review-inherent-vice/

On the same day as Inherent Vice was released, a film from Australia was released in the States. It stared an always good Ethan Hawke in a sci-fi neo-noir that will make you think. Predestination from the Spierig Brothers is a stylish film worth watching. Here is my full review of that film:

https://everythingnoir.com/2015/02/20/review-predestination/

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Though we got a lot of good small budget neo noir films this year, the stand out for me was Glass Chin. Read the full review here:

https://everythingnoir.com/2015/08/24/review-glass-chin/

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Though film didn’t have a stellar year, television did! I have not seen it yet(hope to watch it with in the next week) True Detective Season 2 sounds like it was a bit of a let down(season 1 may have been the best television season ever, 2 was bound to be a bit of a let down), other programs stepped it up.

Season 4 of Ray Donovan was the best season yet and Season 2 of Fargo was my favorite series this year.

https://everythingnoir.com/2015/10/06/article-rolling-stone-fargo-how-the-midwestern-noir-just-got-even-better/

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We also got the Breaking Bad spin-off Better Call Saul that came out in February and seems like a decade ago in a time of great television. Here was a look at Season 1:

https://everythingnoir.com/2015/04/09/review-season-1-of-better-call-saul/

One of my favorite characters was back for a short special, Luther. Here is a look at season 4 of that series:

https://everythingnoir.com/2015/12/29/review-luther-season-4/

Public Morales debuted on TNT, but got poor ratings and was cancelled after season 1. You can see how high the competition is, when this fine series only made it through one season.

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https://everythingnoir.com/2015/10/25/review-public-morals-season-1/

Gotham had another great season as well. For sci-fi neo noir fans, check out the Expanse, which as just started on SyFy. There is also a long list of television I have not got to see, but want to soon. Netflix has released Bloodlines, Daredevil and Jessica Jones while Amazon has Bosch just to name a few. It is safe to say, we are in the golden age of television.

Classic film noir fans had a great summer with The Summer of Darkness over on TCM. They also offered a college course on film noir for free. I took the class and found it very informative.

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TCM debuted a few newly restored classic films noir this summer, including Woman on the Run and Too Late for Tears. Look for a full review of Too Late for Tears soon and here is a link to the review of Woman on the Run:

https://everythingnoir.com/2015/06/24/review-women-on-the-run/

In Noir literature we had a number of big and small releases. Publishers like Hard Case Crime and All Due Respect continue to release pulp noir books worth checking out. Hard Case Crime continues to re-print the Quarry books which I have fallen in love with. All Due Respect had a couple of releases I loved including Selena by Greg Barth and Love You to a Pulp by CS Dewildt:

https://everythingnoir.com/2015/12/01/book-review-quarrys-list-by-max-allan-collins/

https://everythingnoir.com/2015/12/07/book-review-selena-by-greg-barth/

https://everythingnoir.com/2015/04/19/book-review-love-you-to-a-pulp-by-c-s-dewilt/

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We also got the second book by Rob Thomas continuing the multi-media story of Veronica Mars:

https://everythingnoir.com/2015/02/01/review-the-first-two-veronica-mars-books-the-thousand-dollar-tan-line-and-mr-kiss-and-tell/

There was a number of books that came out this year that I did not get a chance to get to(I’m not the fastest reader in the world). The Cartel by Don Winslow, World Gone By by Dennis Lehane and Where All Light Tends to Go by David Joy just to name a few.

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2016 looks to hold many new television shows, movies and books worth watching. Check back to Everythingnoir.com for the latest news and reviews as I will try and keep the noir fan abreast. What was some of your favorite noir works of the last year?

 

 

 

Film vs. Film: High Sierra vs I Died a Thousand Times

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Classic film noir fans didn’t see to many remakes of a film, with both being made during the classic film noir era. Here is a rare example of just that, High Sierra from 1941 was remade 14 years later as I Died a Thousand Times. So what film is the better movie? I sat down on a Sunday afternoon and watched both of these films back to back to try and answer that question.

Both of these films are based on noir author W.R. Burnett’s book, High Sierra from 1941.

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Round 1: Screen play 

The screenplay is also by W.R. Burnett, though he had John Huston’s help with High Sierra. The dialog is about 85% identical and the story is about 95% identical. It isn’t quite a frame for frame re-make, but it is close.  I would call this a wash, but since the remake basically does not add anything to the original, I’m giving this round to High Sierra. Score: High Sierra 1-I Died a Thousand Times 0

Round 2: Direction and Cinematography 

High Sierra is directed by Raoul Walsh coming off of directing They Drive by Night. I Died a Thousand Times is directed by Stuart Heisler towards the end of his film career as he moved on to television. High Sierra is filmed in black and white while I Died was filmed in Warner Color and CinemaScope. I know, “this is film noir so black and white has to win this battle.” I would say yes to this question most of the time. Black and white cityscapes are the back bone of film noir after all, but this film is more of a country noir, taking place in the beautiful Sierra Mountains for most of the film. Those mountains sure do look better in bright color and on a widescreen. High Sierra is early in the film noir cycle and doesn’t have much of that classic shadowy cinematography like later films either. So I’m giving this round to I Died. High Sierra 1-I Died a Thousand Times 1

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Round 3: The Male Lead

I Died stars the hulking brute Jack Palance as Roy. He is quite a presence on the screen. He looks big and tough and talks big and tough. He is more of a smart thug.  Humphrey Bogart’s star is on the rise here, The Maltese Falcon would arrive later in 1941 and launch him into super stardom. Bogart’s portrayal is more of a smart gangster with a bit of a psycho streak. Both actors have an unique voice and add something to the lines they speak. Well, lets face it, this is film noir and nobody does it better then Bogart. High Sierra 2-I Died a Thousand Times 1

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Round 4: Female Lead

Ida Lupino actually got top billing over Bogart in High Sierra. She was the bigger star at this point in time. Lupino is a film noir legend as an actress and director. I love everything I’ve seen involving Lupino so far. Shelley Winters stars in I Died and adds quite a bit more depth to this character for me. Lupino’s Marie has it together, while Winters’ Marie is trying to survive in a dark world without many options. Winters’ Marie made me believe Roy was her last hope, where I felt Lupino would land on her feet if she lost Roy. Though I loved them both, I’m giving this round to Winters. High Sierra 2- I Died a Thousand Times 2

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Round 5: Supporting Cast

Arthur Kennedy and Alan Curtis are very good as Red and Babe, but Earl Holliman and Lee Marvin seem to be more dark for me. I also liked Lon Chaney Jr. as Big Mac in I Died, but liked Henry Hull as ‘Doc’ Banton in High Sierra. The dogs are both entertaining as Pard. I’m going with I Died for this round. High Sierra 2- I Died a Thousand Times 3

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Well it looks like the remake wins this round by round battle, but lets face it, there was actually a knock out in Round 3 and the fight was called. It’s Bogart after all! Both of these films are great, but High Sierra is a classic for a reason. Though if you have not seen I Died a Thousand Times, you should, it is a bit of a hidden gem from the classic film noir era. I enjoyed both films and if High Sierra was never made, we would be talking about the great classic I Died a Thousand Times. Lets face it, High Sierra is a film that never needed a remake, but if you have to make one, I Died a Thousand Times is as good a remake as you are going to find. Maybe on a Sunday afternoon you will have to watch this double feature and let me know your thoughts.

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