{"id":273,"date":"2023-11-02T13:49:17","date_gmt":"2023-11-02T19:49:17","guid":{"rendered":"https:\/\/www.beaucoupkevin.com\/blog\/?p=273"},"modified":"2025-07-28T12:44:44","modified_gmt":"2025-07-28T18:44:44","slug":"deeper-into-the-shadows-a-dozen-films-noir-for-the-not-quite-neophyte-part-three","status":"publish","type":"post","link":"https:\/\/www.beaucoupkevin.com\/blog\/deeper-into-the-shadows-a-dozen-films-noir-for-the-not-quite-neophyte-part-three\/","title":{"rendered":"Deeper Into The Shadows: A Dozen Films Noir For The Not-Quite-Neophyte (Part Three)"},"content":{"rendered":"\n

Hey, ho, it’s the final chapter…for now<\/em>. Not been reading so far? Here are Part One<\/a> and Part Two<\/a>.<\/p>\n\n\n\n

Cry of the City (1948)<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

After the one-two genre punch of Moss Rose<\/em> and Kiss of Death <\/em>in 1947, Victor Mature returned to film noir as detective Vittorio Candella in this Robert Siodmak thriller, a flick that the director was unhappy with, but audiences ate up. Richard Conte\u2019s Martin Rome is a bad guy, the sort of person who\u2019s connected to multiple murders and armed robberies. He was also Candella\u2019s best friend growing up, and he loathes the man for turning to a life of crime. Candella refuses to believe that Rome didn\u2019t do the crime for which he’s been captured at the start of the picture, even if Conte\u2019s character did not, in fact, shoot a cop. That connection between our leads, the inversion of the wrong man trope, and the extensive use of location shooting in New York all combine to make this a unique piece of noir.  <\/p>\n\n\n\n

By taking the more personal, more grounded approach, Siodmak (directing a script by Richard Murphy and an uncredited Ben Hecht) sucks the audience in and doesn\u2019t let go of them. He even pills off the trick of making broader characters like Barry Kroeger\u2019s slimy lawyer and Hope Emerson\u2019s robustly-configured masseuse work in the grimly realistic setting, a testament to the director\u2019s skill. It looks great, the characters and situations demand your attention, and the climax is captivating. It\u2019s a robust enough movie that you almost forget that Conte\u2019s character\u2019s girlfriend is played by a 14-year-old. <\/p>\n\n\n\n

Almost<\/em>.<\/p>\n\n\n\n

(Blu-Ray<\/a>) (Streaming<\/a>)<\/p>\n\n\n\n

Drive a Crooked Road (1954)<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

I was honestly gobsmacked after I finished this movie \u2014 who knew Mickey Rooney had it in him? In a nuanced, thoughtful performance, the man best known for being Judy Garland\u2019s sidekick for ten movies plays mechanic and part-time race car driver Eddie Shannon, a lonely man who\u2019s picked by a pair of career criminals1<\/a><\/sup>Those criminals, by the way, are played to the hilt by Kevin McCarthy and Jack Kelly. They\u2019re gay-coded as the day is long and it\u2019s absolutely delicious.<\/span> to help them out.<\/p>\n\n\n\n

See, they plan on robbing a bank in Palm Springs, and they need a wheelman that can handle a particularly treacherous stretch of road to ensure they\u2019re able to get out of the area before checkpoints drop on all the major thoroughfares. To get Eddie\u2019s help, the hoodlums enlist Dianne Foster\u2019s Barbara, a leggy blonde who gives the shy, scarred wheel jockey the time and attention he\u2019s never gotten from a woman before. <\/p>\n\n\n\n

One of the things that makes Drive A Crooked Road<\/em> work is how much time is spent on the little things: parties in a beach house, lunch with the mechanics at the high-end shop where Eddie works, etc. There are even a few moments where you forget that Barbara is playing Rooney\u2019s character for a fool and hope that the little guy makes it. Sadly, reality intrudes and things take a nasty turn. The actual heist, which is as thrilling as these things get, ends up being secondary to the emotional rollercoaster that Eddie\u2019s put on. This isn\u2019t just a movie I recommend \u2014 it\u2019s a film noir I proselytize about.<\/p>\n\n\n\n

(DVD<\/a>) (Streaming<\/a>) (Region B Blu-Ray<\/a>)<\/p>\n\n\n\n

The Set-Up (1949)<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Speaking of powerhouse performances, this is among Robert Ryan\u2019s best, standing shoulder-to-shoulder with his turns in Bad Day at Black Rock <\/em>and On Dangerous Ground<\/em>.. He plays the world-weary Bill \u201cStoker\u201d Thompson, a has-been who gets one final shot in the ring, going against Tiger Nelson, a mob-controlled kid in his early 20s. He believes this can be his shot at redemption; his wife wants him to forfeit; his manager has taken a chunk of change from a gangster to make sure he takes a dive without informing Thompson.  It\u2019s a bad set-up2<\/a><\/sup>Get it? That\u2019s the name of the movie!<\/span>and we get to watch it all go horribly wrong in real time.<\/p>\n\n\n\n

This was Wise\u2019s last picture for RKO, his favorite that he did for the studio, and it\u2019s easy to see why. His direction in this is top flight, featuring kinetic camerawork and dramatic compositions all captured beautifully by Milton Krasner.3<\/a><\/sup>who would be Oscar-nominated a year later for a little picture called All About Eve<\/em>.<\/span> The Set-Up<\/em> is visceral, fast-paced, and handily earns its 72 minute runtime.<\/p>\n\n\n\n

(Blu-Ray<\/a>) (Streaming<\/a>)<\/p>\n\n\n\n

The Harder They Fall (1956)<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Yes, it\u2019s another boxing picture, but it\u2019s different, honest. Humphrey Bogart (in his final role) is Eddie Willis, a sportswriter whose paper has just collapsed, leaving him bereft. In what will be a fortuitous turn for his wallet, but a bad one for his soul, boxing promoter Nick Benko (Rod Steiger) happens to be looking for a PR man to promote Toro Moreno, a massive pugilist from South America. The good: Moreno\u2019s handsome and charismatic, the kind of guy crowds want to root for. The bad: he stinks in the ring and Benko has been fixing every match behind the boxer and his manager\u2019s backs, a practice that Eddie will continue during a cross-country tour.<\/p>\n\n\n\n

What can I say about Bogart? He was an actor who carried every scene he shot without any apparent effort, and this movie \u2014 which he shot while dying of esophageal cancer \u2014 features a hard-hitting4<\/a><\/sup>no pun intended<\/span> performance that\u2019s among his best. He was someone who acted with their eyes, someone able to let the audience see their characters work through their feelings, and Eddie\u2019s journey is all the more engaging because of that skill. Robson\u2019s direction and Yordan\u2019s screenplay5<\/a><\/sup>based on a Schulberg novel<\/span> are good \u2014 really good \u2014 but between Bogart and Steiger, this is a movie you can watch just for the acting and walk away feeling satisfied.
(Blu-Ray<\/a>) (Streaming<\/a>)<\/p>\n\n\n\n

Okay, there. That’s a good start to the month, right? I’ll come back to the subject again, I’m sure \u2014 I have to write about Double Indemnity<\/em> for this month’s screening at the MVFS, after all \u2014 but I’ve been thinking about curating themed lists or doing a deep-dive on a particular performer or director’s work. We’ll see; thanks for reading!<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Part three! It’s over…or is it? 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