{"id":285,"date":"2023-11-07T09:10:01","date_gmt":"2023-11-07T15:10:01","guid":{"rendered":"https:\/\/www.beaucoupkevin.com\/blog\/?p=285"},"modified":"2023-11-07T09:10:03","modified_gmt":"2023-11-07T15:10:03","slug":"noirvember-fritz-langs-human-desire-1954","status":"publish","type":"post","link":"https:\/\/www.beaucoupkevin.com\/blog\/noirvember-fritz-langs-human-desire-1954\/","title":{"rendered":"Noirvember: Fritz Lang&#8217;s &#8220;Human Desire&#8221; (1954)"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"674\" height=\"1024\" src=\"https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/MV5BMGJlNWE4NmEtMmVjOC00MWE4LWI4MGItYWRmOTU5OWU3YTQ1XkEyXkFqcGdeQXVyMjA0MzYwMDY@._V1_FMjpg_UX1000_-674x1024.jpg\" alt=\"\" class=\"wp-image-286\" srcset=\"https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/MV5BMGJlNWE4NmEtMmVjOC00MWE4LWI4MGItYWRmOTU5OWU3YTQ1XkEyXkFqcGdeQXVyMjA0MzYwMDY@._V1_FMjpg_UX1000_-674x1024.jpg 674w, https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/MV5BMGJlNWE4NmEtMmVjOC00MWE4LWI4MGItYWRmOTU5OWU3YTQ1XkEyXkFqcGdeQXVyMjA0MzYwMDY@._V1_FMjpg_UX1000_-197x300.jpg 197w, https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/MV5BMGJlNWE4NmEtMmVjOC00MWE4LWI4MGItYWRmOTU5OWU3YTQ1XkEyXkFqcGdeQXVyMjA0MzYwMDY@._V1_FMjpg_UX1000_-768x1167.jpg 768w, https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/MV5BMGJlNWE4NmEtMmVjOC00MWE4LWI4MGItYWRmOTU5OWU3YTQ1XkEyXkFqcGdeQXVyMjA0MzYwMDY@._V1_FMjpg_UX1000_.jpg 1000w\" sizes=\"auto, (max-width: 674px) 100vw, 674px\" \/><\/figure>\n\n\n\n<p>Fritz Lang is one of those directors whose name is synonymous with film noir: a German expatriate who brought his expressionistic storytelling technique to Hollywood and quickly began to change how studio films looked and felt. His debut, <em>Fury<\/em> (which I talk about <a href=\"https:\/\/www.beaucoupkevin.com\/blog\/deeper-into-the-shadows-a-dozen-film-noir-for-the-not-quite-neophyte-part-one\/\">here<\/a>) still shocks in spite of its studio-mandated happy ending, and\u00a0movies like <em>The Woman In The Window<\/em> and <em>Scarlet Street<\/em><sup class=\"modern-footnotes-footnote \" data-mfn=\"1\" data-mfn-post-scope=\"000000000000029e0000000000000000_285\"><a href=\"javascript:void(0)\"  role=\"button\" aria-pressed=\"false\" aria-describedby=\"mfn-content-000000000000029e0000000000000000_285-1\">1<\/a><\/sup><span id=\"mfn-content-000000000000029e0000000000000000_285-1\" role=\"tooltip\" class=\"modern-footnotes-footnote__note\" tabindex=\"0\" data-mfn=\"1\">both starring the excellent Edward G. Robinson<\/span> showed that you could elevate the basic, budget-friendly thriller with creative photography and direction that allowed the audience to care more about the characters than the plot.\u00a0<\/p>\n\n\n\n<p>In 1953, he teamed up with Glenn Ford to make one of the genre\u2019s all-timers, <em>The Big Heat<\/em>, in which a cop single-handedly takes revenge on the criminal syndicate that rules his city. The critics loved it, it made the studio a lot of money, and Ford and Lang would be reunited a year later for <em>Human Desire<\/em>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">An Unnamed City, A Seemingly-Familiar Story<\/h2>\n\n\n\n<p>Loosely based on a book by \u00c9mile Zola,<sup class=\"modern-footnotes-footnote \" data-mfn=\"2\" data-mfn-post-scope=\"000000000000029e0000000000000000_285\"><a href=\"javascript:void(0)\"  role=\"button\" aria-pressed=\"false\" aria-describedby=\"mfn-content-000000000000029e0000000000000000_285-2\">2<\/a><\/sup><span id=\"mfn-content-000000000000029e0000000000000000_285-2\" role=\"tooltip\" class=\"modern-footnotes-footnote__note\" tabindex=\"0\" data-mfn=\"2\">That had been filmed twice before as Renoir\u2019s <em>La B\u00eate Humaine<\/em> and <em>Die Bestie im Menschen<\/em>, directed by Ludwig Wolff.<\/span> <em>Human Desire<\/em> kicks off with a wholesome, all-American scene: Jeff Warren (Ford), freshly discharged from the Army after service in Korea, returns to his hometown to pick up where he left off, starting with his duties as a train engineer for the Central North Railroad. \u00a0 We get to see that while most things haven\u2019t changed \u2014 Jeff\u2019s coworkers are the same guys with the same complaints and his boss barely looks his way \u2014 two notable shifts have occurred that will impact him directly.\u00a0<\/p>\n\n\n\n<p>First of all, he discovers that Ellen, the daughter of his best friend<sup class=\"modern-footnotes-footnote \" data-mfn=\"3\" data-mfn-post-scope=\"000000000000029e0000000000000000_285\"><a href=\"javascript:void(0)\"  role=\"button\" aria-pressed=\"false\" aria-describedby=\"mfn-content-000000000000029e0000000000000000_285-3\">3<\/a><\/sup><span id=\"mfn-content-000000000000029e0000000000000000_285-3\" role=\"tooltip\" class=\"modern-footnotes-footnote__note\" tabindex=\"0\" data-mfn=\"3\">Played by Edgar Buchanan, who would go on to make a dozen movies and the first season of a TV show with Ford.<\/span> is now an enchanting young woman. The second, more important change: the alcoholic yard supervisor Carl Buckley (Broderick Crawford) went and got married to the gorgeous young Vicki (Gloria Grahame). Vicki\u2019s got a past, Carl can\u2019t handle it, and things spiral out of control, creating a vortex that drags Jeff down.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"667\" src=\"https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/humandesire1954.3672-1024x667.jpg\" alt=\"\" class=\"wp-image-288\" srcset=\"https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/humandesire1954.3672-1024x667.jpg 1024w, https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/humandesire1954.3672-300x195.jpg 300w, https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/humandesire1954.3672-768x500.jpg 768w, https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/humandesire1954.3672-1536x1001.jpg 1536w, https:\/\/www.beaucoupkevin.com\/blog\/wp-content\/uploads\/2023\/11\/humandesire1954.3672-2048x1334.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>Ford\u2019s exceptional as the everyman who\u2019s obviously carrying a bit of the war inside him still. Despite the smiles and warm reunions, Jeff\u2019s a guy that just doesn\u2019t know what to do with himself when he\u2019s not working, and that\u2019s one of the reasons he gets sucked into the deeply murky Vicki\/Carl situation. Jeff knows he shouldn\u2019t get involved with Vicki, especially with it being obvious that Ellen is the better choice for him, but noir has never been about making the better choice. Jeff has nothing to call his own; Vicki wants him. It\u2019s just that simple.<\/p>\n\n\n\n<p>Lang\u2019s mastery of the medium is on display, as is to be expected. It may not have the expressionist photography of his earlier films, but <em>Human Desire<\/em>\u2019s inversions of some key genre tropes, deliberate tonal shifts and pacing, and use of pure visual storytelling<sup class=\"modern-footnotes-footnote \" data-mfn=\"4\" data-mfn-post-scope=\"000000000000029e0000000000000000_285\"><a href=\"javascript:void(0)\"  role=\"button\" aria-pressed=\"false\" aria-describedby=\"mfn-content-000000000000029e0000000000000000_285-4\">4<\/a><\/sup><span id=\"mfn-content-000000000000029e0000000000000000_285-4\" role=\"tooltip\" class=\"modern-footnotes-footnote__note\" tabindex=\"0\" data-mfn=\"4\">When you watch the movie, check out Carl and Vicki\u2019s home and how they live. He\u2019s given her everything she could want and she\u2019s still not happy.<\/span> elevates it above the vast majority of the melodramas it was competing against.\u00a0 Even that happy ending that the studio craved ends up being subverted in a way that perfectly matches the rest of the film.<\/p>\n\n\n\n<p>Critics at the time weren\u2019t crazy about this one: <em>Variety<\/em> complained that Lang went \u201coverboard in his desire to create mood\u201d and the <em>New York Times<\/em> complained that there wasn\u2019t a reason to care about anyone in the picture. Obviously, I think that\u2019s hogwash if I\u2019ve decided to spend my morning writing about it. It&#8217;s currently not streaming anywhere, but Kino Lorber&#8217;s new disc is worth picking up.<\/p>\n\n\n\n<p>(<a href=\"https:\/\/amzn.to\/3QPpRvq\">Blu-Ray<\/a>) (<a href=\"https:\/\/www.justwatch.com\/us\/movie\/human-desire\">Streaming<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fritz Lang is one of those directors whose name is synonymous with film noir: a German expatriate who brought his expressionistic storytelling technique to Hollywood and quickly began to change how studio films looked and felt. His debut, Fury (which I talk about here) still shocks in spite of its studio-mandated happy ending, and\u00a0movies like [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":288,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[53,17,35,51,52],"class_list":["post-285","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","tag-broderick-crawford","tag-film-noir","tag-fritz-lang","tag-glenn-ford","tag-gloria-grahame"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Noirvember: Fritz Lang&#039;s &quot;Human Desire&quot; (1954) | BeacoupKevin.com\/blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.beaucoupkevin.com\/blog\/noirvember-fritz-langs-human-desire-1954\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Noirvember: Fritz Lang&#039;s &quot;Human Desire&quot; (1954) | BeacoupKevin.com\/blog\" \/>\n<meta property=\"og:description\" content=\"Fritz Lang is one of those directors whose name is synonymous with film noir: a German expatriate who brought his expressionistic storytelling technique to Hollywood and quickly began to change how studio films looked and felt. 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