A
memorably physical human connection accents the opening sequence of THE GLASS KEY: after political boss and "biggest crook
in the state" Paul Madvig (Brian Donlevy, top-billed) makes an
unflattering comment about her brother, feisty Janet Henry (Veronica Lake)
delivers a heavy slap to Madvig's stunned countenance. Lovestruck, he concludes
he has met his future wife, and pledges support for the Reform Party campaign
of Janet's father Ralph Henry (Moroni Olsen), who is running for governor. Some
conflict is introduced in the form of Janet's deadbeat brother Taylor (Richard
Denning), a hopeless drinker and chronic gambler indebted to area gangster Nick
Varna (Joseph Calleia). Taylor is in a relationship with Madvig's 18-year-old
sister Opal (Bonita Granville), and naturally Madvig does not approve. So when
Taylor is found face-down in the street, Madvig becomes the logical suspect.
That leaves it to Madvig's most trusted associate Ed Beaumont (Alan Ladd) to
determine what happened to Taylor.
Based on the hard-boiled Dashiell Hammett novel, this screen adaptation by Jonathan Latimer (NOCTURNE [1946], THE BIG CLOCK [1948]) radiates a lot of human indifference to brutality and death. Ladd creates an exceptional noir protagonist, just as he had in the same year's THIS GUN FOR HIRE. Director Stuart Heisler (STORM WARNING [1951], I DIED A THOUSAND TIMES [1955]) strives to make the viewer feel the pain when Beaumont is held captive and savagely roughed up; the raw sequence culminates with a further test of Beaumont's endurance when he survives a fall from dangerous heights after a daring escape through a last-chance window.
Janet Henry (Veronica Lake) ignites male passion in THE GLASS KEY
|
Based on the hard-boiled Dashiell Hammett novel, this screen adaptation by Jonathan Latimer (NOCTURNE [1946], THE BIG CLOCK [1948]) radiates a lot of human indifference to brutality and death. Ladd creates an exceptional noir protagonist, just as he had in the same year's THIS GUN FOR HIRE. Director Stuart Heisler (STORM WARNING [1951], I DIED A THOUSAND TIMES [1955]) strives to make the viewer feel the pain when Beaumont is held captive and savagely roughed up; the raw sequence culminates with a further test of Beaumont's endurance when he survives a fall from dangerous heights after a daring escape through a last-chance window.
Ed Beaumont (Alan Ladd) is not to be messed with |
The
theme of humans connecting physically boils over when archetypal noir sadist Jeff (William Bendix)
prepares to administer another
thorough beating of Beaumont, but not without the two indulging in a friendly
round of drinks first. When it comes to homoerotic noir tension, this is about as overt as it gets, with word choices
such as "baby" and "sweetheart" in active use. Like so many
American films (not just noirs), the crucial
relationships are between men in THE
GLASS KEY. At one point Madvig refers to Beaumont as his
"partner" and makes a strong suggestion that the relationship is closer
than people would guess. Beaumont is the most composed character of the film,
even when he is getting the beating of his life from the psychosexual Jeff.
Beaumont's notion of a moral compass is THE
GLASS KEY's most defining component. It is probably safe to say his is not
much like the moral code of the average person—as when he uses a betrayed man's
suicide to his advantage—but Beaumont's intense loyalty to Madvig is what bonds
the viewer to Beaumont as the character most worthy of our trust.
Jeff (William Bendix) leads a perverse courtship of Beaumont (Alan Ladd) |
The
deeply embedded sense of eminent corruption that characterizes this important
early film noir recalls traditions
established in the gangster films of the prior decade. Seeking the (glass) key
to an extended stay at the governor's mansion, Ralph Henry teams with Madvig, a
slightly-cultured, old-school thug from "the old 8th ward" who still
talks unmistakably like a tough guy. In a similar dynamic, a murder becomes a
handy political weapon manipulated by the gangster Varna. District Attorney
Farr (Donald MacBride) is a spineless lush, easily pushed around by Beaumont.
The interconnectedness of politics, law, the press, and the criminal underworld
is best exemplified by Varna's grip on the mortgage of The Observer, the
newspaper run by Clyde Matthews (Arthur Loft).
Within
this corrupt system roam alluring but conniving women who just cannot be
trusted. This theme would become the noir
normal very early in the cycle that proliferated from 1940-1959. Beaumont
struggles mightily with his feelings for Janet, who he suspects is trying her
best to send his (boy?)friend Madvig to the chair. Tellingly, Beaumont is
willing to turn in Janet for a crime even though he knows she is innocent. Then
there is Eloise (Margaret Hayes), the shameless couch kitten of puppet newspaperman
Matthews. As soon as she learns her husband is broke, the bitch immediately
gravitates to Beaumont, right in front of her suddenly discarded husband!
Madvig (Brian Donlevy) and Beaumont (Alan Ladd) discuss a dead body |
I’ve looked better |
Again the man in the mirror is Beaumont (Alan Ladd) |
Dashiell
Hammett's original fiction first appeared in the pulp magazine BLACK MASK in
1930 as a four-part serial ("The Glass Key," "The Cyclone
Shot," "Dagger Point," and "The Shattered Key") before
being published as a novel in 1931. Paramount released the first film version
in 1935, with George Raft featured as Ed Beaumont and Frank Tuttle (THIS GUN FOR HIRE [1942]) directing.
Presented without comment |
THE GLASS KEY is available as part
of the Film Noir 10-Movie Spotlight
Collection 6-disc DVD set available from Universal Studios Home
Entertainment.
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