NOIR CITY: CHICAGO 7
Music
Box Theatre, Chicago, IL
Friday,
August 28th – Thursday, September 3rd, 2015
Film
Noir Foundation founder and president Eddie Muller introduced this year's
Saturday screenings. The day’s film noirs
were rooted in the writing of Cornell Woolrich. I was able to attend the first
two presentations. Besides the Woolrich connection, both of these noirs feature disoriented war veterans
and fragmented narrative structures.
First
up was the Film Noir Foundation 35mm restoration of THE GUILTY (1947, Monogram Pictures, 71 m), a little-known B-noir completed on what must have been a
microscopic budget. Battle of the Bulge war veterans Mike Carr (Don Castle) and
Johnny Dixon (Wally Cassell) are roommates in a tenement dwelling. Each is
romantically entangled with the twin sister set represented by Estelle and
Linda Mitchell (both portrayed by Bonita Granville). The respective
relationships might best be described as "it's complicated" since
Johnny dropped Estelle for Linda, and now Estelle sees Mike. Of course the
Mitchell sisters embody distinct female archetypes (virgin/whore). The interconnected
relationships are plagued by jealousy and set up to combust in everyone's face,
especially with Johnny showing serious symptoms of post-traumatic stress
disorder. So when Linda does not make it home one night, Detective Heller
(Regis Toomey) takes an understandably hard look at Johnny.
THE GUILTY (1947) |
Presumably
the production of THE GUILTY had its
inspiration in director Robert Siodmak's THE
DARK MIRROR (1946), which famously starred Olivia de Havilland in a dual
role. Although the limited resources are all-too apparent, THE GUILTY at times works on a certain raw level. The uncomfortable
morgue sequence with Heller and Mike demonstrates that emotionally-charged
sequences can be created out of very little. Credit director John Reinhardt (HIGH TIDE [1947]) and cinematographer
Henry Sharp (MINISTRY OF FEAR
[1944]) for the construction of a downbeat urban scene with minimal building
materials. Robert Presnell Sr.'s screenplay was based on the Woolrich story HE
LOOKED LIKE MURDER. Though undeniable gritty and accomplished in its own way,
the film did not connect with me quite the way I hoped it would, through no
fault of the restored presentation, which looked and sounded just fine.
The
second feature of the day blew the doors off the first. A 35mm restoration
courtesy of Martin Scorsese's The Film Foundation and the Franco-American
Cultural Fund, THE CHASE (1946, Nero
Films, 86 m) boasts a terrifically perplexing narrative structure. A wild ride
even by oft-convoluted noir
standards, Muller describes the film as something David Lynch might have
directed had he come along in the 1940s. That's a reasonable assessment; there
were a couple of times during THE CHASE
I thought I may have witnessed the seeds of Lynch's crazed LOST HIGHWAY (1997).
The
hand of fate is at work during the opening sequence, when an improbably lost
wallet leads downtrodden Navy veteran Chuck Scott (Robert Cummings) to the elaborate
lair of ruthless gangster Eddie Roman (Steve Cochran) and his associate Gino
(Peter Lorre). Chuck earns a gig as Eddie's chauffeur, which leads to Chuck's problematic
interest in Lorna Roman (Michèle Morgan), the discontented wife of the
tyrannical Eddie. Lorna enlists Chuck to help smuggle her to Havana. To say
much more would betray the film's incredible dreamlike narrative, which
overflows with tense situations within recognizably dangerous noir environments. Perhaps the best of
many highlights culminates in a deadly wine cellar.
THE CHASE (1946) |
What
can be expressed without giving too much away is THE CHASE is a standout film of the robust era of mid-40s noir, notable for the surreal daring of
director Arthur Ripley (THUNDER ROAD
[1958]), expressive cinematography by Franz Planer (CRISS CROSS [1949], 711
OCEAN DRIVE [1950], 99 RIVER STREET
[1953]) and exceptional performances. The efficient screenplay was adapted by
Philip Yordan from the Woolrich novel THE BLACK PATH OF FEAR.
"The
Czar of Noir" Muller was very
generous with his time between films as he shared his vast knowledge of films
and stars with eager noir fans of all
ages—definitely a class act. Based on Muller's enthusiasm for the Argentine noir anthology No Abras Nunca esa Puerta
/ Si
Muero Antes di Despertar (1952, 151 m) that was scheduled to follow THE CHASE, I probably should have
remained in the area for the rest of the day. I already regret the fact that I
did not.
The
remaining schedule: NOIR CITY: CHICAGO 7
No comments:
Post a Comment