The Blue Dahlia (1946)

When a war hero (Alan Ladd) comes home early to surprise his wife, she surprises him right back (nudge nudge). When he finds out how his son actually died, he considers killing her, but decides she isn't worth it. Later she is found dead by his gun, and he decides to lay low for a while. His army buddies bumble around.

Alan Ladd and Veronica Lake were in seven films together. They had a few things in common. Other than stature, they both died at age 50. While he died of the manly disease of liquor and barbiturates, she died of hepatitis. While he worked in pictures up until the end, she was seldom caught on camera past the age of 30. Her last picture was the terrible Flesh Feast.

Screenwriter Raymond Chandler didn't like Lake much, calling her Moronica Lake, thinking her performance didn't add anything to the movie. She would call herself a sex zombie. Sounds like Chandler was kind of a dink himself, offering to drink himself blind in order to finish the script on time. What a way to take one for the team.

This is the third film I've done to feature Hugh Beaumont of Beaver fame. I actually don't remember him in The 7th Victim. I recognized the voice of suspect number 1 and looked him up. He played Ben Franklin in 1776, my favorite musical ever.

In real life, shortly after the film's release, a young woman named Elizabeth Short was murdered in a particularly grizzly manner. The press labeled it the Black Dahlia murder and it is still unsolved. There is no actual connection to the film.

Blue Dahlia is better than fair film-noir mystery for most of it. Ladd struck the right tone, Lake (the Kristen Stewart of her day) was passable as eye candy with lines, and the supporting cast was interesting. As we approached the finale, the mystery gets muddled. I won't elaborate but suffice to say I have one big pet peeve with mysteries and this one hit it. The reason was because the studio demanded a rewrite of the ending, throwing Chandler for a loop.

Still, better than fair. AMRU 3.5.

"You've got the wrong lipstick on, Mister."

Strangers on a Train (1951)

Two Strangers meet on a Train. One is a semi-famous tennis player, the other a semi-famous lunatic. Lunatic Bruno knows that tennis boy Guy Haines wants to divorce his troublesome wife so he can wed a senator's hottie daughter. And he himself would like to lose his overbearing father, what with him only partially funding his loonie playboy lifestyle. So Bruno hatches a plan and pitches it to Guy. Not realizing exactly how crazy he is, Guy kinda plays along. Next thing, bad wife turns up dead and Bruno feels a return favor is in order. Criss-cross.

Robert Walker (Bruno) led a troubled life himself involving erratic behavior and substance abuse. He had a bad reaction to a prescription drug when it was administered after heavy drinking, and stopped breathing. Two months after the movie's premiere, he would be dead. He was 32. And so it goes.

An important component of any film is suspension of disbelief. Everything you see (and this hold true for documentaries as well) is fake. But if you can suspend your disbelief, this does not matter. On this point I had an issue. I couldn't believe the protagonists action and the final scene at the carousel was patently ridiculous. This is a shame because it slightly spoils an otherwise excellent movie.

That said, Strangers is full of wonderful moments. One in particular features a cigarette lighter and a familiar pair of eye glasses. Perhaps I would have enjoyed it better had I not very high expectations. It is classic Hitchcock. AMRU 3.5.

"So, this is a rip off of Throw Momma from the Train?" - the wife

Double Indemnity (1944)

Walter Neff (Fred MacMurray) pays a visit to a client who's car insurance is about to expire. The Mr. Dietrichson isn't home but Wally likes what he sees with the Mrs. (Barbara Stanwyck). Eventually the Mrs. floats the idea of life insurance, in case anything unfortunate happens to the Mr. Of course the Mr. mustn't ever found out he bought it. Well, Walter smells a rat. And he likes what he smells. Together they plan how the insurance gets bought and how accidents can happen.

The fly in the ointment is Walter's boss, the savvy Mr. Keyes (Edward G. Robinson). You see, he has a "little man" that tells him something is fishy. Apparently Keyes' "little man" is a bit smarter than Neff's.

Excellent acting, great dialog, engaging story, Double Indemnity earned it's reputation as a great film. IMdb ranks it 55th all time (currently) and in the genre of film-noir it's third. I put a rush on watching it because Starz was making a hasty exit from the land of netflix, and while I enjoyed the movie, I can't say I love it up to it's reputation. I'll give it a 4.

So, what's the buzz about the movie? Apparently director Billy Wilder and co-screenwriter Raymond Chandler hated each other. Wilder would later say he flaunted his "womanizing ability" to torment the closeted Chandler. Wilder also had Stanwyck wear an ugly blond wig to give her a cheap, fake look. Later a studio exec remarked "We hired Barbara Stanwyck, and here we get George Washington".

"How could I have known that murder could sometimes smell like honeysuckle?"

The Big Sleep (1946)

The Providence Public Library started running a Film Noir Sunday Matinee several weeks ago. They began with The Maltese Falcon, did Double Indemnity last week, and yesterday was The Big Sleep. I Finally had the chance to stop in. I dragged along my 13 year old kicking and screaming.

The movie was delayed a half hour. Seems that Netflix sent them the wrong movie. Which one did they get? The remake. They took a trip to a video store.

Humphrey Bogart is Raymond Chandler's Philip Marlowe, private dick. Rich man hires him because somebody is trying to blackmail his hottie daughter. His other daughter is played by Lauren Bacall. Hey, my first Bogie and Bacall film. I remember Bacall back in the day as an elderly spokeswoman for polident or whatever and for that reason I have a hard time thinking of her as hot. I'll say this about the old broad: she's 86 and has three movies coming out next year.

The story twists and turns like film-noir is want to do. The big screen holds my attention better than the small so I think I followed it better than I did The Maltese Falcon, but I was still somewhat mystified. Who is in cahoots with who? Who killed that one? Why?

There is something to say about the media being the message. The jokes are funnier, the gun shots more dramatic, the suspense more intense, the kissing scenes more uncomfortable for a 13 year old boy. I noticed this effect in reverse recently. My Seven Samurai experience encouraged me to have the boys watch Crouching Tiger, Hidden Dragon. On my second viewing, I rated it a real good movie. When I first saw it in a theater I thought it one of the best movies ever. It simply didn't translate to the small screen very well. Forrest Gump fell similarly.

Unlike the genre Horror, I don't have a good feel for what defines film-noir. All men wear suits, all women wear cocktail dresses or long flowing nightgowns. Men are men and women are young and hot. Lots of smoking and drinking. Everybody is serious and wants to be taken seriously. And it must be a detective story. Otherwise, Casablanca would be film-noir. Am I close?

Lets take a look at the ladies, shall we? Of the principle women in the film, the oldest was 23 when the movie came out. The OLDEST! Of course there was a cigarette girl who was the ripe old age of 29, but she barely had one line. 46 year old Bogie claimed to be 38. Must of been good to be a dirty old man in Hollywood back in the day.

What was that 13 year old's reaction at the end of the film? He applauded. This is a total Must See Again film. Great dialog. Wonderfully filmed sequences. Atmosphere, texture, all those film school phrases. It was great stuff. I have to bring the wife next time. AMRU 4.

Oh, and I am seriously considering elevating Lauren Bacall to hot.