These days, it seems, everybody is fascinated by film noir. Of all the “older” film genres or sub-genres, plenty of my students are most-intrigued by film noir. And not all film noirs are like DOUBLE INDEMNITY, THE KILLERS, or OUT OF THE PAST. Not all are bona-fide classics.
Still, film noir titles are constantly being released on home entertainment. In certain cases, some actually are mislabeled film noir. They are instead standard 1940s or ‘50s mysteries or crime dramas. In other words, they do not reflect a certain World War II or post-war fatalism. They do not feature moody, alienated males who are tempted by sexy femme fatales. They do not feature eye-popping black-and-white cinematography that emphasizes light and shadow. In other words, they are not genuine film noir titles.
Three authentic poirish features have just become available to consumers. Flicker Alley has released two of them: WOMAN ON THE RUN, from 1950; and TOO LATE FOR TEARS, from 1949. KINO Classics has marketed THE CHASE, from 1946. Are any of these films great films? Well, to be honest, the answer is no. But they are entertaining, they do represent their era, and they are genuine film noir titles. Plus, each has been beautifully restored by the UCLA Film & Television Archive. For this reason alone, they are well-worth discovering.
Among the plusses in WOMAN ON THE RUN are a fine film noir cast and some great San Francisco location shooting. Ann Sheridan plays the title character. At this time, her best films were behind her; in them, she appeared opposite Humphrey Bogart, James Cagney, and other Warner Bros. superstars. However, by her presence alone, one can understand why she was a popular 1940s screen personality. Sheridan plays the estranged wife of a man who flees the authorities after witnessing a murder. The police want to grill her, but she instead hooks up with a slick fast-talker, played by Dennis O’Keefe, who introduces himself as a reporter.
TOO LATE FOR TEARS, which also is known as KILLER BAIT, oozes atmosphere and also features a fine noirish cast. The scenario follows what happens when a bag that is loaded with cash is thrown into the car of a grasping bad-girl, played to the hilt by film noir stalwart Lizabeth Scott, and her nice-guy husband, played by Arthur Kennedy. Dan Duryea, yet another film noir favorite, is aces as the slimy heavy.
THE CHASE stars Robert Cummings, whom Baby Boomers will recall as a 1950s TV star. But Cummings did have a screen career of note; perhaps he is best-remembered as the lead in Alfred Hitchcock’s SABOTEUR. THE CHASE is a moody, sturdy post-war tale with Cummings playing a soulful, scrupulously honest but down-on-his-luck ex-GI. He ends up neck-deep in danger after finding a wallet, filled with a wad of cash, that is the property of a brutal, womanizing hood.
There’s a great 1940s cast in THE CHASE, starting with the long-forgotten Steve Cochran, who plays the hood and whose specialty was tough guys with attitude. Michele Morgan, a French star who came to Hollywood during the war, is Cochrane’s troubled wife, and the inimitable Peter Lorre plays Cochrane’s creepy underling.
As I recall, I’d previously seen all three films but in poor-quality prints. Again, it is a treat to rediscover them-- all in their restored versions.
Rob Edelman has authored or edited several dozen books on film, television, and baseball. He has taught film history courses at several universities and his writing has appeared in many newspapers, magazines, and journals. His frequent collaborator is his wife, fellow WAMC film commentator Audrey Kupferberg.
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