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Posts Tagged ‘Steve Eifert’

Chicago Calling

Sunday, May 27th, 2012

I don’t usually blog on other blogs, so to speak, but I’m making an exception for this essay on the film Chicago Calling.

The film was originally brought to my attention by an article in the May/June issue of Film Comment by Dave Kehr; the director in question is John Reinhardt, who had a scattershot career to say the least, and I saw his film The Guilty a few weeks back, a sort of rundown version of Robert Siomak’s The Dark Mirror, and thought that despite the fact that it was unremittingly grim and depressing, it really didn’t have much to recommend it.

Chicago Calling is a different matter altogether; as Frank M. Young notes in his excellent essay on the Noir of the Week website, the film owes a considerable debt to the down-in-the-street neorealism of Vittorio De Sica and Roberto Rossellini, shot on the rundown streets of Los Angeles in 1951, with some minimal studio to round things out. Dan Duryea, a noir veteran to say the least, is perfectly cast in the role of William Cannon, once a promising photographer, but now a spectacular flameout, given to alcoholic binges and completely irresponsible behavior, and his wife Mary (Mary Anderson) is walking out on him at last, not in fury, but in resignation, because she simply doesn’t see the situation improving.

The family lives in a near hovel, on the absolute edge of starvation, and William has to pawn his camera to raise the cash so that Mary and their daughter Peggy (Marsha Jones) can pay $30 for a ride back to Chicago to stay with her mother until William cleans up his act, if he ever will. What happens after that forms the basis for one of the most harrowing, uncompromising, and original films of the early 1950s, a film that doesn’t flinch at showing what life was really like for the marginalized in the Eisenhower era — the dark side of the American dream.

As Young writes, “the film is, arguably, not a bona fide noir. Its main goal is to emulate the neo-realist movement of post-war Italian cinema. Director/co-writer John Reinhardt has no interest in crafting a routine tale of crime and punishment. Everything that happens in Chicago Calling could reasonably occur in your life or mine—were the chips to fall as miserably as they do for the feckless Cannon.” This is top shelf work from a generally unknown director who’s obviously out to make a personal statement, and in the process, gives Duryea the role of his career. A must see, now available from Warner Archives, and refreshingly, only 75 minutes long.

You can read the rest of the essay by clicking here, or on the image above.

When The Clock Strikes

Monday, April 23rd, 2012

Here’s my essay on Edward L. Cahn’s When The Clock Strikes, from Steve Eifert’s web site, Noir of the Week.

A brief excerpt:

When the Clock Strikes opens on a stretch of desolate, rainswept road, as Sam Morgan (James Brown, a regular in many Cahn films) disconsolately drives to the state prison, where the hangman will execute Frank Pierce, whom Sam has identified as a murderer, at midnight. The storm knocks a tree down across the road, and Morgan can’t go on; neither can passing stranger Ellie (Merry Anders, another member of the Cahn “stock company”), whose car has broken down in the torrential downpour. Sam gives Ellie a ride to Cady’s Lodge, perhaps the most uninviting guesthouse imaginable. Cady, the proprietor (Henry Corden) takes obvious, morbid delight in the plight of the bedraggled pair, and informs Sam and Ellie that whenever there’s a hanging at the prison, which is located only a mile or so away, all the “specs” (as he calls them), or “spectators,” gather at the lodge to watch the clock mounted on the wall by the fireplace, which predicts with split-second accuracy the hour of every prisoner’s execution — which is always at midnight.

With his ghoulish, obsequious manner, Cady is the last person anyone would want to have baiting them with lurid descriptions of a prisoner’s final death agonies, but since Sam and Ellie are stuck there, they have to endure Cady’s repellent presence. Sam grows more and more uneasy by the minute, and tells Ellie and Cady he’s tormented by the thought that he might have fingered the wrong man. The warden of the prison (played by Francis De Sales) stops by on his way to the prison to witness the execution, but tells Sam there’s nothing anyone can do about it at this late date — Frank Pierce will die at midnight, and nothing can stop the execution.”

You can read the entire essay by clicking here, or on the image above.

The Endless Night: A Valentine to Film Noir

Tuesday, April 10th, 2012

Click here, or on the image above, to see the montage tribute The Endless Night: A Valentine to Film Noir.

As anyone who knows me is aware, I love film noir. Here is a nifty little montage of clips from some of the most classic examples of the genre, put together in a fashion that both honors and celebrates noir. Clips on display here include scenes from the films Ace in the Hole, Angel Face, The Asphalt Jungle, The Big Heat, The Big Sleep, Brute Force, Criss Cross, Detour, Double Indemnity, Gun Crazy, In A Lonely Place, The Killers, The Killing, Kiss Me Deadly, The Lady from Shanghai, Laura, The Letter, The Maltese Falcon, Murder My Sweet, The Naked Kiss, Night and the City, The Night of the Hunter, Notorious, Out of the Past, Pickup on South Street, The Postman Always Rings Twice, Scarlet Street, The Set-Up, Shadow of a Doubt, Sunset Blvd., T-Men, The Third Man, Touch of Evil and Elevator to The Gallows. That’s a rather impressive line-up of films, indeed.

Steve Eifert, who runs the excellent Noir of the Week website, turned me on to this. Check it out by clicking here or on the image above, which, by the way, is from The Big Combo, another great noir that didn’t make the cut here. Never mind; this is a stunning piece of editing.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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