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Who: Valentina Ferragni

What: Woolrich Ivy Crewneck T-Shirt in Pure Cotton Milky Cream  (82.00€) Where: Instagram Pics - October 20, 2023

Worn with: Woolrich pants

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Black Angel

One of the crown princes of film noir, Dan Duryea, gets an acting showcase in Roy William Neill’s BLACK ANGEL (1946, TCM, YouTube). As an alcoholic pianist and composer who keeps falling for the wrong woman, he has a rare sympathetic role. He gets some terrific drunk scenes, but also has some beautifully delicate moments as he falls for leading lady June Vincent.

Vincent’s husband is spotted leaving the apartment of Duryea’s estranged wife, singer Constance Dowling, and convicted of her murder because she was blackmailing him. The reason for the blackmail is never stated, though it’s implied (this is under the Production Code, after all) that they had had a fling. With the police (headed by homicide chief Broderick Crawford) convinced he did it, Vincent takes it upon herself to find the real culprit. She enlists Duryea’s help, so they get jobs performing at Peter Lorre’s nightclub, because Duryea had seen him going into his late wife’s building before the murder. It’s all highly improbable but also highly entertaining.

The film represents a fascinating combination of good work and some of Hollywood’s worst conventions. Neill and cameraman Paul Ivano create rich, expressive visuals with a strong emphasis on the way décor reflects character, from Vincent’s homey suburban house to Dowling’s over-decorated apartment and Lorre’s sleek, modernistic nightclub. The script — based on a Cornell Woolrich novel loosely adapted by Roy Chanslor, who later wrote the novels “Johnny Guitar” and “Cat Ballou” — is rife with details that reflect or comment on character and in some cases point to the twist ending. If you listen closely and possess a degree of cultural literacy, he actually cues you in to whodunnit. And the performances are all top-notch, which makes it sad that strong actors like Vincent and Dowling didn’t have more prominent careers.

But then Hollywood throws in some absurd touches by modern standards. Dowling sings with her own voice, but Vincent is dubbed with a rich contralto that’s no match for her higher-pitched speaking voice. And though you can see there’s only a small jazz ensemble behind her at the club, the accompaniment is positively symphonic. Given the Production Code’s attitude toward divorce and the 1940s construction of woman, Vincent can’t entertain the idea of dumping her unfaithful husband once she’s saved him, even with the more attractive and supportive Duryea waiting in the wings. Couldn’t they have at least cast a younger and better-looking actor as the husband to provide some visual reason for her dogged devotion? Her devotion is just a given, though the husband is so poorly defined and the blackmail so pointless (since Vincent won’t leave him even after finding out he cheated), he’s almost a McGuffin. The one thing that slipped under the censors’ noses was Lorre’s characterization as the club owner. Although he’s revealed to have had a secret daughter, who apparently doesn’t know he exists, and seems to be enamored of Vincent (but then, SPOILERS), he's also rather close to the club’s bouncer (former boxer Freddie Steele), who consistently lights his cigarettes for him. Makes you wonder.

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A BRIDGE TOO NOIR

This past weekend Your Humble Narrator made his way west to attend the 25th annual Arthur Lyons Film Noir Festival at the Camelot Theatre in Palm Springs, California.

As in past years, the fest offered a slate of black-and-white crime films from the '40s and '50s. Also as in past years, some of them inevitably strained the definition of noir; this year's schedule included a Sherlock Holmes movie, 1944's The Scarlet Claw, and a Western, Day of the Outlaw (1959). But so what? The definition of noir as a genre is nebulous anyway. The point is that the chance to see cool old flicks like these on a movie screen doesn't come along every day. For sheer entertainment, this may be the most reliably enjoyable film festival in the country.

Also on the schedule were such familiar entries as the John Garfield boxing drama Body and Soul (1947), Anthony Mann's outstanding and still relevant 1949 immigration thriller Border Incident, with George Murphy and Ricardo Montalban, and the hard-boiled thrillers Dead Reckoning (1947) and The Enforcer (1951), both starring noir king Humphrey Bogart. But some of us are most likely to be drawn to the relative obscurities.

This year, for instance, brought the opportunity to see No Man of Her Own (1950). In his onstage introduction to the film at the Camelot, TCM Noir Alley host Eddie Muller repeatedly referred to star Barbara Stanwyck as "the greatest actress in movie history." I'd certainly put her in the top five, anyway, and she's in fine, intense form in this adaptation of the classic Cornell Woolrich novel I Married a Dead Man (originally published under his pseudonym, William Irish).

She plays the heck out of a down-on-her-luck pregnant woman who, through circumstances generously described as coincidental, is able to pass herself off as the new daughter-in-law of a wealthy couple whose son has just died. Despite the obvious absurdities of the plot, the film is engrossing and even moving because of Stanwyck's impassioned star performance, and a fine supporting cast including John Lund, Jane Cowl, Phyllis Thaxter, Richard Denning, Milburn Stone, Carole Matthews as no-nonsense femme fatale and Lyle Bettger in a despicable turn as Stanwyck's sneering blackmailer.

The movie also had, for me, a madeleine of Proustian remembrance: Though I hadn't thought about it in years, the scene in which Stanwyck and Thaxter are upended in a train crash came back to me from childhood with the vividness of an acid flashback. I don't think I saw any of the rest of it back then, but that tidbit had been waiting in the memory banks to be revived for at least half a century.

Other gems this year included Escape in the Fog (1945), with the adorable young Nina Foch dodging Axis spies in San Francisco, and the compelling Southern thriller Woman in Hiding, from 1950.

The woman in question is Ida Lupino, who realizes she's made a major mistake marrying creepy Stephen McNally before the honeymoon even starts. Lupino's delicate beauty contrasts with her gutsy, heartfelt spirit, and director Michael Gordon manages a Hitchcock-worthy sequence set in the stairwell of a hotel. The cast includes, along with Lupino's real-life husband Howard Duff, a bit role by Joe Besser, a later-vintage replacement member of the Three Stooges.

But maybe the real oddity of the schedule was Across the Bridge (1957), a British feature based on a Graham Greene short story and starring a mannered and sweaty Rod Steiger--with a German accent, no less!--as a short-fused white-collar criminal dodging extradition in a Mexican border town. On his way south he's thrown another man, who he resembles, off the train and stolen his passport, but he ends up with this guy's soulful-faced spaniel, Delores, dogging his footsteps (sorry) and gazing reproachfully up at him.

Directed by Ken Annakin, Across the Bridge was shown in Palm Springs in a fairly crappy digital copy, but the presenter assured us that they're working to get it properly restored. I hope they succeed. It's just about the most Graham Greene-ish thing ever, full of moral limbo south of the border and Mexican women wearing prominent crucifixes. And of course it's via "Delores" (suffering) that Steiger's rotten fugitive finds a fateful sort of redemption. In terms of performance, by the way, even full-tilt Stieger is no match for the beautiful Delores, who steals the movie like a dropped potato chip.

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