I WALK ALONE

I MET SPARTACUS!

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Yep, I actually met Kirk Douglas. My friend Chip Duckett was getting memorabilia autographed for a giant AIDS ball being held in Vienna he helps brings talent to. He invited me along to Barnes & Noble with him for a Kirk Douglas book signing. ( “Let’s Face It: 90 Years of Living, Loving, and Learning.” ) Chip was going to get some Kirk memorabilia autographed. I wasn’t going to buy the book just go along for the ride. The seriousness of WHO I was actually going to meet struck me when we were taken to the bookstore’s “green room” ~ a storage room of books ~ to actually meet him, thanks to one of Chip’s connections at the store. We were going to meet him before the formal book signing began. Just before the B&N guy knocked on the door, Chip gave me one of his Kirk memorabilia items to have something in my hand. Wha’? The door opened and  there was Kirk Douglas sitting at a table. I knew I was going to see him, but I didnt know I was actually going to MEET him.

He looked old and small. I hung back while Chip introduced himself and chatted with him briefly while he got his memorabilia signed. After Chip was done, he introduced me to Kirk Douglas. Yo, you can be all nonchalant meeting a legend if you want, but I’m telling you straight up…I am a fangirl.

Mr. Douglas started to stand to greet me. The full import of who he was was hitting me dead in the face as he rose up. What the hell happened to that old and small man, because all of a sudden, in those few moments he didn’t seem as old and small as I initially thought. As he was standing up I said “Sir, please sit. You don’t have to stand for me.” And he said “Of course I do. I always stand for ladies.” ( Thats me guys…a lady!! L0L! ) We shook hands and I gave him Chip’s memorabilia, stammered innocuously and then stepped back.

I attended the book~signing ~ ( yeah, I bought the book a little later ) ~ met him again in that book signing factory line sort of way that handlers handle it. He smiled at me with recognition. Don’t worry, I didnt linger. I kept it moving.

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He was a major star my entire lifetime. When I met him, of course I had seen so many of his films already. When I saw SHADOWS and SATIN was throwing a birthday blogathon for Kirk’s 100th, well, how could I not…

You’re going to see a lot of great films covered in this blogathon. I’m going to look at an early-in-his-career-Kirk Douglas-film, before his teeth were clenched in stone. So far he’d done The Strange Love of Martha Ivers Out of the Past” “Mourning Becomes Electra.” I will cover his fourth film, 1948s I WALK ALONE.”

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With  “I Walk Alone” comes Kirk Douglas’ first of seven screen pairings with fellow newcomer BURT LANCASTER ( this being his fifth movie ). RIght from the beginning, their chemistry was dynamite; I find them to be as evenly matched as any two stars were. ( Well maybe with the exception of Owen Wilson and Vince Vaughn ). They’re 

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more closely associated with each other ( their pairings also include: “The List of Adrian Messenger” [ 1963 ] and “Victory at Entebbe” [ 1976 ] ) than they are with their leading ladies ( though who can argue Burt with Ava and Deborah Kerr or Kirk with Lana and Kim and Jean Simmons ). If they ever were to really get into a fist fight, I don’t know who’d win…but I do know they’d each give as good as they got.

“I Walk Alone” is the story of a man released from prison after fourteen years, expecting to become half owner of a successful night club he invested in ( before going to the slammer ) with his old rum-running buddy.

He is in for a rude awakening.

i-walk-alone-kirkKIRK DOUGLAS is the old pal, Noll ( nicknamed ‘Dink’ ) and Douglas plays him as far from scared little Walter O’Neill as you or Martha Ivers could get. Noll is mucho suave-aaaay. He can talk his way out of, or smooth over anything. He’ll use the night club’s chanteuse to pump Frankie for info, while continuing to string her along in their romance. He’ll hook up with an ice queen socialite to further his business and social standing. He’s not above blackmailing an old friend. Noll will do or say whatever it takes. He is ambitious. He is a smooth operator.

i-walk-alone-burtQuite the opposite personality is BURT LANCASTER as Frankie Madison. He’s been cooped up for fourteen years. ( “FOURTEEN YEARS!!!!” he says tightly…and with reason ). Oh, he doesn’t look any worse for the wear having been in prison. He’s tall, fills a suit nicely…a big strapping fella. ( I think it should be de rigueuer for Burt Lancaster to wear a t-shirt in every movie from 1946 – 1952! But I digress ). Lancaster’s Frankie, is a man of few words…very defensive, sensitive and coiled as tightly as a snake. Where Noll is cool as a cucumber, Frankie is a hothead. He’s a bit awkward socially, being out of practice for so long. Noll’s Socialite Gal Pal, Alexis Richardson. speaks to him:

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SOCIALITE: “You know, you’re quite an attractive man.”
FRANKIE:    “Keep going.”
SOCIALITE: “How far do you want me to go?”
FRANKIE:    “I’m at the plate. You’re doing the pitching.”

The socialite is played to an Alexis Smith-ish fare-thee-well by actress KRISTINE MILLER. But that interaction ends poorly with her wanting Frankie thrown out of the club:

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“You looked like a man who might have three or four interesting sentences to say. You’ve said them. Goodbye!!”

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Well…he was out of practice.

Frankie’s wined and dined by club chanteuse: Kay Lawrence played by LIZABETH SCOTT, whose been sent by Noll to wine and dine Frankie. Noll tells her:

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“That’s why men take women to dinner. So they’ll have someone to talk about themselves to.”

Kay goes along with it, but gets mangled in Noll’s machinations because of her love for him. And there’s the usual requisite tension between two women competing for the same man. Alexis wants to marry Noll:

“You’re so utterly no good I should marry you.”

…If you call that love.

( ASIDE: Kristine Miller shared screen~time with Lizabeth Scott in “Desert Fury” and “Too Late For Tears” ).

i-walk-alone-kirk-lizabethFrankie realizes the ruse to pump him for information and unjustly lambasts Kay. He trusts no one except the book~ keeper Dave. He lumps Kay in with all the snakes. She finally sees what a user Noll really is when he tells her he’s marrying the Socialite:

“You love me but you’re marrying her?”

[ Oy, #IFIHADADIME! ]

The jig is up for Noll and Kay when Frankie realizes hes been played like a cheap fiddle.

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“The oldest trick in the world. You want to pump a guy, use a woman. And I grabbed.”

I love Lizabeth’s display of pouty anger when she tells off Douglas’ slimy caddish character since she was not in on his scheme.

NOLL:   “You’re in Frankie’s league now.”
KAY:      “I couldn’t ask for better company.”

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She sides with Frankie ( when she finally gets him to trust her again ). Look, I know this romantic coupling is pretty quick and just a plot contrivance. But I say, in the scheme of 40’s films, relationships happen at the speed of a writer’s Underwood.

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I know things like this can make or break one’s enjoyment of a classic film. But I don’t mind the shorthand in these old movies. I know it doesn’t make psychological sense for the script, but it sure gets things moving a lot quicker. I like Lizabeth Scott in this film. Yes, she’s stiff and wooden, down to her walk and her hairstyle. I know the voice they dubbed was wrong for her and her singing stance was all stiff. But a better pal a guy couldn’t have in the 40’s ( depending on the film’s budget ) than Lizabeth Scott. ( Ella Raines is a different vibe…she’s not really The Victim ). So Scott is part of the triumvirate and Im fine with that. Kay and Frankie are now an “item.” She falls for the right wronged man.

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Poor Frankie. It’s like he is stuck in a time warp… when  handshakes were as bonding and binding as a contract. A Promise meant something before he went to prison. Well he’s going to make Noll live up to his promise of fourteen years ago, ( “FOURTEEN YEARS!” ) by using some muscle. He’s going to take what’s his. He speaks to his old pal Nick Palestro to help round up the gang. I thought it was a great casting choice to have MARC LAWRENCE play the gangster Nick Palestro. He was such a staple in 30’s movies when he played “The Gangster.” ( When I see Lawrence in “The Man With the Golden Gun” or Diamonds Are Forever ~ I smile at the nod ).

It’s with Palestro we see that times, they are a-changing; that the old gang just ain’t what it used to be. Nick is a businessman now who owns a car lot. He’ll assemble some new boys, but things are not the same he tells Frankie. When Frankie and the boys meet Noll, Dave is asked to show Frankie “the books.” This was a sad scene to me on a couple of levels…time passing Frankie by, Noll’s lies, the book~keeper’s betrayal. That cut Frankie to the quick. The shame and humiliation Frankie suffers in front of EVERYone was tough to watch. I felt embarassed for him. He’s like a caged animal. The day of the old-time gangster in spats and Tommy gun is gone. The books are cooked and Frankie’s fight is with an amorphous enemy. He rails against The Corporation. Noll leaves him no dignity. It was sad to watch his powerless rage.

mazurski-chokes-walk-aloneCheck out the men who watch him ( especially that wiseass guy ). Think of those soldiers who came back from the war, having difficulty adjusting to Society. Cagney’s film The Roaring Twenties comes to mind. Frankie now wants to settle the score…but it seems he’s the only one living in the past. A relic. And now the ultimate indignity…getting a beatdown, by the one and only: Mike Mazurki.

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Who is this Dave, the book~keeper?  Well its WENDELL COREY. And this is his second movie ~ ( the first being “Desert Fury ). I was never really a big fan of his; his skeletal features and pale blue eyes kind of pushed me away. But…he did have a great speaking voice…and he really could handle Stanwyck in “The Furies.” Hmmm…let me think about this.

Okay!! I’ve settled it in my mind.

I am now totally coming around to Wendell Corey. ( Welcome to CineMaven’s Van Heflin Club, Mr. Corey. Step right up .) Now, maybe not with lust in my heart, ( I’ve got to see him in a t-shirt ) but with some hard core respect for this fine Actor, I’m coming around. With “I Walk Alone” I do think he was the heart and soul of the movie. My heart goes out to him, Corey’s Dave, the bookkeeper…and he’s really caught in the thick of things between these two old friends. Dave was torn between his heartfelt loyalty to Frankie…and the “hooks” Dink had into him: forgery. Corey plays Dave wonderfully. We see a beaten man, heavy with the weight of guilt and resentment. It is weighing him down. Frankie says,

“You’re two years older than me and I’ve been in jail. You look ten years older than me!!”

When the inevitable happens, ( and you’re a movie buff…so you know what will happen), it springs Frankie into action. It takes him OUTSIDE his Self to think about someone else. And goes to action he does. I think this is a testimony to how Wendell Corey plays Dave. ( Kent Smith would’ve played him differently and we might’ve cheered for his demise…but that’s for another thread ). 

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I really like “I Walk Alone.” Kirk Douglas is the son of a bitch you love to hate. Burt Lancaster is the hero you want to root for. And Lizabeth Scott ~ the girl you want to love. When the movie finished it felt like a satisfying meal. The film feels to me like the quintessential nineteen forties movie in style and dress and dialogue. It has all the archetypical characters you could want to have; all the characters that were perhaps already old hat by the late forties: The Big Lug, The Girl, The Smooth Operator, The Strong Arm, The Snot-Nosed Up & Comer, The Bored Socialite, The Erudite Servant/Restauranteur. Is this movie officially a film noir…I’ll leave that to wiser movie buffs to define.

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I think audiences knew they had a tiger by its tail with this intense young actor. Kirk Douglas would prove his star power time after time in film after film. Click on the blogathon’s banner to read accounts of others’ favorite Kirk Douglas films. Not many people live to be one hundred years old. Douglas is one of them. He’s tough and tenacious. I think he will give Father Time a real run for his money. Kirk Douglas is someone still with us, that is a connection to the golden age of Hollywood we love.

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You know, after I got my autographed book by Kirk Douglas, I couldn’t wait to go up to my parents house and show them the book. My father is more the movie buff. Maybe this was his reaction when I brought home from school, an ashtray I made of clay in the fourth grade…but I cant quite remember my father ever smiling so broadly and with awe before.

“Whaaaaaaat?!! You met Spartacus???”


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PITFALL ( 1948 )

PITFALL ( I )PITFALL ( III )PITFALL ( II )PITFALL ( IV )Husband                     Wife                         Mistress                   Creep

PITFALL is taut tense quiet drama and I like how it plays out. You think it’s going to go one way and director André De Toth takes you in a different direction.  For Dick Powell who plays John Forbes, your average, postwar, 9-to-5, Everyman, Insurance man, what happens outside his marriage comes crashing into his suburban home like a tsunami. (Gosh, insurance guys sure lead fascinating lives; remember Walter Neff?) Powell’s a hero to his son, a good provider to his wife, but his life is in a rut. Then Lizabeth Scott falls into his lap.

PITFALL ( V )RAYMOND BURR is Mac, the private investigator Dick Powell sends out on Lizabeth Scott’s case and he’s developed a hankering for her, to put it mildly. He’s just a guy who can’t take “No.” Basically he’s a one-track minded terminator, obsessed with Scott beyond all rhyme and reason. He’s having that relationship with her all by himself. In fact, Burr spends much of the late 40’s and 50’s not getting the girl. Scott wants no part of this hulking brute. Any girl would take a ten-foot pole and vault as far away from him as possi-ble. Visiting her in the shop where she works, he has free rein to sit and watch her model clothes for him as long as his cash holds out. All perfectly legal. All perfectly “Eeeeew!” I told you he was a creep.

DICK POWELL ( PITFALL )

I like DICK POWELL as John Forbes. He gets all caught up in a web of his own making but I do feel sorry for him. It’s not that he does not love his wife; he does. He’s just frustrated and bored with the routine and predic-tability of his own life. He did not look for this; doesn’t initiate it. Yes, lying by omission is still lying. Yes, he should have gotten a hobby. Yes, he could have said no, but…c’mon.

“I guess I’m a little out of practice. I never quoted anything but statistics. I’m a little unsure of  myself whenever I crawl out of my briefcase.”

WHO’S DRAWING OUT WHOM?

PITFALL ( VII )

Forbes takes inventory of the items Mona Stevens received from her ex-boyfriend who’s now in jail for embezzlement. LIZA-BETH SCOTT plays Mona and if you know anything about Lizabeth in the 40’s, you know she rarely caught a break! As Forbes investigates her, he is strictly about business. Says Mona about her ex:

“He was just too much in love with me. He wanted to do things for me and he didn’t have the money. So he went out and got some…I liked him mostly because he was nice to me. Very few men are. That means a lot.”  

( RULE #1 – HOOK THE HERO WITH YOUR TALES OF WOE )

Forbes warms up to her when he sees she’s not a bad egg; she is not a femme fatale in the strictest sense of the word. She just got caught up in something herself. It’s the begin-ning of getting-to-know-you. Mona offers Forbes a life raft out of his sea of boredom. She lets him have a ride on her ill-gotten gains of a boat before he confiscates it, and he gets a brief glimpse of how the other half lives; a respite from his ordinary existence. I think they recognize they’re each caught up in life’s circumstances. She invites him to a home-cooked meal where one thing leads to another. See…he just falls into it.

GUILT – THE GREAT MOTIVATOR

PITFALL ( VIII )
Maybe moguls got JANE WYATT confused with Jane Wyman due the similarity of their last names. Wyatt did not get all the meaty roles Wyman or Dorothy McGuire were offered, but she was a fine actress as well – ( I love her voice ) and it shows here in “Pitfall” as Sue Forbes, John’s wife. As Sue she is pretty, competent and has a sense of humor; she tries to sensibly cajole him out of his doldrums. She seems like a true partner in that marriage; someone who can go to a PTA meeting or country club, and is probably a good bridge partner. ‘The Wife’ usually is a thankless role in movies, painted as nag, shrew, harpy. But not here. ( Anne Archer in “Fatal Attraction” comes to mind. )  As Sue, she’s not too busy for her husband and accepts her adult responsibility. Yes he strays, but we can see there’s nothing really wrong with Sue.

 

ENDING WHAT NEVER SHOULD HAVE BEGUN

PITFALL ( IX )

After she accidentally discovers he’s married, he breaks off the affair.

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JOHN: “I’ve done something I’m terribly ashamed of. I’d like to make it up to you.”

MONA: “Well if you think I’m going to stand in competition with a wife and child…even I’ve got more sense than that.”

JOHN: “What’s going to happen to you?”

MONA: “What do you care, really. Honestly Johnny, aren’t you a little relieved to get out of it this easily. This is the set up Johnny. This is the kind of girl you’ve always dreamed about. I’m going to let you off without an angle. I could be nasty. But I’m not going to be.”

JOHN: “Why?”

MONA:  “I don’t know. But I’m not going to be…what happens to men like you, Johnny? If I had a nice home like you did Johnny, I wouldn’t take a chance with it for anything in the world.”

JOHN: “I’ll do anything I can.”

MONA:  “Will you really? Alright. Then go home. Stay there.”

JOHN:  “Alright. If that’s the way you want it.”

MONA:  “If that’s the way I want it? Have you got any other ideas?”

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It’s a clean break. A sad one. Hurtful. John gets away “scott”-free. He’s learned his lesson and is now back in the fold, content with what he has at home.

Uhmmm…not so fast.

BLACKMAIL MAKES STRANGE BEDFELLOWS

PITFALL ( XII )What intrigues me about this film is that it’s not just your usual married-man-cheats-and-slinks-back-home-feeling-guilty sort of thing. There are tangible consequences, not just emotional ones. His outside actions intrude on his home life ( again, like in Fatal Attraction” ) and in a big way. Big as in RAYMOND BURRThe conflict between the two men is an in-teresting dynamic and it puts Forbes in a pickle. They both like Mona. One offers protection, the other – his obsession. How can John protect Mona against Mac without his wife finding out about the affair? And if pounding  Forbes to a pulp won’t keep him from Mona, ( John has to lie to Sue about why he was beat up… )  Mac decides to create a human heat-seeking missile out of Mona’s ex, Smiley, ( Byron Barr. ) And Smiley heads straight to Forbes’ house after being released from prison. It all comes to a head.

PITFALL ( LOGO SHOT )

Sue tells John:

Conscience? You make it sound like a dirty word. You worrying about your filthy little conscience… you’re not going to the police. You lied once. It came to you easily enough then. You’ve got to lie now. I mean this Johnny, if you drag this family through the dirt I’ll never forgive you!

Lots of compromises in “Pitfall.” Everything is not tied up in a nice tidy bow. That only hap-pens in the movies.

CineMoral: If your husband gets a beat-down and doesn’t report it to the cops…he’s having an affair.

You can read a more in depth look at Raymond Burr in “Pitfall” here: at the Caftan Woman blog that covered his performance in this movie for last April’s GREAT VILLAIN BLOGATHON hosted by Speakeasy, Silver Screenings and Shadows and Satin.

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WITHOUT PITY ( 1948 )

Despair. Devastating.

That’s it! I’m done!

WITHOUT PITY
John Kitzmiller and Carla Del Poggio

No more Italian neo-realism for this girl. The story of Jerry and Angela put me over the edge of my emotional endurance. My dealbreaker is 1948’s “Without Pity” or “Senza Pietà” ( in Italian ) directed by Alberto Lattuada. He’s directed a slew of Italian films I’ve never heard of. But me never hearing of them means absolutely nothing. Seeing this one shows me he has command of storytelling. He has 40/41 credits to his name as writer and director and knows how to tear you apart in the most un-treacly of ways.

JOHN KITZMILLER ( WITHOUT PITY )In “Without Pity”-before life intervenes, Jerry and Angela have a nice moment without a care in the world. Jerry’s a U.S. soldier stationed in Italy. Angela is a girl with no money or resources and searching for her brother. Circumstances put them in each other’s lives, in a “meet cute” NOT way, and when they meet again, Jerry takes Angela to a carnival. They go on rides, have coffee and pastry. He shares the wealth with street urchins.  By date’s end they laugh and relax and are happily exhausted as he walks her home.

This story takes place during the war…or near the end of the war where life is hard. Every one is on the take. Black marketing bad guys get rich, poor girls sell themselves, MPs

CARLA DEL POGGIO JOHN KITZMILLER ( WITHOUT PITY-I )

boss everyone around. Angela gets caught up in a situation beyond her control. Jerry, through mishaps and misunderstandings, gets caught by MPs. Life is very unfair and doesn’t end well for them. “Without Pity” is a compelling story of a man and woman each, in their own, way trapped by circumstances. It’s almost what I would call War Noir because even under conditions of war, the fates just won’t give these two kids a break. This couple’s lives swirls in a dark, downward spiral.

WITHOUT PITY

My heart was broken by the end of this. I’m done. No more bitter rice even with the mighty Mangano. No more Magnani or stolen bikes or notti bianches or cabirias…or little dogs and old men. Give me Sophia and Marcello or Laura Antonelli. I need a 60’s Italian comedy…STAT!!! I don’t mind sad endings, but hopeless ones…my achin’ heart can’t take it.

See…this…movie. I dare you.

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JOHN KITZMILLER JOHN KITZMILLER ( DR. NO )

Life imitates art a bit when American Kitzmiller stays in Europe after the war to avoid American racism and makes a career for himself in films. Yeah, you know him. If you’ve ever seen the 1962 James Bond “Dr. No.” you know the raspy-voiced actor.

 

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MY FAVORITE FILMS OF 1948

MY FAVORITE FILMS OF 1948

I’ve seen 33 movies this year. Jane Wyman wins an Oscar. A son helps his father win one too. Sensitive Monty squares off against The Duke. Doris Day begins her box office reign. I enjoy the stag film that is “Command Decision.” Stanwyck is terrorized and I’m traumatized that she cut her hair short. These are my ten favorite films of 1948:

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“ACT OF VIOLENCE” – ( Fred Zinnemann )

( 1948 ) ACT OF VIOLENCE

An unstoppable force. He’s back. And again he gives a chilling performance. Robert Ryan is prac-tically “The Terminator” as he keeps on coming and coming after upright, outstanding model citizen, Van Heflin.

Heflin’s got a good life after the war. A pretty wife, a new baby, a good job. His war record leaves much to be de-sired and Ryan’s injured vet is out to right some wrongs. Take my advice folks, you do not want to get in his way as Ryan tails Heflin over hill and dale.

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“CRY OF THE CITY” – ( Robert Siodmak )

( 1948 ) CRY OF THE CITY

I love these noir police dramas. You’ve got two dark and handsome boyhood pals now on opposite sides of the law. ( No, not hoodlum and priest. ) Victor Mature – the good cop and Richard Conte the bad ( and sexy ) ‘hood. A cat and mouse game I love watching play out. Hope Emerson’s in this. You know her…one of the prison matrons in “Caged.” Well, she’s just as terrorizing in this. Men will have nightmares after seeing her scene with Conte. But hey, Debra Paget’s in this too. Sweet dreams. Good solid drama.

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“I WALK ALONE” – ( Byron Haskin )

( 1948 ) I WALK ALONE

I unabashedly love this paint-by-numbers movie. First off, there’s three great noir icons: Burt Lancaster, Kirk Douglas and Lizabeth Scott. You’ve got betrayal, theft, betrayal, double crosses, seventeen lost years and betrayal. Throw in the pathos of Wendell Corey and you’ve got all the ingredients of a classic noir drama. (Did I mention betrayal?) Of course you’ve seen this type of film before. But would you stop going to the Museum because you’ve already seen a VanGogh? This movie makes me love the 40’s.

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“LETTER FROM AN UNKNOWN WOMAN” – ( Max Ophuls  )

( 1948 ) LETTER FROM AN UNKNOWN WOMAN

Whose story is this anyway? His or hers. How about this is BOTH their stories, simultaneously? I was stunned for days.

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“NIGHT HAS A THOUSAND EYES” – ( John Farrow )

( 1948 ) NIGHT HAS 1000 EYES

Gail Russell is so haunting ( or is that haunted )…I feel protective of her no matter WHAT movie she’s in. Eddie G. tries to change her fate. You can imagine how THAT goes. It’s a quiet film I love. ( Check out the unsettling “Moonrise” too. Russell’s in that one as well. )

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“PITFALL” – ( Andre deToth )

PITFALL

Why the face palm? Because husband Dick Powell has to come clean to wife Jane Wyatt about his affair with Lizabeth Scott. This taut drama morphs into different territory for this kind of story. It’s suspenseful and not wrapped up in a nice neat little bow. ( 0′ what a tangled web we weave, when first we see Lizabeth Scott and want to give her EVERY thing we cannot afford…)

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“PORTRAIT OF JENNIE” – ( William Dieterle )

( 1948 ) PORTRAIT OF JENNIE

Jennifer Jones has made my list before. This movie is so loving and poignant. Is she real? Did she escape the bonds of Time? Is she a figment of Joseph Cotten’s imagination? Is she Creativity personified. A lot of questions; I don’t really need an answer. I love the film’s gentleness with its characters. There’s Ethel Barrymore and Maude Simmons and Lillian Gish. But of course, it’s Jennifer Jones who’s pivotal to carrying this lovely ghost tale.

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“ROPE” – ( Alfred Hitchcock )

( 1948 ) ROPE

Hitchcock’s in your face with this one. He’s got a murder in the first :10- seconds of the film. He’s got a dinner party with the body in the trunk. He gives the murder weapon to the victim’s father. And… the murderers try to prove how smart they are. But we know better, don’t we. The suspense has me on the edge of my 1948 seat.

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“THE SNAKE PIT” – ( Anatole Litvak )

( 1948 ) THE SNAKEPIT

This movie is surprisingly not heavy as “Caged” is. It’s kind of light in the midst of being serious. And Olivia is riveting to watch. It’s not an easy watch, but we do get to see great character actresses act bonkers. It’s a tender movie. Olivia is great. She’s funny. And we’re vested in her getting well. Leo Genn is wonderfully understanding. ( Oooh look, Ruth Donnelly… )

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“STATE OF THE UNION ” – ( Frank Capra )

( 1948 ) STATE OF THE UNION

Tracy. Hepburn. A very smart political drama. And Angela Lansbury? Oooh, she’s cold as ice as a ruthless magazine editor who wants the White House…and the man IN that White House. A pre-cursor to another candidate?

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