It doesn’t seem right to call this a romantic comedy but that is how most would refer to it. Probably the most frustrating thing about it is that it could have been a good romantic comedy. It had the ingredients. It had the actors. So what went wrong? Continue reading
A manly Greta Garbo
Garbo talks! Garbo returns! Garbo rules!
And so on.
Greta Garbo was a big deal when she was alive and her star ascendant. It’s difficult to really get a sense for someone’s popularity when it is read about historically and not something lived. How does someone growing up in the Beatles heyday communicate the zeitgeist of the period in a way that gets across the visceral feel?
Less fun than sobering: Spielberg’s Catch Me
I watched Steven Spielberg’s Catch Me If You Can yet again (third time) over the weekend and now I’m back to my original opinion (as opposed to the one expressed below). Despite being promoted as ‘fun,’ and despite the sixties style ‘fun’ animation of the title sequence, this is really a rather somber story of a young man desperate to save his father from a marriage and life that are disintegrating.
Sergio Leone and a good, odd western
I’m currently reading Marc Eliot’s Clint Eastwood: American Rebel and it inevitably got me thinking about the earlier Eastwood movies, the spaghetti westerns, including The Good, the Bad and the Ugly. Below is my lengthy rambling about it from quite a while ago (2000?). For what it is worth …
The Good, the Bad and the Ugly (1966)
Directed by Sergio Leone
One of the best, and oddest, westerns ever made is The Good, the Bad and the Ugly (Il buono, il brutto, il cattivo). It’s hard to imagine anyone making a movie like this today. It’s too long (it would be argued). Some of the scenes, even shots, are too long. Gee, it takes 30 minutes to introduce the three primary characters. What’s that about?
The accidental film noir: I Wake Up Screaming
It’s Day 2 of For the Love of Film (Noir) — don’t forget to (or use the button on the right). Today I have a quickly scribbled, un-proofed, un-thought through look at the movie I watched last night. The studio considered calling it Hot Spot but, according to the DVD I have, the actors insisted on them using the original name, which is …
I Wake Up Screaming (1941)
Directed by H. Bruce Humberstone
As I watched I Wake Up Screaming last night I had two thoughts running concurrently. First, this should not be a good movie. Second, somehow it manages to be a good movie. How does that happen?
I’m not sure. I think it lies partly in Betty Grable, whose performance is a level above the other main actors in the movie.
It’s also in the characterization of Ed Cornell, played by Laird Cregar, who seems a cross between Vincent Price (in the slightly effeminate voice and its cadence) and possibly a low rent version of George Sand. (I mean vocally, nothing else, and not much there either. But there seems to be something vaguely Sand-ish in the voice.)
Cregar’s Cornell is creepy, to say the least, and that makes the movie compelling. Though the film’s mystery may be obvious, it doesn’t matter. The creepiness keeps us fascinated in a “slowing down to view the accident” kind of way. Cregar’s character isn’t the only one that gives us the willies.
Elisha Cook Jr.’s Harry is equally troubling. Soft-spoken and gentle, his focus and attentiveness to Grable’s Jill Lynn leaves us feeling something isn’t right about him. He’s stalker material.
Much of what makes the movie watchable is in the script. The bad guys in this movie – and there are a lot of them – are not villains so much in the commitment of crimes regard, as in their psychology. In fact, most of them have stalker-like personalities or variants of it.
They are all focused in some way on Vicky Lynn, played by Carole Landis. They want to either possess her, use her, or both. And she, being ambitious, is happy to permit it as she uses them. Thus, in a sense, she invites what follows from it.
Into this morass of twisted personalities come Victor Mature as Frankie, a kind of nice if goofy sports promoter (who find himself accused of murder) and Vicky’s sister, Grable’s Jill Lynn.
Frankie and Jill are the normal ones (for lack of a better word) and also the ones who suffer the consequences of a world populated by twisted personalities.
Visually, the movie delivers the noir goods but that may be less an aesthetic decision as a kneejerk response to making a crime movie in the forties. Crime equals scenes of darkness and shadow, ergo scenes of darkness and shadow. I get the sense director H. Bruce Humberstone was a paint-by-numbers kind of director, though that may be unfair to him. But that is how it strikes me.
Still, by accident or design, the movie looks good as a noir. It has a low budget feel and some very nice shots, especially near the end where we see Mature looking down at Harry snoozing at the front desk.
Overall, then, I Wake Up Screaming strikes me as an accidental noir. It discovers a noir world in the script it brings to the screen and in the kind of kneejerk response of how it visually portrays that script.
Much of what happens on screen is highly melodramatic and it would be too much were it not for the material driving it, Laird’s unsettling Cornell, and Grable’s much better anchored performance as Jill. Victor Mature looks great as a noir character, especially in the interrogation scenes, but he is often well over-the-top. Also, for about two thirds of the movie, once outside the interrogation room (and often within it) he plays a goofy kind of guy without a care in the world. It’s deliberate, in part, as it’s an aspect of the character. But it just seems too much.
And having gone on with all these negative comments about the movie, I still have to say I liked it quite a bit. However, it feels to me it’s a good movie through dumb luck; a film noir by accident.