I’d Give My Life (1936)

vt The Noose
US / 80 minutes / bw / Astor, Paramount Dir: Edwin L. Marin Pr: Richard A. Rowland Scr: George O’Neil, Ben Ryan Story: The Noose (1926 play) by H.H. Van Loan and Willard Mack Cine: Ira Morgan Cast: Sir Guy Standing, Frances Drake, Tom Brown, Janet Beecher, Robert Gleckler, Helen Lowell, Paul Hurst, Charles C. Wilson, Charles Richman, Tom Jackson, Charles Judels, Robert Elliott.

I'd Give My Life - 0 opener

This movie is a remake of the silent The Noose (1928) dir John Francis Dillon, with Richard Barthelmess (who received an Oscar nomination for his role), Thelma Todd, Montagu Love and Robert E. O’Connor. Both movies were based on the play The Noose (1926), which was of especial significance in that its Broadway director and co-author Willard Mack took a gamble on casting a young chorus girl called Ruby Stevens in the role of romantic lead. Ruby Stevens soon adopted a new professional name: Barbara Stanwyck.

Orphan Nickie Elkins (Brown) and chanteuse Mary Reyburn (Drake), who both work at the niterie Club Gordon, are very much in love; Nickie hopes to be an airline pilot one day and thereby able to keep Mary in the manner she deserves. A chance encounter at an airport introduces him to Stella Bancroft (Beecher), the wife of the state governor, and the two immediately take a liking to each other—he regarding her as a “swell lady” while clearly sparking off the maternal instinct in her.

I'd Give My Life - 1 Nickie & Mary

Nickie (Tom Brown) and Mary (Frances Drake), very much in love.

Meanwhile, recently elected Governor John Bancroft (Standing)—Stella’s husband—has been telling the press that all his pre-election talk of cleaning up the state and ousting the racketeers has not been just so much hot air: he really intends to come through on his promises. The reporters, as they leave, are disconcerted to recognize Buck Gordon (Gleckler), the dirtiest crook in the state, waiting to meet with the Governor. At that meeting, Continue reading

A Quartet of Shorties

Although I’ve been charged with including too many borderline noirs in the Encyclopedia  (odd for an encyclopedia to be accused of encompassing too much rather than too little!), in fact quite a few of the entries I wrote I decided later to reject. Some of those then got stuck back in again. In the absence of the usual collegial team you expect to be able to draw on when constructing an encyclopedia of this size, I had to be, as it were, my own collegiate: I conducted many internal debates over what to keep in and what to kick out, and often there were second thoughts.

The entries here on Noirish are in general far longer than I had space for in the encyclopedia. Here, just for interest, are my original entries for a few movies that got thrown out and stayed out; all the entries are very short because, of course, I already regarded the movies as borderline. That’s not to say these movies, especially The Velvet Touch, may not get fuller coverage here in due course.

The movies concerned are:

Sweet Revenge (1976; vt Dandy, the All American Girl)

There’s Always a Woman (1938)

The Unsaid (2001)

The Velvet Touch (1948)

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Sweet Revenge (1976)

vt Dandy, the All American Girl

US / 89 minutes / color / MGM Dir & Pr: Jerry Schatzberg Scr: Marilyn Goldin, B.J. Perla, Jor [sic] Van Kline Story: B.J. Perla Cine: Vilmos Zsigmond Cast: Stockard Channing, Sam Waterston, Franklyn Ajaye, Richard Daughty, Norman Matlock.

Vurrla Kowsky (Channing) is a career car thief whose primary motive is to make enough money to buy herself a Ferrari. Lawyer Le Clerq (Waterston) believes he’s saving her from herself, but so do the other men in her life and she’s running rings round all of them. Although the movie’s determinedly comedic, its portrayal of the addiction that auto theft can become is (reportedly) very authentic.

On Amazon.com: Sweet Revenge

There’s Always a Woman (1938)

US / 81 minutes / bw / Columbia Dir: Alexander Hall Pr: William Perlberg Scr: Gladys Lehman Based on: story by Wilson Collison Cine: Henry Freulich Cast: Joan Blondell, Melvyn Douglas, Mary Astor, Frances Drake, Jerome Cowan, Thurston Hall, Rita Hayworth (uncredited).

Of strictly ancillary interest, There’s Always a Woman (1938) was intended by Columbia as first in a series to rival The THIN MAN. Joan Blondell and Melvyn Douglas star as husband-and-wife sleuths solving a society crime, she trying—and succeeding despite her husband’s sexism—to be a PI, while he acts for the DA’s office. It’s easy to see why the series never took off: while Blondell does wonders for an ordinary script, Douglas is insipid and, among the rest, only an uncredited Tom Dugan as a knucklehead cop stands out.

On Amazon.com: There’s Always a Woman (currently unavailable, but with luck might return soon)

Unsaid, The (2001)

Canada, US / 111 minutes / color / New Legend, Mind’s Eye, CineSon, Eagle Dir: Tom McLoughlin Pr: Tom Berry, Matt Hastings, Kelley Reynolds Scr: Miguel Tejada-Flores, Scott Williams Story: Christopher Murphey Cine: Lloyd Ahern II Cast: Andy Garcia, Vincent Kartheiser, Linda Cardellini, Chelsea Field, Teri Polo, Sam Bottoms, Trevor Blumas.

Psychologist Michael Hunter (Garcia) treats troubled teenager Tommy Caffey (Kartheiser) while haunted by memories of his own teenaged son’s suicide. The son, Kyle (Blumas), killed himself after sexual abuse by a therapist; Tommy was a victim of sexual abuse by his mother and then saw his father, Joseph (Bottoms), beat her to death. When Tommy hooks up with Michael’s daughter Shelly (Cardellini) he learns from her which of Michael’s buttons to press in order to exploit the similarities between the two cases. A trite ending undermines an otherwise interesting, thought-provoking piece.

On Amazon.com: The Unsaid

Velvet Touch, The (1948)

US / 97 minutes / bw / RKO Dir: John Gage Pr: Frederick Brisson Scr: Leo Rosten, Walter Reilly Story: Annabel Ross Cine: Joseph Walker Cast: Rosalind Russell, Leo Genn, Claire Trevor, Sydney Greenstreet, Leon Ames.

Broadway comedienne Valerie Stanton (Russell), during a tussle with producer and dumped lover Gordon Dunning (Ames)—over her desire to take the lead in a revival of Ibsen’s Hedda Gabler and over her new boyfriend, Michael Morrell (Genn)—hits him with a statuette and inadvertently kills him; the body’s discovered by fellow-actress Marian Webster (Trevor). While the latter’s hospitalized with shock, cop Captain Danbury (Greenstreet) concludes Marian must be the killer, ignoring Valerie as even a suspect; she has, unwittingly, committed the perfect crime. A witty screenplay and fine performances raise this mystery above the average level of the pack.

On Amazon.com: The Velvet Touch [VHS] and The Velvet Touch [Region 2]