Sunday, 11 September 2016


Ree: You always have scared me.
Teardrop: That's ‘cause you're smart.

from WINTER'S BONE (2010)

Film noir has long been popularly viewed as a creature of the 'urban metropolis', the unholy gathering space for citified gangsters and racketeers, fast-talking conmen and grifters, femmes fatales and backstabbing tramps, easily-duped heroes and just plain chumps. 

Well, some things have changed.

Around the beginning of the new millennium, North American cities of all shapes and sizes began lining up to be seen as precincts of gentrified vibrancy and urgent creative wonderfulness. And around the same time, a lot of both film and literary noir began to pack its bags and head off to the rural heartland, where responses to matters at hand might not be as comfortingly ‘nuanced’ or ‘mindful’ as city folks would want. 

Welcome to the land of Rural Noir AKA Country Noir, a world which feels like it’s about to explode in violence and usually does, leaving kith and kin to settle scores and make things right amid a conspiracy of silence. Do what you need to but don’t bother calling the law if you want to live past tomorrow.  
This setting evokes a certain amount of dread in some city folks – and is meant to, as rural noir works to defuse the myth of the bucolic countryside and expose a hard place of rusty edges and disposable existences. Rural noir is populated with damaged men and wounded women who at one time might have been farmers or have found jobs in mills or factories. But the family farm has given way to factory farming and mills and factories are shuttered, with the work gone elsewhere. What’s left is economic insecurity, fraying community bonds, anarchic family structures and the fearful aftershocks of crime.

Rural noir’s stories are often seeded in horrific criminal happenings, though at their core, they are as much about self and family identity and how people can lose their way and go wrong even while trying to do the right thing.  But drug addiction, family grievances, and domestic violence leave wounds that won’t heal, and struggles against poverty and fate end in despair and a life sentence of grief. Though ills may be vanquished, a stinging sense of betrayal and distrust lingers.

In fact, gritty crime tales with backwoods settings are part of the traditional and lasting material of noir fiction and film noir. One of earliest and still-best examples of rural noir was James Ross’ They Don’t Dance Much, a book published in 1940 which put a country spin on some of the subjects and structures of James M. Cain. Later, several of Jim Thompson’s unnerving tales, The Killer Inside Me (1952) and Pop. 1280 (1964), with their fearsome portrayals of depraved small-town lawmen, would find their way to the screen.   

However, opening the door wide wide for contemporary rural noir was Daniel Woodrell, whose 2006 novel Winter’s Bone, released as a film in 2010, defined both a style and sensibility now most associated with modern country noir. Woodrell’s stories of criminals trapped by their violent compulsions developed out of necessity are intimate and poetic and carry genuine emotional weight. Despite the social and economic malaise clawing at the viscera of rural America, these works hold closely to the local and the personal.

Similar can be said of the twenty-five films below. Tense, atmospheric and unsettling, these are sinister, slow-burning movies that possess a stark elegance, often even at their most violent. While the themes of government corruption, political opportunism, and corporate malfeasance could have been herded like elephants into the room, thankfully they weren't. Much of these films’ dark attraction resides in their austere, contained narratives which focus on individual or private transgressions, the sins of which lie at the very heart of noir.

That said, the most recent of the titles here, Hell or High Water (2016), a movie self-consciously attuned to today’s outsider politics, swaps out film noir's signature moral ambiguity for a dubious moral equivalency (one of the picture’s taglines is “Justice is not a crime”). Otherwise, the movie is not to be missed. 

More worrisome would be if Hollywood-style justice warriors were to decide that the moment had come for activist reform of rural noir, with ‘Big X’, ‘Big Y’ or ‘Big Z’ fearlessly fitted up as the standard operating forces of villainy. It's this kind of wearying, doctrinal sausage-stuffing that has come to weigh heavily on too many box office thrillers of late. Fortunately, there are plenty of these closer-to-the-bone rural meditations to be had (and others in the works), movies more resonant of what's wanted and hoped for in film noir.

Note: The Coen brothers’ No Country for Old Men (2007) is not among the films listed below, only because it’s “a film that needs no introduction”.





3. DON MCKAY (2009)


4. WINTER'S BONE (2010)








8.KILLER JOE (2011)


9. DEADFALL (2011)


10. THIN ICE (2011)






13. BAD TURN WORSE (2013)


14.BLUE RUIN (2013)


15. A SINGLE SHOT (2013)


16. JOE (2013)


17. NED RIFLE (2014)


18. CUT BANK (2014)


19. COLD IN JULY (2014)


20. BIG MUDDY (2014)


21. UNCLE JOHN (2015)


22. LOST IN THE SUN (2015)


23. COP CAR (2015)


24. TWO STEP (2015)




Written by Gary Deane

Saturday, 9 July 2016


“It appears we are in for a basinful of pictures about spivs, smash-and-grab raids and West End ‘wide boys’, with a bunch of murder dramas thrown in as light relief.”  Reginald Whitley, the Daily Mirror

In the years before WWII, the British Board of Film Censors came down hard on what it saw as the corruptive influence of 1930’s American gangster films on British crime dramas. After the war, it was a different matter. Changes in societal outlook and a more liberal Board make-up made it difficult for its policies to be applied as rigorously, despite its Chair, Andrew Harris, insisting that gangster movies were “Hollywood at its worst”.

A chorus of British film critics echoed Harris' sentiments, taken aback by the number of violent crime thrillers they were being asked to review, especially ones portraying ‘spivs’, the all-present black-marketeers and small-time hustlers occupying territory on the underworld’s tattier fringes. Though the origin of the term spiv is as obscure as the provenance of the goods they were selling, by the end of the war both the use of the word and the men it described were everywhere, including on the big screen.

To some, the spivs represented a greater threat to British society than more established villains because their illicit enterprises intersected with the everyday lives of a population deprived of basic necessities and sought-after luxuries. The spiv also held a certain rogue appeal to many Britons. In an article, ‘Meet the Spiv’, playwright Bill Naughton (Alfie), wrote, “Londoners and other city-dwellers will recognize him and so will many city magistrates – the slick, flashy and nimble-witted tough, talking sharp slang from the corner of his mouth…the counterpart to the zoot-suited hooligans of America.”

The popular allure of the spivs gave post-war British cinema an excuse to produce its own version of Hollywood gangster movies – enjoyed as much in the UK as anywhere else. The cinematic clothing – the garish ties, and striped shirts, worn with sharply-cut suits with wide lapels – did hark back to that worn by Cagney and Robinson, though Dan Duryea’s modish garb in Scarlet Street (1945) comes closer to the mark.

In the end, the post-war ‘spiv cycle’ generated many of British film noir’s most memorable titles. Among them: Waterloo Road (1944) with Johns Mills and Stewart Granger; Night Beat (1947) featuring Maxwell Reed and Anne Crawford; It Always Rains on Sunday (1947) starring Jack Warner and Googie Withers; Brighton Rock (1947) headlining Richard Attenborough, Willam Hartnell, and Carol Marsh; They Made Me a Fugitive (1947) with Trevor Howard, Griffith Jones,  Sally Gray; Noose aka The Silk Noose (1948) starring Derek Farr, Joseph Calleia, and Carole Landis; Good Time Girl (1948), featuring Dennis Price, Herbert Lom, and Jean Kent; Night in the City (1950) with Richard Widmark, Gene Tierney and Googie Withers; and Wide Boy (1952) starring Syd Tafler and Susan Shaw.

Of these, the cycle’s best-known entry would be John Boulting’s Brighton Rock, which made it clear that post-war British cinema could be as effective in expressing the conventions and concerns of what we now call film noir as the signature American releases of the period. Based on the book by Grahame Greene and with a screenplay written by Greene and playwright Terence Rattigan, the densely-plotted film primarily concerns itself with the last days and final maneuverings of an amoral young spiv, Pinkie Brown. Attenborough’s performance in Brighton Rock is decisive, bested only by his portrayal of serial killer John Christie in Richard Fleisher’s chilling 10 Rillington Place (1971). Though Brighton Rock’s fired-up director John Boulting sometimes strained too visibly with his overly-pushy compositions, the film stands as an otherwise unqualified classic of British cinema.

Preceding the release of Brighton Rock by only two months was Dancing with Crime, also starring Attenborough. Although a lesser-known spiv film, Dancing with Crime was an all-important transitional title. It was more graphic and violent than anything seen on British screens and also the first of the post-war films to deal explicitly with the kind of low-level criminality that was beginning to impact upon parts of English life as the war came to an end. Conjuring up a nocturnal half-world that reflected the anxiety and dissolution of the period, Dancing with Crime embodies the urge to escape from the chafing restraints of post-war existence by whatever means. As one Scotland Yard inspector observes dryly, “Civvy Street seems pretty strange to some of the boys”. 

Attenborough, 23 years old and looking much younger, plays a recently ‘demobbed’ soldier, Ted Peters, now working as a taxi driver trying to get ahead and save enough to be able to marry his childhood sweetheart, Joy, played by Sheila Sim (in real-life, Mrs. Richard Attenborough). Meantime, Peter’s boyhood friend and army buddy, Dave Robinson (Bill Owen) is only out for easy money and dealing in “this and that – everything a rich man wants and can’t get”. After pulling a jewel heist, Robinson runs afoul of gang leader, South London dance palais owner, ‘Mr. Gregory’ (Barry Jones) and his henchman and club manager, Paul Baker (Barry K. Barnes). Leaving the club one night, Robinson is shot in the back but manages to crawl into the backseat of Ted’s unattended cab. Ted and Joy later find Robinson dead and Scotland Yard is called in to investigate. However, Ted sets out on his own to find out what happened to Robinson, endangering both himself and his fiancée who takes a job at the dancehall hoping to find evidence against Gregory. 

Dancing with Crime was based on a screenplay by Brock Williams, whose list of writing credits would grow to include crime thrillers The Night Won’t Talk (1952); Three Steps in the Dark (1953); Meet Mr. Callaghan (1954), featuring Slim Callaghan, a fictional PI in the American hard-boiled style, based on books by Peter Cheney; The Gilded Cage (1950); The Pleasure Lovers (1959); Strictly Confidential (1959); and Young, Willing and Eager (1961). 

Williams’ stories and efforts at character development tend towards the schematic and the familiar. In Dancing with Crime, it comes down to two life-long friends who go down different roads, one straight and one crooked; a returning soldier unable to negotiate the demands of civilian life who turns to crime; criminals who attempt to frame the protagonist for murder; a self-styled sleuth who feels he has no choice but to act in order to clear himself and bring the real criminal to justice; a female who goes undercover in order to help ferret out the criminal. 

However, even if the film makes little effort to upset some of the standard noir tropes and conventions, Dancing with Crime has no end of things to really like about it, beginning with its cast. Though the characters may be typed, the actors bring a vivid fleshiness to each, all of whom are searchingly real in their Englishness. Baby-faced Richard Attenborough with his youthful appeal and vulnerability can be swallowed 'smooth as margarine’. Bill Owen as the stylish and voluble Robinson shines every moment of the too few that he’s on screen, as do Barry Jones as the fastidious, ruthless criminal mastermind and Barry K. Barnes as the suave floor boss easily attracted to both women and violence.

Among those women is Toni (Judy Kelly), one of the club’s ‘professional partners’, who suffers at the hands of Barnes and whose despair is practically a living presence; also, the uncredited Diana Dors as Annette, another of the floor dancers at the night club. The dark-haired Dors was only 15 years old at the time but the cool self-awareness and intelligence that would win her praise for her performance in the much-nominated Yield to the Night (1956) was already apparent. Look too for Dirk Bogarde in an unbilled, blink-and-you’ll-miss-him bit as an earnest young police constable.  

Dancing with Crime's director,John Paddy Carstairs, was a producer's friend who turned out well-crafted pictures, mostly thrillers and comedies, on time and on budget for over 30 years. Notable among his crime films, apart from Dancing with Crime, were The Saint in London (1939), Sleeping Car to Trieste (1948) and his final film, The Devil’s Agent (1962), a superior hard-edged Cold War thriller starring Peter van Eyck and Macdonald Carey. Carstairs also became well-known as a painter and he brought an imaginative eye to his trade. Dancing with Crime though made on a modest budget by a minor studio is far more ambitiously directed than many second-tier British noirs of the period – witness the unreserved brio of the elaborate boom shots in the dance palais. 

Capturing this blithe elegance as well as ominous night-time exteriors was the ardent camera of cinematographer Reg Wyer. Wyer was a contemporary of Otto Heller, the man responsible for lensing the now noir-enshrined They Made Me a Fugitive (1947), Robert Siodmak’s Portrait of a Sinner (1959), Michael Powell’s Peeping Tom (1960), and the groundbreaking Victim (1961). However, the cumulation of Wyer’s efforts over the same period was at least as consequential in terms of craft. Besides Dancing with Crime, his on-screen credits included the critically-awarded The Seventh Veil (1945), The Upturned Glass (1946), Daybreak (1948), So Long at the Fair (1950), Never Look Back (1952), Eye Witness (1956), The Weapon (1956), Across the Bridge (1957), Violent Playground (1958), and The Man in the Back Seat (1961).  

Dancing with Crime, which far outperformed Brighton Rock at the box office, is enlivened further by an array of ‘forties British big band classics like the hit ‘Bow Bells’ and an atmospheric score by composer/musical arranger Ben Frankel. Frankel’s music graced over a hundred films including film noirs The Seventh Veil; Dear Murderer (1947), Mine Own Executioner (1947), Night Beat, Bond Street (1948), Sleeping Car to Trieste, Night and the City (British release), Double Confession (1950), The Clouded Yellow (1950), Footsteps in the Fog (1955), Libel (1954) and a dozen others.

But by 1950 and with the weakening of austerity measures and rationing, the sympathetic relationship between the public and the small-fry spivs was coming to an end. While Richard Widmark’s finely-attired Harry Fabian is desperately trying to find a way to “live the life of ease and plenty without working for it”, British audiences, looking ahead with greater hope, were no longer prepared to turn a blind eye to such fecklessness.

Three years later and just months after the last ration book was withdrawn, The Bells of St. Trinians, an antic comedy starring Alastair Sim and Joyce Grenfell, was released which featured an over-the-top caricature called ‘Flash’ played by George Cole. The movie was a sensation and almost overnight the spiv and his lot had become but a joke.  

Gary Deane     

Thursday, 30 June 2016


“I can't seem to face up to the facts
I'm tense and nervous and I
Can't relax
I can't sleep 'cause my bed's on fire
Don't touch me I'm a real live wire
Psycho Killer
Qu'est-ce que c'est
fa fa fa fa fa fa fa fa fa far better
Run run run run run run run away!” (Psycho Killer,
Talking Heads, 1977)

He was a shirt maker in a town full of pants makers. For four decades maverick director Robert Altman barely tolerated the Hollywood film industry, as it barely tolerated him. That said, he could play the game as needed and was as artful in getting his individual and idiosyncratic movies produced and to market as he was conceiving and creating them.

Altman got his start after WWII working on business and industrial films in his hometown Kansas City. He soon left for Hollywood, where his production skills were underappreciated and his stories were rejected – with the exception of Body Guard, filmed and released in 1948 starring Lawrence Tierney. Discouraged, Altman went back to Kansas City but returned to California later in the ‘50’s with an independently-financed picture, The Delinquents (The Hoods of Tomorrow! The Gun-Molls of the Future!) under his arm. Starring Tom Laughlin, the movie didn’t add anything new to the youth-gone-wild cycle but had the ring of truth to it and showed clearly enough that Altman could direct. 

Though none of the major film studios were ready to hire him on, Altman managed to find steady work in television, directing on M Squad, Hawaiian Eye, Peter Gunn, Route 66, and Combat!, a one-hour WWII drama on ABC. The latter’s trenchant writing and gritty realism won it multiple Emmy nominations and a committed audience. Unfortunately, after shooting ten episodes, Altman got turfed for ‘uncooperativeness’.  However, the work he did on the series revealed some of the elements of what would become a trademark style: an appreciation of ensemble performance, a restive mise-en-scène, a film noir-like use of light and shadow, and dissonant multi-track soundscapes and scoring.

Altman then went to NBC’s Kraft Suspense Theater, directing three episodes before getting himself fired, this time for telling a TV Guide interviewer that the Kraft-sponsored series was as “bland as cheese”.  However, one of his episodes, Once Upon a Savage Night based on a novella, Killer on the Turnpike, by William P. McGivern (The Big Heat, Shield for Murder, Rogue Cop, Odds Against Tomorrow) was anything but. The high-voltage black-and-white crime drama was like nothing else seen on television – shot in cinéma vérité style in and around Chicago and featuring a jagged, expressionistic score by jazzman Benny Carter and a young ‘Johnny’ Williams, who’d go on to win more than forty Academy Award nominations.

Because of the higher costs involved in location shooting, the producing studio, Universal Pictures, had Altman take enough extra footage to be able to extend the episode to feature length for syndication and theatrical distribution. The eighty minute version, titled Nightmare in Chicago, later showed as a made-for-TV movie, then screened theatrically in Europe.

A taut, modernist post-noir fugue à la Blast of Silence (1961), Nightmare in Chicago tracks a killer known as ‘George-Porgie’ (“Kissed the girls and made them die!”). Georgie’s already murdered four women in other places by the time the film picks him up in Chicago’s desolate rural outskirts. Georgie (Philip Abbott), an ordinary-looking guy in a topcoat, has just strangled his fifth victim in bed in an old farm house and is heading back to the city. It takes a while for the Chicago police to realize that the killing is troublingly similar to the other four – all the women being “tall, blonde, and a little on the cheap side” according to, Harry, the lead detective on the case played by an irritable Charles McGraw.

Though physically non-descript and having to wear dark glasses because of a congenital eye condition, Georgie is a smooth-talker and has no trouble finding willing prey. Back in the city, he chats up his next victim and before long they’re having drinks in a packed burlesque joint in the Loop. Amid all the noise and on-stage distractions, he chokes her with her own scarf while they make out in a corner. 

However, one of the strippers sees what’s just happened and Georgie has to get out fast. Some customers and beat cops give chase but lose him when he hijacks a car. Later, the police realize he’s made it all the way onto the Illinois Tollway, which complicates the pursuit due to its restricted accesses. Worse is that the Tollway is about to be cleared by state police for an Army convoy that’s thundering through with a giant nuclear missile in tow.

If this specter of mass destruction sounds like more of a load than a small and restless character-driven narrative should have to bear, keep in mind the tale began with author McGivern, master of the drum-tight storyline. The plot does not suddenly go Tom Clancy on us. Events only render Georgie’s frantic attempt to escape that much more intense.

Shot on a tight schedule just days before Christmas and mostly at night, Nightmare in Chicago was Robert Altman’s first studio feature (the science fiction drama Countdown made in 1967 counts as his first big theatrical release – even if Jack Warner took him off the shoot and banned him from the lot out of exasperation with the way “everyone in the damn movie is talking at the same time!”). Nightmare also stands as one of Altman’s most reliably straightforward narratives, something he was deemed weak at constructing by critics who were as unreceptive to his triumphs such as The Player (1992) and Short Cuts (1993) as the missteps like Prêt-à-Porter (1994). As for his radical 1973 deconstruction of Raymond’s Chandler’s revered The Long Goodbye, it’s always going to depend on who you talk to. 

Altman’s main gift as a director was his ability to create a visceral sense of time and place and to reveal characters by immersing audiences in the often-fraught immediacy of their worlds. However, it sometimes felt as though he was content just to leave us there. Altman liked to say that he wanted his films “to seem as though they were just happening”.  In Nightmare, he makes certain that things really do. His scene-building and story-telling in the film are as deliberate as they would ever be. At the same time, Nightmare in Chicago feels loosely-scripted. Altman is patient where he feels he needs to be and allows the camera to linger. Often there’s a sense of time and space being stretched to be able to contain the actions of the characters, particularly in busy scenes shot within the moderne immensity of the Tollway’s ‘Oasis’ rest stops.

The film also is trusting of its actors. Their characters feel real, their lives small and routine, their stories largely undisclosed. Harry and his easier-going sergeant, Dan (Robert Ridgely) grind it out in hopes of capturing Georgie before he kills again, while having to deal with the self-serving interference of Police Commissioner (Ted Knight) who’s more concerned about delays to the convoy and his scheduled handball games downtown. 

Georgie and his victims are isolated and vulnerable souls, a familiar Altman type. A near-casualty is Bernie, a lonely-hearted waitress who serves Georgie in the rest stop’s massive Fred Harvey eatery. She’s endangered when she ends up being the only one who’s able to identify him. Bernie is played by Barbara Turner, married for a time to actor Vic Morrow with whom she had a child, actress Jennifer Jason Leigh (Turner is now best known for her screenwriting, including the film Pollock (2000) which garnered Academy Awards nominations for Ed Harris and Marcia Gay Harden). 

Turner’s scenes in Nightmare are among the movie’s most openly improvised and affecting. They foreshadow some of what would become the director’s signature ‘urgency-to-no-clear-end’, an Altman-ism shaped by a conviction that straightforward resolutions or consolations should come no more easily in movies than they do in real life.

Meanwhile, Nightmare in Chicago drew critical fire with its bleak naturalism and family resemblance to the meaner exploitation films of the period, from sex-and-violence cheapies to no-grade horror movies. Georgie-Porgie is a banal but chilling noir embodiment of horror’s unpacified evil – a psychotic who’s driven to kill his mother again and again, tormented by the agony of her promiscuous childhood betrayals and the brute noises in the room next door that still throb in his brain. 

But even better-known and disruptive end-of-the line film noirs like Psycho (1960) and Peeping Tom (1960) drew on some of the same dark impulses and dread sense of conviction as Nightmare in Chicago. The difference was that Nightmare in Chicago started out life as a television program with everyone in the living room watching.

However, as comfortless as the film may be, it does, like most of Robert Altman’s films, evince a moral understanding of how and why human beings behave as they do. Altman’s movies at their core always come from a place of empathy – something that all true film noirs, no matter how bleak, know something about. Count Nightmare in Chicago among them.

Note: Several sources, including IMDb, show Andrew Duggan, Carrol O’Connor, Michael Murphy and Mary Frann as starring in Nightmare in Chicago. Whether or not they were ever cast to appear, none did, in either television or film versions.

Gary Deane

Friday, 24 June 2016


“She’s the kind of woman for whom a man might even kill.” 

“We’re both selfish, dishonest, and rotten.”

Janis Paige, the veteran Hollywood trouper with over 150 screen credits to her name is alive and well in Beverly Hills. Though the 93 year old actress lost her Academy Awards voting rights this year, she still cherishes the Oscar statuette awarded to her late husband, Ray Gilbert, for the lyrics to ‘Zip-a-Dee-Doo-Dah’ from Song of the South, a Disney title no longer in release because of its depiction of African-Americans. However, the song can still be heard and every time it is, Paige collects $350, a nice little annuity – should she ever need it.
Paige broke in films after being spotted by a Warner Studio’s talent scout who saw her perform in the Hollywood Canteen during the war. She was soon to feature in a series of musical comedies starring Dennis Morgan and Jack Carson, Warner’s response to Paramount Studios’ hugely popular duo of Bob Hope and Bing Crosby. But after too many smaller assignments in lesser productions, Paige headed for Broadway where her out-sized personality and joyous scene-stealing in plays such as The Pajama Game won her raves.

During this time Paige also went on the road with a ritzy cabaret act which confirmed her gift for musical comedy and which brought her back to Hollywood to feature in films such as Silk Stockings (1957) and Please Don’t Eat the Daisies (1960). In the mid-fifties, Paige then tapped into television where she worked steadily on recurrent series such as General Hospital and Santa Barbara up until her retirement in 2001.  

But buried among her other credits was a rare leading performance in La Strada Buie aka Fugitive Lady (1950), a handsome classic film noir shot on location in Italy and in the Italian language (Paige later would be dubbed). Paige headlines as a pathologically self-seeking femme fatale and the role today stands among her most dramatically memorable, along with her part as an institutionalized prostitute in The Caretakers (1963).

Though attractive, Paige was big-boned and large-featured and not a typical Hollywood beauty of the period. However, she had a large presence and an impressive look that today would be viewed as more contemporary i.e. more Greta Gerwig than Gloria Grahame. That said, Paige was at her most interesting when portraying a woman who was sexually charged and aggressive – even in musicals like Two Guys from Milwaukee (1946) and The Time, the Place, and the Girl (1946) in which she up-stages the kittenishly provocative Martha Vickers.

In La Strada Buie Paige brings both glamour and sex to bear on wealthy industrialist, Raoul Clementi (Eduardo Ciannelli), who after seeing her perform on several evenings at a night club, woos and marries her, much to the displeasure of his step-sister, Esther (British actress Binnie Barnes). We learn this in flashback after Raoul, in the film’s opening sequence, drunkenly sends his car off a cliff into Lake Nemi, 30 kms south of Rome, and is killed. As it turns out, Clementi had taken out a life insurance policy for £100,000 and Barbara (Paige), his young widow, now wants to cash out as soon as possible.

However, the circumstances of his death arouse the suspicions of the insurance company and its investigating agent, Jack Di Marco (Antonio Centa). Di Marco is hesitant to jump to any obvious conclusions, determining that both Barbara and Esther might have had their reasons for wanting to see Raoul dead. Di Marco discovers that the Clementi’s marriage had broken down and that Barbara has a lover, Gene West (Massimo Serato), with whom she’d been involved for years. For her part, Esther has long been in love with Raoul and feels as much anger and resentment toward her step-brother for betraying her by marrying as she does for Barbara, whom she despises. All of this unspools in successive and lengthy flashbacks until the film’s end, a finish with a dramatic and profoundly ironic twist à la Postman Always Rings Twice

A fast-moving and savory film noir, La Strada Buie was based on a book, Dark Road, by popular U.S. mystery writer, Doris Miles Disney. The novel, published in 1946 and featuring investigator Jefferson DiMarco, was one of series of eight including Family Skeleton, later filmed as Stella (1950), a noir-hued and diverting black comedy. The film features Victor Mature as DiMarco and a smartly acerbic Ann Sheridan as a woman caught in the middle of a calamitous family plot, the doing of Sheridan’s two hapless brothers-in-law played by David Wayne and Frank Fontaine. Several other of Disney’s quintessentially American stories were adapted successfully for movies and television including: Do Not Fold, Spindle or Mutilate (1971), starring Helen Hayes, Myrna Loy and Vince Edwards; Betrayal (1974), featuring Amanda Blake, Tish Stering, and Dick Haymes; and Yestherday’s Child (1977), with Shirley Jones, Geraldine Fitzgerald and Claude Akins.

La Strada Buie was a co-production of Mike Frankovich, future Columbia Studios chief, and Italy’s Scalera Films. Frankovich was also the husband of Binnie Barnes, the couple living in Italy at the time. Scalera Films had come into existence in 1938 under the aegis of Benito Mussolini who had encouraged the Scalera brothers to invest in film production to support the regime and counteract the increasing importation of foreign films into Italy. The company undertook to try and replicate the Hollywood studio system with film-makers and actors signed to exclusive contract. However, after the war the studio suffered crippling operating losses and the brothers tried to leverage their productions by featuring American film stars such as Paige, similar to what had been done by British B-studios. However, in 1952, following the financing of Orson Wells’ Othello, Scalera Films defaulted and fell into bankruptcy.

Though done on a tight budget, La Strada Buie does not at all appear to be made on the cheap. Directed by American director Sidney Salkow, the film is very much in the Hollywood style, with the Italian settings and locations adding to the richness of atmosphere. Much of it is shot at night amid rain-soaked and heavily-shadowed exteriors and the camerawork throughout is expressive, giving no ground to post-war neo-realism. Behind the camera was Tonino Delli Colli , a cinematographer whose flamboyant lensing featured prominently in the films of Pier Paolo Pasolini, Sergio Leone, Federico Fellini, Roman Polanski, Louis Malle, and Jean-Jacques Arnaud. Delli Colli sat on the Cannes Film Festival jury in 1986, one of the first cinematographers to do so.  

However, La Strada Buie’s centerpiece is Janis Paige whose normally vivacious and breezy persona was transformed into that of a flesh-creeping femme fatale. But as Paige herself has said, she could be anything she was asked or told to be because that’s what you did if you wanted to survive in the business. In a 2015 interview she stated that she never saw her studio tenure as “indentured servitude”. She was forever grateful for the watchful eye and “pampering” that was afforded contract players during the studio system’s heyday. You paid attention, you worked hard, and you learned. “Today, most stars can’t overcome a bad script. The old stars could. There was so much we couldn’t do because of the code, we had to use our imaginations. Everyone had a work ethic. We didn’t bitch or complain. You just worked and appreciated being part of this fabulous industry.”

Today, thanks to the hard work of volunteer subtitling crews on various torrent sites, English-speakers now have access to films such as this largely unknown and unseen classic film noir, a singular US/ international hybrid that takes a backseat to none when it comes to ladling out requisite helpings of greed, lust, and betrayal. It may be ‘a bitter little world’ as Joan Bennett pronounces in Hollow Triumph (1948), but it’s a world of film noir increasingly much bigger than one might have ever imagined. 

Thanks to Garnet Barlow for his translation of the Italian resource material.

Gary Deane