Even if you’re a fan of the great Humphrey Bogart, you might find it hard to believe that he “played juveniles or romantic second-leads in drawing room comedies [in the theatre], and is said to have been the first actor to ask “Tennis, anyone?” on stage.” As a pre-teen, I watched his films on Saturday afternoons when a local television channel aired classics. I loved Bogart’s characters: the wounded cynic who was tough yet vulnerable, powerful yet caring.
His most memorable films reinforced his “Loner with a Heart of Gold” role: the private investigator with a femme fatale client in The Maltese Falcon (1941), a Noir classic based on the novel by Dashiell Hammett; the self-sacrificing expatriate in Casablanca (1942), which was Bogart’s first romantic lead in film; and private investigator Phillip Marlowe in the complex and somewhat convoluted Noir The Big Sleep, (1946), based on the novel by Raymond Chandler.
Until last month, when I first learned of Dorothy B. Harris’ 1947 Noir serial killer novel, In a Lonely Place, however, written in Limited Point of View from the perspective of the killer himself, and its 1950 film adaptation, I never realized that Humphrey Bogart had played a man suspected of being not just a murderer, but a serial killer. Bogart’s angst-ridden and angry character Dixon Steele in the film adaptation of Harris’ novel, is one of his most “fascinatingly complex” roles, one that has earned the film a place in multiple the Top 100 lists.
Bogart plays once-successful screenwriter Dixon Steele, who is being urged by his agent and colleagues to adapt a trashy bestseller into a script to get his own career back on track, i.e., earning money. Annoyed by the book’s banal content, Steele feels oppressed by the assignment. He attempts a shortcut: instead of reading the entire “epic” novel himself, he asks a young coat-check girl (Martha Stewart) at one of his favorite restaurants to come back to his place to tell him the story. When the two arrive at his apartment complex late at night, Steele glimpses the woman of his dreams, Laurel (Gloria Grahame), who is a new neighbor.
From that point on, Steele’s life is a tumultuous roller coaster ride. As he tries to write a screenplay for the book he doesn’t even like, he finds himself irresistibly attracted to the mysterious and somewhat aloof Laurel. Worse, he’s under investigation for violent crimes, including a gruesome murder.
Though the film seems to start somewhat slowly and has some inappropriate comedic moments, especially those involving the drunken actor who’s a friend of Steele, and many scenes with Steele’s agent (Art Smith), it mostly concentrates on the disturbing story of Steele’s vivid (albeit scary) imagination and his even more frightening rage.
The isolation, moral ennui, and angst driving Steele to desperate acts of savagery that begin to terrify even his long-time agent, the beautiful but restless Laurel, and close friends Detective Brub Nicolai (Frank Lovejoy) and wife Sylvia (Jeff Donnell).
Because the film In a Lonely Place is only very loosely adapted from the novel, I wouldn’t recommend that you read the book beforehand, as the differences between novel and film will confuse you. Instead, watch the film — or read the novel — separately from each other. This film, called the “purest of Existential primers,” is available for rent ($2.99-3.99) from Amazon,iTunes, and Vudu.
In the 1950s Hollywood was losing its audience — and its earnings — to television. “Weekly movie attendance declined from 90 million in 1948 to 51 million in 1952… and thousands of cinemas closed.” To recoup financial losses and win back viewers, studios invested in films modeled after the industry’s former successes, but employing the latest technologies, such as EastmanColor, a single-strip film that made color movies less expensive, and Cinemascope, in which anamorphic lenses “stretched” a “distorted image” to fit a wide-screen format that was almost twice as wide as those of previous films. Grand-scale epics like Ben-Hur and The Ten Commandments appeared. Countless science fiction films, most based on the genre’s classic literature, created the genre’s Golden Age in Hollywood: War of the Worlds,The Day the Earth Stood Still,Forbidden Planet, and Them!
Character- and story-driven films resurged. Some were original, some were based on bestselling novels, and some were adapted from critically and financially successful stage plays, including Strangers on a Train,Rear Window,Guys and Dolls,Sayonara, and Dial M for Murder. Most 1950s films featured powerful storylines, morally ambiguous characters, and memorable dialogue. Though the less expensive EastmanColor single-film technology was available, many directors chose to shoot their films in black-and-white, sometimes using unique or intriguing camera angles, perhaps imitating the classic Noir films from the 1940s. In many of these now-classic 1950s films, actors, screenwriters, and directors took huge artistic risks, creating some of the best films ever made. Here are five of the best 1950s classic films, presented in the order they were released, since they are all of outstanding quality.
Sunset Boulevard (1950)
“Mr DeMille, I’m ready for my close-up.” Nora Desmond
One of the best films ever made, Sunset Boulevard stars a boyish William Holden as Joe Gillis, a struggling Hollywood screenwriter whose financial woes accidentally but serendipitously lead him to what he believes is an abandoned mansion. The neglected property is the home of silent-film star Nora Desmond (Gloria Swanson) who’s spent the last 20 years preparing for her great “comeback.” Intent on using Nora as a quick paycheck — by whipping her Salome into a feasible screenplay — Joe soon becomes ensnared in Nora’s celebrity world of wealth, possessions, and material comfort.
Though sexually involved with the older Nora, Joe casually and continually tugs the heartstrings on an ingenue (Nancy Olson) with whom he’s secretly writing another screenplay, and who knows nothing of his relationship with the jealous and emotionally unstable film star. Joe’s actions force all the characters to desperation, conflict, betrayal, and, ultimately, murder.
A poignant hommage to Hollywood’s by-gone silent-film era, as well as an unflinching look at professional ambition, Sunset Boulevard was nominated for 11 Academy Awards and won three, including one for co-writer and director Billy Wilder. Holden shines as the heel-with-half-a-heart, but Swanson’s brilliant and creepily gothic performance as the melodramatically bad Nora is what makes this film such a classic.
Trivia: Gloria Swanson was a real silent-film star, though, unlike Nora, she successfully transitioned into Talkies: all the photographs of Nora on display in her mansion are from Swanson’s own silent films.
Sunset Boulevard is available for rent from Amazon for $3.99 (viewing time once started is 48 hours, and you can watch it more than once for the same cost).
All About Eve (1950)
“Fasten your seat belts: it’s going to be a bumpy ride.” Margo Channing
Sometimes Hollywood is at its artistic best when it turns its unforgiving lens on itself, as it does in All About Eve, an intense and brutally honest examination of the Machiavellian ambition in the theatre and film worlds. Bette Davis is New York stage star Margo Channing, who allows a seemingly naïve fan, Eve (Anne Baxter) to “worship” the star while becoming her personal assistant.
Soon, Eve is causing dissension among all the characters; Margo, Margo’s longtime companion Birdie (Thelma Ritter), Margo’s beau Bill (Gary Merrill), playwright Lloyd (Hugh Marlowe), playwright’s wife (Celeste Holm), and theatre critic DeWitt (George Sanders). Everyone in the film is forced to re-evaluate their own personal lives, their morality, and their relationships after Eve infiltrates their lives.
By the time a large number of the characters distrust Eve, however, she is already determined to conquer them all, and she doesn’t care how much damage she causes, as long as she herself becomes a star.
Filled with snappy lines and memorable performances, All About Eve was nominated for 14 Oscars, winning 6, including Best Picture. It is the only film ever with 4 Academy Award nominations for women: Bette Davis and Anne Baxter for Best Actress, Celeste Holm and Thelma Ritter for Best Supporting Actress.
Trivia: Marilyn Monroe’s first important film role.
All About Eve is available for rent for $3.99 from Amazon (48 hours viewing period once started). Note: The original film trailer was a faux interview with Bette Davis regarding the fictional Eve. This trailer is a modern one, since may be more interesting to viewers unfamiliar with the stars of the film.
A Streetcar Named Desire (1951)
“I have always depended on the kindness of strangers.” Blanche DuBois
Based on the Pulitzer Prize-winning play by Tennessee Williams, A Streetcar Named Desire came to Hollywood via Broadway. The production’s theater director, Elia Kazan, brought play to the big screen, using three of the stage show’s original stars: Marlon Brando as Stanley, Kim Hunter as his wife Stella, and Karl Malden as his best friend Mitch.
When Blanche DuBois (Vivien Leigh) comes to New Orleans to live with her sister Stella, Blanche immediately dislikes Stella’s husband Stanley. The feeling is mutual: Stanley and Blanche clash constantly, causing a rift between husband and wife, and making the marriage erupt in angry, sometimes violent scenes. It is only because Stella is pregnant with their first child that Stanley permits his irritating and condescending sister-in-law Blanche to stay.
After his buddy Mitch falls for Blanche, intending to ask her to marry him, Stanley begins to investigate Blanche’s implausible stories of her past. As the tensions among the characters mount, Blanche and Stanley are driven to a ferocious confrontation in which each fights desperately for his own survival.
Nominated for 4 Academy Awards — male and female Best Actor and Best Supporting Actor — A Streetcar Named Desire won three: Best Actress for Vivien Leigh, Best Supporting Actress for Kim Hunter, and Best Supporting Actor for Karl Malden.
Brando, who was nominated for Best Actor but did not win, was relatively unknown to film audiences at the film’s release. The play A Streetcar Named Desire was originally written with only one protagonist: the tortured and delusional Blanche. Brando’s performance as the equally tortured and sympathetic Stanley, a role which he originally “modified” on-stage and subsequently re-created in the film, catapaulted Brando to worldwide attention and critical acclaim.
Trivia: To mimic and symbolize Blanche’s claustrophobia, paranoia, and increasing anxiety, the set of Stanley & Stella’s apartment literally became physically smaller as film progressed, crowding the actors together.
In his first Oscar-winning role (second nomination), Marlon Brando plays Terry Malloy, a former boxer who dreamt of becoming a champion, now working as a longshoreman. Terry exists on the fringes of organized crime since his brother Charley (Rod Steiger) is the right-hand man of dock gangster Johnny Friendly (Lee J. Cobb).
When one of Terry’s “favors” to Johnny gets a fellow longshoreman killed, Terry begins to feel the pricks of conscience — a commodity he would prefer to live without. After Terry meets Edie (Eva Marie Saint), the sister of the murdered longshoreman, Father Barry (Karl Malden) exploits Terry’s awakening moral principles in an attempt to get him to testify against the members of organized crime on the docks.
Torn between his growing love for Edie and his loyalty to his fellow workers (along with his devotion to his brother Charley), Terry must decide whether it is better to live as a criminal failure than to risk dying an honest man.
Based on a series of Pulitzer Prize-winning investigative articles (“Crime on the Waterfront”) as well as on an original story by Budd Schulberg, who wrote the screenplay, On the Waterfront was nominated for 12 Academy Awards, winning eight. In addition to Oscars for the co-stars, Brando and Saint, the film won Best Picture, and Best Director for Elia Kazan.
Trivia: Brando didn’t like his dialogue in iconic taxi scene, so he refused to say it. Director Kazan, tired of arguing with Brando, filmed him and co-star Steiger doing the scene improv, resulting in a classic.
“How can a jury disregard what it’s already heard?” “They can’t… They can’t.”
One of the first mainstream films to discuss sex and rape in graphic terms, Anatomy of a Murder caused outrage when it was released in 1959. Jimmy Stewart stars as former prosecutor-turned-defense-attorney Paul Biegler, who’s hired by Army Lieutenant Manion (Ben Gazzara) after he shoots and kills a man accused of raping Manion’s wife (Lee Remick).
Despite the fact that it’s Manion who’s on trial for murder, pleading “irresistible impulse” — another term for “temporary insanity” — and PTSD-induced “dissociative crisis,” it’s Manion’s wife Laura who is really on trial, in the courtroom and in the small community where they live. What she wore, whether she was drunk, and if she was provocative to the victim on the night in question occupy more of the trial than does the professional testimony of the psychiatrists who examined the war and combat veteran, who claims he unconsciously reacted with violence to his wife’s attack.
Attorney Biegler responds with outrage whenever the Special Prosecuting Attorney (George C. Scott) attacks the character of Manion’s wife, but viewers are presented scenes in which the “bored” and “lonely” young wife, who is undeniably attractive and who flouts society’s conventions by not wearing a girdle under her form-fitting clothes, flirts inappropriately with her husband’s defense attorney. Viewers have even more questions about what actually occurred between Manion’s wife and victim than do the jurors.
Adapted from the bestselling novel of the same name by Michigan Supreme Court Justice John D. Voelker (under the pseudonym Robert Traver), which was based on a sensational 1952 murder trial, Anatomy of a Murder vividly examines society’s discomfort with sex and sexuality, as well as with victims of sexual violence. Concentrating on the tendency to blame the victim in sexual assault and rape cases while simultaneously exonerating the victim in murder cases, the film is powerful for its morally ambiguous characters, its strong performances, and its groundbreaking handling of the topic of sexual violence. Nominated for 7 Academy Awards, including Best Actor and Best Picture, Anatomy of a Murder is considered among the Top 10 films in the category of Courtroom Drama.
Trivia: Films “explicit” language caused outrage, getting it banned in Chicago theatres. These words were considered especially offensive: bitch, slut, rape, contraception, penetration, sperm, and — believe it or not — panties.
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