Pure Bullet Noir

 BULLITT (1968)

An Appreciation by Jerry Saravia

"Bullitt" is definitively bullet noir. There were a few notable existential action films in the late 1960's ("Point Blank" comes to mind) but there is something more immediate, more dangerous, more alluring about "Bullitt." There is one amazing car chase scene and one fantastic foot chase yet the movie also has Steve McQueen, a true antihero who has no inner life and not much interest in anything other than his work. He's always driving from one location to another in pursuit of a clue or an informant or a suspect. He never stops moving because there is nothing else to latch onto, except the alluring beauty of his architect girlfriend (Jacqueline Bisset). The world is a sewer, as his girlfriend says, and Bullitt himself is wallowing in it. Bullet noir.

The plot is relatively simple and spare. A mobster named Johnny Ross is on the run. Lieutenant Frank Bullitt (McQueen), along with his partners, Delgetti (Don Gordon) and Stanton (Carl Reindel), have the unenviable task of guarding Ross at a cheap hotel. The task is requested by U.S. Senator Walter Chalmers (Robert Vaughn) - the goal being to guard Ross until the Senate has their subcommittee hearing on organized crime. Of course, something goes wrong when Ross is killed and one of Bullitt's men is injured - Chalmers doesn't know Ross was killed and won't until Bullitt persists with uncovering why this bloody mess occurred. 

The story may be nothing new yet the movie is a breeze, a coolly atmospheric and smoothly directed action picture where the thrills are derived from the investigation, from the clues that Bullitt gathers. It is also about Bullitt looking cool, calm and collected and driving his green Ford Mustang yet never expressing much emotion. McQueen has one smile that he passes to Bisset in a restaurant scene but that is the nature of Bullitt. He is aloof, never one to emote or to even show anger (he does convey concern for his injured partner). One particularly riveting scene has Bullitt in a copy room with his boss while Chalmers waits for him to sign the writ of habeas corpus - you feel a heated intensity from Bullitt but he never gives in. Anger is not in his arsenal, only his gun and his fast green Ford Mustang.

Speaking of the fast green Ford Mustang, the scene where he turns the tables on the hit men following him is insanely entertaining to watch and keeps you on the edge of your seat - you might almost fall off of it. There is a significantly explosive crash and yet Bullitt drives away, onto the next stage of the investigation. He is unstoppable and is aware that the world can be a sewer with not much light coming in from the darkness. His last scene is a beaut - Bullitt just stares at the mirror and knows more danger in his line of work is headed his way. Pure bullet noir. 

Death, snakes, convicts, halos

 WE'RE NO ANGELS (1955)

Reviewed by Jerry Saravia

Talk about rigid staginess, "We're No Angels" is a crime comedy but it is so darn flat that it almost evaporates from the screen once it is over. That is saying a lot for a movie starring Humphrey Bogart.

It is Christmas time and three convicts have escaped from Devil's Island and they are about as charming a group as you can imagine. There is Joseph, the charming thief (Humphrey Bogart); Albert, a killer who has a predilection for getting any woman he can (Aldo Ray), and Jules, a clever thief who can break into any safe just by caressing it (he had also killed his wife and is played by Peter Ustinov). These three enter a shop that sells clothing and various other items and knick-knacks and volunteer to help Felix Ducotel (Leo G. Carroll), who runs the store, fix a leaking roof. Meanwhile, some shenanigans develop between the owner's wife (a thankless role by Joan Bennett) and their pretty young daughter (Gloria Talbott) who faints about three times before she's even properly introduced to these men. The convicts were planning all along to rob the store blind but they start to change their ways because, you know, it is Christmas and they fix the meal and clean the dishes. 

"We're No Angels" takes an eternity before the pace picks up and it does briefly with the introduction of the colorful, mean-spirited store owner (Basil Rathbone), an incorrigible prick who thinks money is the only value in life. Rathbone elevates the proceedings yet the movie never veers from its stage origins. I did like the running gag that everybody in Cayenne, a French colonial town, knows that the escaped convicts are at this store and nobody flinches at the sight of them or calls the police (until the end of the film). There is also an unseen poisonous snake belonging to Albert that results in a couple of unseen deaths. I could have lived without the halos. 

All hope is lost

 IN A LONELY PLACE (1950)
Reviewed by Jerry Saravia

None of Nicholas Ray's films could be considered average genre pictures that fulfill the needs of the specific genre. "Rebel Without a Cause" could've been a juvenile delinquent picture yet it rises above the surface of teens in trouble with its firm handling of disillusioned teenagers who are trying to figure out their place in the world. "In A Lonely Place" is one of Ray's best films, a sordid picture of Hollywood in the 1950's where making a buck and staying relevant matter more than anything. When it comes to struggling screenwriter Dix Steele (Humphrey Bogart), his displeasure with B "popcorn" pictures is due to having recent flops on his record and not because he doesn't want to make them. He is not interested in high art, just doing his diligent job of writing a sentimental, average movie. His own life is anything but sentimental. 

Dix Steele frequents nightly at Paul's restaurant, a regular hangout for all screenwriters, actors and Hollywood execs where getting noticed is the deal. Dix needs a comeback but his outbursts of violence and aggression can get the best of him. He has temperamental issues but they are not enough to deter anyone from working with him - his long-suffering agent, Mel (Art Smith), always makes excuses for Dix. One night, Dix invites a very perky hatcheck girl, Mildred (Martha Stewart), to his apartment to work out the details of the book he's adapting - she has already read it and dictates the plot to him. Dix couldn't be less interested and probably even less interested in Mildred, whom he sends home with 20 dollars to take a cab. The next day, Mildred is found murdered. Did Dix do it? He is a likely suspect, though his new alluring neighbor, Laurel (Gloria Grahame), did not see him leave with Mildred. She supposedly observes his every move since their apartments face each other in the courtyard.

"In a Lonely Place" finds Dix and Laurel getting romantically involved. She cooks for him and provides solace while he works on the script - she types the pages he writes. This relationship is doomed because as much as Laurel loves Dix, she catches his frequent temper fits. One night, he nearly kills another motorist by almost crushing his head with a rock! Dishonesty can set Dix off - he strikes his agent in the face at Paul's, and he takes off like a bat out of hell after it is discovered that Laurel met with one of the police detectives. He is rash and far too impulsive in his rage without being able to control it - he unsurprisingly has a history of violent episodes. Who can doubt that he killed Mildred especially when he reenacts it ("artistic temperament" he calls it) in front of his buddy, Brub (Frank Lovejoy), a police detective who is working on the case, and Brub's frightened wife, Sylvia (Jeff Donnell).

This all leads to a frighteningly intense ending where Dix confronts Laurel. First, she doesn't have her engagement ring on and he starts to get angry. Then she tries to shield his eyes from her bedroom where she has packed some belongings and has left an envelope for him (she's ready to take off to New York). It is so suspenseful and so tension-filled that you may find yourself trying to cover your eyes (Bogart gives a scary, tantalizing performance). Where can all this lead and did Dix kill Mildred? The beauty of "In a Lonely Place" is that its noir elements are not as significant as Dix's impending rage that can be set off at any time, anywhere. Laurel sees the beast in Dix and when the final truth is revealed, it doesn't matter whether he committed the crime or not - all hope is lost.   

We have all the time in the world

 ON HER MAJESTY'S SECRET SERVICE (1969)

Reviewed by Jerry Saravia

Watching George Lazenby take on tough superspy James Bond can run a bit hot and cold. Lazenby (in his film debut) is suave, has the right physical build for a spy and ample presence - the guy knows how to throw a punch and how to fire a gun. I still do not buy him as James Bond because there is no danger to him and I do not sense that killer instinct. Sean Connery is the obvious comparison and Lazenby doesn't carry much in the way of adult charm either - he has boyish charm and remains resolutely calm around the ladies but that is it. In one scene, under disguise, he looks like Sherlock Holmes and I could see him as Holmes without question.

The story that matters most in "On Her Majesty's Secret Service" is Bond's search for Ernst Stavro Blofeld, his main arch-nemesis (this is Operation Bedlam). After Bond rescues a Countess from committing suicide in the Portugal sea, there is an elongated fight scene on the beach that is fairly witty in its payoff. The Countess is Contessa Teresa di Vicenzo (the luscious Avenger herself Diana Rigg, who only figures in the action during the opening and closing passages). She is the sole daughter of Marc-Ange Draco (Gabriele Ferzetti), the head of a powerful Corsican crime family, who wants Bond to marry her hoping she will be dominated and obey a husband (this would not go well in 2025). Bond declines the offer but he hopes that Draco will help locate Blofeld. It turns out that Blofeld (a very engaging Telly Savalas) is living in the Swiss Alps and is claiming the title of Count Balthazar de Bleuchamp through the London College of Arms! This is, of course, an attempt by Blofeld to disguise himself from being killed by Bond yet the archvillain also has a dastardly plan. Blofeld, or Count Balthazar, runs a clinic concerned with allergies and has a bunch of women used as test subjects. The truth is that the women are guinea pigs who are being brainwashed into spreading biological warfare agents to Britain and Ireland. The supervillains always had harebrained world domination and destruction plans, but wouldn't it have been easier to distribute such agents through gas exhaust or some other technological means?

"On Her Majesty's Secret Service" has some well-oiled action scenes and a breezy one or two ski chases which is something early Connery films did not have until Moore's "Spy Who Loved Me" (though Blofeld skiing through the Alps merits a few chuckles). Lazenby's Bond also has some great physical fistfights that are truly mind-boggling and keep you on the edge of your seat (when he knocks out a bunch of Draco's men and you hear ricocheting sound effects, it really does startle your senses). I also enjoyed Bond's attempts to escape a maintenance room with the monstrous gears controlling the cable cars - my hands got sweaty so I know it works. And we also get a marriage sequence that is followed by a tragedy - very unusual for a James Bond flick. Speaking of unusual, we are treated to a rare visit to M's house!

Lazenby is not quite the James Bond I love to see - he just doesn't have that edge but his romantic scenes are wonderful and he's acceptable playing cards at a casino. He isn't bad so I have to grade him against latter-day Bonds - he's miles ahead of Timothy Dalton but he's no Connery or Roger Moore. The movie is still fun and engineered with maximum skill by debuting director Peter Hunt. Still, in light of what Connery could get away with or even Moore, neither would pass muster disguised as a Holmes type or a genealogist wearing a Scottish kilt! 

I won't play the sap for you

 THE MALTESE FALCON (1941)

Reviewed by Jerry Saravia

Sam Spade can love women like any hardboiled detective, but can he forgive himself after loving someone who may killed someone close to him? That is the real question and one that stays with you long after watching John Huston's astonishing directorial debut, "The Maltese Falcon." 

Based on Dashiell Hammett's classic mystery novel (adapted twice before), Sam Spade is our man of the hour (Humphrey Bogart), a tough detective who doesn't sugarcoat anything and pedals hard when he wants information. His partner, Miles Archer (Jerome Cowan), is more than a bit enchanted by their newest client, a certain Miss Wonderly (Mary Astor), who wants protection of her sister from a malevolent boyfriend named Thursby. The private detectives know what to do and when Archer allegedly confronts Thursby, the pleasant detective is shot dead. A half-hour later, Thursby is gunned down. The police and Archer's wife suspect foul play from Spade but Spade is nobody's murderer or fool. Spade is eager to find Archer's shooter and he has a good hunch that Miss Wonderly, who is actually Brigid O'Shaughnessy, might hold some clues. It turns out her story was a fabrication, which Spade had already suspected, and he can sense almost everything coming out of her mouth is a lie. 

Then we get to the business of the Maltese Falcon, a sought after statuette of a black bird that holds encrusted jewels. The effeminate Joe Cairo (Peter Lorre) is interested in acquiring it and thinks Sam has it. Then there's the "gunsel" Wilmer (Elisha Cook, Jr., known at the time in Hollywood as the "lightest heavy") who is trailing our detective and whom Spade can easily spot a mile away. Wilmer works for a most jolly, cultured fellow known as Kasper Gutman, the "Fat Man" (a marvelous Oscar-nominated performance by Sydney Greenstreet), who relays the history of the "black bird" that goes as far back as the Knights Templar. Before long, Spade is embroiled in a search for a statuette that is of little significance to him, other than his growing love for Brigid and the mystery killer who shot his partner and Thursby.

"The Maltese Falcon" is so alarmingly fast-paced that, not unlike say "His Girl Friday," you have to keep up with these characters' rapid-fire dialogue to make sense of everything. That is the beauty of a jewel of a movie like this - it never hesitates to keep moving, to keep us on our toes wondering what else will be uncovered and what other double-crosses are headed our way. The clean, crisp dialogue is full of delicious memorable lines like "When you're slapped, you'll take it and like it!" or "Don't crowd me" or even the film's last Shakespearean line delivered by Bogie's Sam "This is the stuff dreams are made of" (a line not in the original novel). Every scene is sumptuously acted and crackles with excitement (further proof that a room full of people talking can be thrilling and suspenseful) - no shot is ever wasted and no scene ever feels out-of-tune. Watching Humphrey Bogart have his way with everyone, and completely fearless, is truly divine cinema. Greenstreet's girth says just as much as his soft Brit accent - such a man with a wicked smile can only spell danger around the corner. Bug-eyed Lorre as Joe Cairo also keeps you on your toes - he threatens Sam with a gun twice in the same scene! Then there's Elisha Cook, Jr. whose eyes well up when he realizes he will be the fall guy for this black bird mess. And, finally, there is the equally divine Mary Astor who is also fearless in her own right, playing one of the most duplicitous femme fatales I've ever seen. And when Sam confesses he loves her and knows that he has to send her away to jail, you feel his regret. Astor's Brigid can't even look at him in the final scene. This is juiced-up, fantastically entertaining noir and it would make a hell of a double feature with "Out of the Past." An American classic.  

Neorealism at its peak

 BICYCLE THIEVES (1948)

Reviewed by Jerry Saravia

"Bicycle Thieves" is highly effective in its very simplicity, in evoking a time and an era where hardships and financial strife were all too common. The simplicity goes further in establishing desperation through a necessary mode of transportation.

That mode of transportation is simply a bicycle, one needed sorely for a new job that our protagonist needs. The protagonist is Antonio Ricci (Lamberto Maggiorani), a desperate man who finds a job placing movie ad posters on bare walls surrounding selective parts of Rome, Italy. Ricci has a wife who has a strong religious faith, Maria (Lianella Carell), who sells her bedsheets for money, and a young, empathetic son named Bruno (Enzo Staiola) not to mention a newborn baby. When Maria receives sufficient money, Antonio uses it to buy back his bicycle at a pawn shop. While doing his job one day, a young man steals his bicycle and Antonio spends the rest of the film trying to get it back. Without it, he can't do his job (although he tries to convince the boss that he can walk all over Rome if needs be). Antonio files a police report but to no avail - Rome is littered with its citizens riding bikes. Finding the bike is practically a needle in the haystack yet he does come across the young man, seen speaking to an older, disheveled man who wants a hot meal at the local church. The young man disappears in the bike yet again and Antonio begs the old man to tell him about this thief but to little avail, until an address is finally revealed. 

Set during the post-WWII era in Italy, director Vittorio de Sica has crafted something that was unusual at its time - a street-level look at life in actual locations that look and feel real. Aside from some rear-screen projection during a bus ride, nothing in "Bicycle Thieves" seems inauthentic or less than credible. The film never gives you the impression that you are looking at dressed-up sets or elaborate soundstages with expressionistic lighting. This film was one of a select few that birthed the neorealism movement on film (the movement began as a literary one in the 1920's)  - using found locations with people marching along or bicycling their way around the many tight corners around buildings and the wide, open streets. The cast is not a group of professional actors - they are all people with real jobs selected by De Sica and it is admirable how not one false note is apparent in their characterizations. 

I did get a bit impatient with the business of the Wise Woman, an alleged fortune teller whom Maria seeks and gives money to when luck initially seems to be on their side. I see the necessity of such a character but one scene would've been enough - an extra scene with Ricci just seems extraneous. It is the only issue I have with "Bicycle Thieves," a film where you can't help but empathize with this unfortunate poor family getting by with scraps yet hoping for a better future. We share in Antonio's plight so strongly that it is hard to feel anything other than pity and helplessness at the end during a very tearful scene rich with irony. No bike, no job, and if there's no job, no money to support a family - very elegantly and simply told. Everybody seems to be poor (other than the restaurant scene where we see people affording luxurious pasta meals and refreshing wine) and we know the young thief is poor and we feel sorry for him, as well. Antonio feels that sorrow as well.  

Vincent Price is the chill in the air

 SHOCK (1946)

Reviewed by Jerry Saravia

Vincent Price had the shock and awe of a feared presence whom we ought to be wary of. He was not a frightening monster to look at - he was handsome and had a rugged, delicate charm - yet it was that meticulously mellifluous voice that could either imply a cordial tone or something malevolent. Either way, Price unmistakably could bring a chill to the air in thrillers and horror. "Shock" is as mediocre and banal as any thriller yet Price does his best to elevate the "shock" value.

Janet (Anabel Shaw) is the wife of an army lieutenant husband who is awaiting his arrival at a San Francisco hotel. While staying overnight at the hotel, she witnesses a man clubbing his wife with a silver candlestick. She is horrified and is practically in a coma-like status. Her husband arrives and is "shocked" by her appearance. A certain doctor (Vincent Price) is consulted who has a room at the hotel and, surprise, he is the killer! Later on we get scenes at his sanitorium where he administers insulin shots to Janet with an evil plan to have her committed! 

Nothing in "Shock" is startling or inventive and it is mostly boring. Elaine Jordan (Lynn Bari) is the doctor's nurse and they are having an affair and there is that tingle of noirish feeling. Elaine wants the doctor to relax and is angered when he begins to develop a conscience. Even for an hour-long film, the film is deadening to a crawl and nothing here will keep you awake. Vincent Price is game for anything and is the best thing about this forgettable tripe.