Before we get started, let’s have a big round of applause for
Kristina Dijan of
Speakeasy for suggesting this particular
TotED post! Between chatting online at the
Speakeasy site,
The Dark Pages; Shadows and Satin, and Twitter, Kristina and I have discussed and good-naturedly joked about various film noirs. In a recent communiqué, we happened to discuss the similarities between two classic 1940s thrillers by Fritz Lang (1890—1976), namely 1944’s
The Woman in the Window (TWitW) and 1945’s
Scarlet Street (
SS). Clever gal that she is, Kristina thought it would be great fun if I discussed both of these films, and before you could say, “Cheese it—the cops,”
The Woman in the Window vs.
Scarlet Street Smackdown was ready to rumble! Many thanks for the great suggestion, Kristina!
When I was a teenage movie buff (hey, maybe some fresh new classic blogger should give the title
I Was a Teenage Movie Buff a good home in some nice warm blog, if someone hasn’t already done so!
But I digress….), I mostly knew who Fritz Lang was because of
Metropolis (1927) and
M (1931). It wasn’t until years later that I learned more about director/writer/producer Lang’s body of work. But once I finally had the opportunity to see these suspense dramas, both of them produced by Walter Wanger (Alfred Hitchcock's 1940 thriller
Foreign Correspondent) and his beautiful and talented wife Joan Bennett, both films grabbed me and held me riveted to the TV, intrigued by those films’ similarities and differences! Also, both movies had Milton Krasner as Director of Photography
(All About Eve, The Set-Up, the Oscar-winning
Three Coins in the Fountain) but H.J. Salter composed the
SS score, while
TWitW was scored by Arthur Lang and an uncredited Hugo Friedhoffer, Charles Maxwell, and Bruno Mason.
With all due respect for Lang, I must admit that Edward G. Robinson was the main attraction in our little smackdown as far as I was concerned. Born Emmanuel Goldenberg in 1893 in Bucharest, Romania, Robinson emigrated to New York City with his family when he was 10. “Eddie,” as friends called him, rose to stardom playing gangsters and other tough guys in films like
Little Caesar, Five Star Final, Tiger Shark, and the Damon Runyon/Howard Lindsay mobster comedy
A Slight Case of Murder. However, during his long career, he also proved to be both a fine leading man and a character actor of great talent and range in such films as
The Stranger (1946),
The Prize (1963), and Robinson’s final role, in
Soylent Green (1973), which particularly touched my heart. This time around, we’ll be seeing Robinson’s sensitive side as Our Man Eddie finds himself becoming putty in the hands of dangerous dames and conniving crooks! Where’s his sensible, fearless
Double Indemnity character Barton Keyes when you need him?
Both
TWitW and
SS are set in my hometown, New York City, and both films have the same three stars: Robinson, Joan Bennett, and Dan Duryea. Taken at face value, it looks as if the leads in
TWitW and
SS are more or less playing the same character archetypes:
- Our man Edward G. Robinson as a kind, dignified older gent whose quiet life is turned upside-down when he finds himself infatuated with a pretty young woman who may or may not make a chump out of him. Talk about “middle-age crazy!”
- Joan Bennett as a beautiful young woman of negotiable affections, as Vinnie would say. She was a member of the renowned Bennett acting family, which included dad Richard Bennett, sister Constance Bennett of Topper fame, and younger sister Barbara Bennett of The Valley of Decision. Joan’s long, successful career included silent films; the 1933 version of Little Women; our director Fritz Lang’s Man Hunt (1941); Father of the Bride (1950), with Joan as the mother of bride-to-be Elizabeth Taylor and the wife of comically beleaguered Spencer Tracy, followed by the sequel Father’s Little Dividend (1951); Dark Shadows on TV and in the feature film House of Dark Shadows; and Dario Argento’s giallo horror classic Suspiria (1977). She started her acting career as a blonde, but I think our Joan always looked best as a brunette, whether she played good girls or shady ladies.
- Dan Duryea as a sleazy opportunist who’s not above blackmail and violence to get what he wants. For most of his long career, Duryea excelled at playing Guys We Love to Hate in such classics as Ball of Fire and Criss Cross (no relation to Robinson’s character in SS, but do read and enjoy our friend and fellow blogger John Greco’s stellar review at his blog Twenty-Four Frames!) A native of White Plains, New York (just a short drive from the Bronx neighborhood where I lived for much of my youth!), Duryea’s character actor career was born when he became a Broadway star in the original stage versions of Dead End and The Little Foxes, the latter starring the great Tallulah Bankhead. The Little Foxes also became Duryea’s Hollywood debut; this time he played opposite another powerhouse star, the great Bette Davis! Despite his usual roles as rotters and bounders, Duryea was by all accounts a nice guy in real life (indeed, he’d been a scoutmaster and a PTA parent!),
Let’s get this noir party started!
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| Dashing young Fritz Lang |
The Woman in the Window (1944)
Versatile writer/producer/director Nunnally Johnson brought audiences such classic films as
The Grapes of Wrath, The Three Faces of Eve, The Gunfighter, The Man in the Gray Flannel Suit, and
How to Marry a Millionaire. He proved to be quite adept at film noir with
The Woman in the Window (TWitW), based on J.H. Wallis’ novel
Once Off Guard. Wanger and Bennett had been feeling stifled at Universal, so along with Lang, they joined forces to create their production company
Diana, named after their daughter, providing Lang with the artistic freedom he craved. It was the first time that Edward G. Robinson, Joan Bennett, and Dan Duryea had worked together.
TWitW was set mostly in Manhattan, with side trips to the Henry Hudson Parkway, leading from Manhattan to the Bronx to Westchester County, near where our family lived at the time. The scene in question involves our desperate heroes trying to ditch a corpse—but I’m getting ahead of myself! (I assure you it wasn’t nearly as scary when we actually lived there!) Our protagonist is Assistant Professor Richard Wanley (Robinson), who we first see lecturing about “Some Psychological Aspects of Homicide” at the fittingly named Gotham College. Somehow I get the feeling our hero’s knowledge on this particular topic has more to do with book smarts than street smarts! Although it’s clear that Richard truly loves his wife and kids, he and his friends are nevertheless “summer bachelors” in the city while their wives and kids head for the country for fresh air and sunshine. But when the fam’s away, will the husbands stray? Is it beer o’clock and the boys are buying? Richard, for one, is perfectly happy to take it easy at his men’s club with a good book.
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Richard was gonna read
King Solomon's Mines,
but this is more fun!
|
Richard first sees the titular portrait of a beautiful, ethereal brunette in the window of a midtown Manhattan art gallery. His colleagues, District Attorney Frank Lalor (Raymond Massey of
Mackenna’s Gold; Abe Lincoln in Illinois; The Fountainhead; and
Arsenic and Old Lace, in which Massey replaced original Broadway cast member Boris Karloff) and Dr. Michael Barkstane (Edmund Breon of
Goodbye, Mr. Chips; Gaslight; The Thing from Another World) have been admiring the portrait, too, playfully anointing her “our dream girl.” DA Frank gives his friends a word of friendly caution: “In the District Attorney’s office, we see what happens to middle-aged men who try acting like colts.” Hey, Massey played Abe Lincoln; he wouldn’t kid us about a thing like that!
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| What a picture: Still Life with Horndog |
When Richard leaves after dark, he’s startled by a reflection in the art gallery’s glass window. It’s the woman in the window herself, lovely young Alice Reed (Bennett). She has a sweet smile and a frisson of loneliness about her, so Richard gallantly escorts her home for a nightcap. She shows him her etchings, ruefully mentioning that a man is paying for her swanky apartment. Richard and Alice chat and chastely enjoy each other’s company and champagne. Richard isn’t the two-timing type, though he does admit that “I should say no, I know, but I haven’t the slightest intention of saying it.” How about saying, “Help! Police!” Suddenly an older man wearing one of those straw boater hats bursts into Alice’s apartment and flies into a murderous rage—knocking over furniture, breaking glass, the works! It’s kill or be killed for poor Richard, and since they didn’t have anger management classes back in 1944, Richard fights back. To the horror of all concerned, Richard ends up killing Boater Hat Man in self-defense. They’re both panicky since Alice’s late sugar daddy was meeting her at the apartment on the sly. They pull themselves together and improvise a desperate plan to save their skins: if Richard leaves one of his belongings behind for Alice, and she leaves something for him, that’ll be a clue in case, God forbid, Richard doesn’t come back. In addition to the vest Richard opts to leave behind, Alice has another clue she only discovers after Richard bundles up Boater Hat’s corpse and leaves: his monogrammed pen!
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I honestly didn't know where this joke came from --
the hubby had to show me! |
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Look who's playing Eddie G's son:
fellow Little Rascal Bobby Blake! |
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| What a crazy party! Mama told me not to come! |
The suspense is nerve-wracking; every time Richard seems to have put the killing behind him, some new wrinkle emerges to taunt him. Will Richard’s loose brakes be our hero’s bad break? Will the critters who live along the Henry Hudson Parkway find the dead hothead has become a maggot condo? And what about Heidt (Duryea), the oily opportunist who smells an opportunity for blackmail? Things get worse when the dead man is finally found by the Bronx River Parkway Extension. He’s no Sterno bum that nobody will miss: he’s financier Claude Mazard (Arthur Loft from
The Glass Key—and our other Fritz Lang Smackdown movie,
Scarlet Street!), who was apparently always quick to anger. That’s what you get for underestimating quiet, unassuming college professors!
George “Spanky” McFarland of
The Little Rascals/Our Gang has an uncredited role in
TWitW, but it’s my favorite bit in the movie! He plays the Boy Scout in the newsreel who makes the gruesome discovery…
“I was practicing woodcraft in the woods just off the Bronx River Parkway Extension when I found Mr. Mazard’s remains. No, I was not scared. A Boy Scout is never scared. If I get the reward, I will send my younger brother to some good college, and I will go to Harvard.”
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| "Honest, dude, this isn't the WWE tryouts!" |
Frank is on the case, and he brings Richard along, saying it’ll be an interesting adventure. But is he really trying to trap Richard, or is it plain old paranoia? It doesn’t help that our hero keeps slipping up and innocently commenting on incriminating evidence. I don’t want to spoil the ending for anyone who hasn’t seen
TWitW, but I will say the denouement either leaves audiences relieved, laughing, or furious.
SPOILER-ISH: Personally, I like it, if only because I’m a sucker for a funny, upbeat ending!
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| Venerable film icon Fritz Lang |
Scarlet Street (1945)
Named in honor of Greenwich Village’s famous Carmine Street, one of the world’s most celebrated art meccas, it’s almost a miracle that
SS was able to be shown in neighborhood theaters at all back in 1945! It was initially banned in New York, Milwaukee, and Atlanta for fear that its “obscene, immoral, inhuman, sacrilegious” subject matter might turn decent moviegoers everywhere into hordes of hooligans. In any case,
SS eventually got away with minor cuts, and Joe and Josie Average could watch it in their hometown bijou and make up their own minds about the flick.
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| I like the stylized artwork here; perfect for phony Kitty! |
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Kitty and Johnny were lovers—and layabouts,
too busy with their “mad love” schtick to check
Chris’ bank account and see if he’s rich enough to sponge off of. |
Set in New York City, Robinson stars as our protagonist Christopher “Chris” Cross (no puns intended about Robert Walker in
Strangers on a Train). As the film begins, Chris is being feted by his company for his 25 years of faithful service (or is that servitude?) as cashier for clothing retailer J.J. Hogarth & Company. Chris is happy as can be with his lovely inscribed pocket watch, and everything’s jake until Chris’ colleagues insist that their clean-cut compadre live a little. So he shares a smoke with them, and wouldn’t you know the men all light up using the same lit cigar, despite Chris’ superstitious reaction (including crossing his fingers)? Haven’t these guys ever seen
Three on a Match? (If not, see FlickChick’s Three on a Match review over at A Person in the Dark from last fall!) With life seemingly bypassing Chris and his cronies now that they’re nearing retirement age (I say they should stop whining and use their free time to mentor kids or something!), it’s no wonder they stare longingly, if not lasciviously, at the beautiful blonde in the big boss’ limo, clearly being pampered by her rich sugar daddy. But Chris has his own simple pleasures, like his hobby, painting—that is, when his harridan wife Adele (British character actress Rosalind Ivan) isn’t nagging him or reminiscing about her late heroic husband, Detective Homer Higgins, who drowned trying to save a woman in the East River. The pose in Homer’s portrait is hilariously pompous, and I love the dry disdain that slips into Chris’ tone when he says Homer’s name. It reminds me a bit of the scene in
Witness for the Prosecution when Elsa Lanchester’s chirpy, peripatetic Miss Plimsoll chatters about her lawyer fiancee’s death: “Peritonitis set in, and he went like that (snapping her fingers).” Charles Laughton growls, “He certainly was a lucky lawyer.” Ever “supportive,” Adele constantly belittles his neo-primitive artwork, which others say lacks perspective. Too bad Adele didn’t join Homer in the East River! Sheesh, with all those negative, browbeating busybodies breathing down Chris’ neck, Michelangelo himself would be so distracted that he’d be lucky to finish drawing a stick figure, much less create a decent painting! It’s almost funny to hear Chris and his aging colleague Charlie (Samuel S. Hinds, whose resume includes
Buck Privates; It’s a Wonderful Life; Call Northside 777) talk about having too much time on their hands, when nowadays so many people are either overscheduled or while away too much time on TV or the Internet. Can I get the free time that our hapless hero finds himself in, minus the agita?
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| Mother of Mercy, is this the end of Chris' dignity? |
After the company dinner, Chris sets out for his Brooklyn apartment, and finds himself losing both his perspective and his sense of direction in the streets of Greenwich Village while he tries to find his way back home. (For those who aren’t familiar with the Village’s layout, things get tricky once you leave Manhattan’s numbered streets and find yourself confronting actual street names such as Perry Street, Barrow Street, and Houston Street, the latter being pronounced “House-ton.”) He comes across upon a pretty young brunette in a see-through raincoat who’s being assaulted by an equally young ruffian. Chris gets his Sir Galahad moment as he smashes the jerk with his umbrella in the great
Foul Play tradition!
The brunette’s name is Katherine “Kitty” Marsh, a slightly naïve yet bold and beguiling brunette whose hints of tawdriness go sailing over Chris’ poor innocent head. For a tawdry dame, she sure has a smart Travis Banton wardrobe, especially after Chris becomes her sugar daddy.
(For some reason, the IMDb doesn’t show Travis Banton’s SS screen credit, but you can read Christian Esquevin’s great 2010 “Batty for Banton” post over at Silver Screen Modiste!) Flattering our Gent of a Certain Age, Kitty coos, “You’re not so old…You’re not a boy, you’re just mature.” As they share a drink at local watering hole Tiny’s, Chris unwittingly talks about his love of painting in ways that mislead Kitty into thinking Chris is a man of financial means, and persuades Chris to get a gorgeous pad on the titular street that he can use to paint in peace. What’s more, the joint used to belong to renowned artist Diego Rivera, no less (including pictures he drew randomly around the house)!
Part of me wanted to hug Chris because I felt badly for him, while another side of me wanted to shake him by the shoulders, yelling, “Dude, snap out of it! That dame is trouble! Scram outta there and
stay out, before it’s too late!” Besotted Chris doesn’t realize that the ruffian he smacked with his umbrella also happens to be the ironically-named Johnny Prince (Duryea), who happens to be Kitty’s boyfriend, though Kitty’s passing Johnny off as her friend/roomie
Millie’s beau when Chris is around. People will say they’re in love, though the understandably cynical Millie (Margaret Lindsay from
Jezebel; Bordertown; The Dragon Murder Case; The House of the Seven Gables; and the
Ellery Queen movies of the 1940s) begs to differ, since it’s clear to her that Kitty and Johnny, shall we say, like it rough (maybe Kitty had an abusive childhood):
Millie: “That guy pushes you around the way I wouldn’t push a cat around.”
Kitty: “You wouldn’t know love it if hit you in the face.”
Millie (as Kitty storms out): “If that’s where it hits you, you oughta know!”
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| The look of love? Not for conniving Kitty! |
What’s more, Kitty comes honestly by her nickname, “Lazy Legs.” She may have gorgeous Banton clothes, but with her apparent allergy to work (including housework), she won’t be seeking employment as a cleaning lady anytime soon! Things get even crazier when Johnny decides to get Chris’ paintings evaluated—and bona-fide art critics love them! In rapid succession, sly Johnny becomes Kitty’s agent; Adele sees the amazing art of “Katherine Marsh;” Chris finds out Kitty's been selling his paintings under an alias—and he’s thrilled, because now he thinks this will help him keep Kitty! I’ll say this for Chris: he sure knows how to take life’s lemons and make lemonade, without noticing any sour aftertaste. It’s enough to keep your head spinning as screenwriter Nichols’ tangled but compelling web also encompasses Det. Homer Higgins (Charles Kemper of
Intruder in the Dust, The Southerner, Where Danger Lives) who’s now a bum back from the dead (he couldn’t stand Adele, either, so he faked his death) and willing to stay that way—for a price. It all ends in betrayal, murder, misery, and frame-ups that stick. Alas, poor Chris’ basic decency is no match for his guilty conscience as the voices of the dead taunt him, dooming him to walk all over New York, homeless and hopeless. With the crazy twists and turns plot-wise and emotion-wise, at times it’s almost like a pitch-black comedy (not necessarily a bad thing)!
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Wonder if this toenail-painting scene
gave Kevin Smith the idea for Clerks? |
Even considering its then-controversial subject matter,
SS certainly had an impressive pedigree, including a script by Dudley Nichols adapted from Jean Renoir’s 1931 French melodrama
La Chienne (The Bitch). Nichols had already grabbed Hollywood’s attention when he won the Best Screenplay Oscar in 1936 for
The Informer—and refused it, in order to show solidarity with his colleagues at The Screen Actors Guild, who were on strike at the time. I wonder if that’s what gave Marlon Brando the “Sacheen Littlefeather” idea back in the 1970s? (Nichols eventually got his Oscar statuette in his hot little hands in 1949.) Nichols went on to write such classic screenplays as
Bringing Up Baby (1938),
Stagecoach (1939),
For Whom the Bell Tolls (1943), and
And Then There Were None (1945). I found myself wishing that
Ball of Fire’s Professor Potts and Sugarpuss O’Shea could’ve shown up to have an intervention with Chris before he got in too deep! Consider this a compliment, because it means Lang and Nichols made me care about these characters, especially poor hapless Chris. This role captures Robinson at his most endearingly, tragically vulnerable. How the man never won an Oscar in competition is one of the Academy’s mysteries. Yeah, I know Cary Grant and Myrna Loy and countless other greats didn’t get Oscars or even nominations, but that doesn’t mean I have to like it. At least he reportedly knew he was going to receive a Lifetime Achievement Award before he died of cancer, though it’s a shame Eddie didn’t live long enough to enjoy even that honor. I’m glad we have so many of his movies to remember him by and enjoy, though!
Decision: If you like your Fritz Lang film noirs with a spoonful of hope, chances are you'll love
The Woman in the Window. If you like your
Fritz Lang noirs dark, with wry gallows humor, head for
Scarlet Street.
See, there's something for everyone!
Bonus! !: George "Spanky" McFarland's show-stealing moment in The Woman in the Window!
