Another Noirvember is upon us. I’ve been pretty spotty in trying to take part in these online events, so once again I’m going to try my best to participate. #Noirvember is an ode to all that is film noir that was started a few years ago by @oldfilmsflicker on Twitter. It’s become a highly anticipated event that has taken on a life of its own and is now promoted by everyone from film fans to movie theaters.
Anyway, because I can’t just simply watch film noir in November, I have to make myself some sort of challenge. One reason is that it makes it more interesting and forces me to check out films, actors, directors, etc. that I may not have otherwise, or it would have taken me longer. While deciding what to do for my challenge, I wanted to make sure that I allowed myself to watch old favorites like Double Indemnity (1944). However, I want to make sure that I also watch some new titles–if only to get through some of the blind buys that I’ve purchased throughout the year. I don’t want to force myself to only watch “new” films, because then I’ll be sad that I can’t watch my favorite Alan Ladd film noir (e.g.). While I did this challenge in the past and ALMOST finished it, I am going to give it another go this month–I am going to follow-up my next film noir with a film that has an actor in common with the film that preceded it.
I’m also not going to limit myself to just one film per day. Some days I can fit in only one film, other days I can fit in 2-3. Due to my regular Monday night board game group, I may not be able to get a film noir watched every single day; but I’ll do my best. I’m also hoping that I can finagle it where the last film I watch connects to the first film. We’ll see what happens as my movie watching will be organic. I do not have it planned out in advance! Just to keep myself on my toes.
Without further much ado. These are the films watched for #Noirvember. Click on the link to view more information about the film and to see what connected it to the previous film!
EDIT: Woo! Did it. The final film, The File on Thelma Jordon, connects to the first film, Double Indemnity, using the Queen of Film Noir, Barbara Stanwyck.
After World War II, the idea of the “nuclear family” was advertised to married couples as the “American Dream” and the way things are supposed to be to achieve a happy life. Women who’d found employment outside the home while the men were fighting in World War II, were expected to give up their jobs and return to “domestic bliss.” If couples weren’t already married, they married upon the man’s return from the war. Married couples had a million children. They bought a tract home in some newly-built subdivision in the suburbs somewhere. Women who during the war, had found personal enrichment in being a military pilot or working in manufacturing factory work were expected to find the same personal enrichment in the newest vacuum, fancy stoves, and being a shill for Tupperware. If a woman did not find happiness in these things, she was branded as “unfeminine” or a “bad wife” or any other negative labels. As one can imagine, secret pill and alcohol abuse was rampant among housewives in the 1950s and 1960s.
The immaculate June Cleaver (Barbara Billingsley) in “Leave it to Beaver.”
Despite what was really happening in America, the new burgeoning medium of television was continuing to perpetuate the image of the perfect nuclear family. Women like June Cleaver (Leave it to Beaver) were seen as content and happy, while vacuuming the home, perfectly coiffed, dressed in high heels and pearls. She watched after her children, Wally and The Beaver, but hesitated to dole out discipline. Husband Ward was expected to make the disciplinary decisions for the children. Other shows like Father Knows Best, The Adventures of Ozzie and Harriet, and The Donna Reed Show all presented the husband and wives as asexual beings whose only concern involved their children, their home, and everything else needed to uphold the image of the perfect nuclear family.
Meanwhile in the movie world, the collapsing studio system and Production Code allowed filmmakers room to explore more controversial themes and ideas. Dysfunctional families found more and more screen-time. Rebel Without a Cause presented a family with a browbeaten husband and a domineering wife. Their inability to come together as a parental unit is tearing their juvenile delinquent son apart. All That Heaven Allows depicts a mother (and widow) trying to find love again with a younger man, an arborist, much to the chagrin of her college-age children. Her children don’t approve of her relationship and don’t even like that she’s trying to find another husband, as if she would be cheating on their father.
Aside from ‘Rebel’ and ‘Heaven,’ there are countless other films depicting a complicated family dynamic: Written on the Wind, There’s Always Tomorrow, Peyton Place, Imitation of Life, the list goes on and on. Despite differences in theme, the one commonality that all these films have is that they demonstrate how intense and volatile these familial relationships can be when other factors are involved: class differences and expectations, alcohol, infidelity, out of wedlock pregnancies, sexuality, divorce, sexual needs, race, etc. These are all issues that if they exist, tend to remain hidden within the family lore. Family members cover for each other’s mistakes. If a member of the family is known for being racist, family members learn how to tolerate it, but don’t let it be known outside of the confines of the family unit. It is only when the skeletons in the collective family closet become known, that drama erupts, or someone suffers consequences, or both. One of the best examples of this idea is depicted in one of my favorite melodramas–A Summer Place.
::Cue Percy Faith’s “Theme to A Summer Place” ::
Bart (Arthur Kennedy) and Sylvia (Dorothy McGuire) in “A Summer Place.”
A Summer Place starts with Sylvia (Dorothy McGuire) and Bart (Arthur Kennedy) Hunter receiving a telegram from Ken Jorgenson (Richard Egan). Jorgenson writes the Hunters to request accommodations for himself, his wife and their daughter at their Inn in the resort town of Pine Island, off the coast of Maine. About twenty years prior as a youth, Ken had worked as a lifeguard on Pine Island. He is now a successful chemist and millionaire. The Inn used to be Bart Hunter’s family’s mansion, but has since been converted into an Inn due to Bart’s squandering of the family fortune. Sylvia also has a history at Pine Island and had known Ken during his lifeguarding days. It is obvious that Bart and Sylvia have marital problems. Bart is an alcoholic and Sylvia has been forced to keep the Inn running so that she and their 17-year old son, Johnny (Troy Donahue), have a place to live and food on the table.
Bart, assuming that Ken wants to flaunt his wealth and hold it over Bart (who has lost all of his wealth) wants to deny the reservation request. Sylvia tells Bart that they have no choice but to accept Ken’s reservation. They need the money desperately. Bart reluctantly agrees. To give the Jorgensons the best accommodations possible, the Hunter family move into their guest house so that the Jorgensons can have Bart and Sylvia’s master bedroom suite.
Johnny (Troy Donahue) and Molly (Sandra Dee) in “A Summer Place.”
Meanwhile, Ken and his shrew of a wife Helen (Constance Ford) and their 17-year old daughter, Molly (Sandra Dee), are sailing to Pine Island. We get a sneak peek at Helen’s awfulness when she and Molly get into an argument over what Molly should wear when she disembarks the boat. Helen wants Molly to put on constrictive support garments and juvenile clothing that obscures her developing figure. Helen finds Molly’s figure and interest in boys to be vulgar. Honestly, Helen finds almost everything vulgar. Ken is much more permissive and finds nothing wrong with Molly’s figure, her choice in clothing, or her interest in the opposite sex. It should not come as a surprise that Ken and Helen do not sleep in the same bed, they don’t even share a bedroom. Honestly, it’s surprising that Molly even exists.
When Ken, Helen, and Molly step off the boat, Johnny and Molly immediately spot one another and are smitten. They spend time together and Helen instantly assumes the worst–there’s a horrible scene where Helen forces Molly to submit to a physical examination from a random doctor she hires to check and make sure she’s still a virgin. At another point, Helen slaps Molly so hard, she takes a very dramatic tumble into the Christmas tree. Yes. This is the type of woman we’re dealing with. In spite of Helen, Molly and Johnny fall deeper and deeper into love with one another.
Poor Molly suffers yet another humiliation at the hands of her mother
While Johnny and Molly are falling in love, Ken and Sylvia are reigniting their’s. It becomes obvious that Ken and Sylvia were lovers during their youth when Ken was lifeguarding on Pine Island–that is the real reason why Bart didn’t want Ken and his family on the island. Ken and Sylvia were deeply in love, but didn’t marry because Ken was a poor college student and couldn’t support Sylvia. They broke up and she married Bart, whom she didn’t love, but he was from a rich family with status. How Ken ended up with Helen, I have no idea. She could not have been a better option than being single. Regardless, Ken and Sylvia have stayed in their loveless, unhappy, sexless (except for at least one rendezvous) marriages for the sake of their children.
Sandra Dee’s beach hat in “A Summer Place.” This hat always makes me laugh.
Ken and Sylvia begin an affair which comes to light after the island’s night watchman rats them out to Helen and tells her about their nighttime trysts in the boathouse. Helen first decides to play the silent, suffering wife (based on the advice of her horrible mother who tells her to catch Ken and Sylvia together so she can get a bigger divorce settlement). However, after she forces Molly to go through the embarrassing physical virginity exam (after Molly and Johnny spend the night together on another island after their boat capsizes), Johnny threatens to kill her. Through a fit of anger, Helen reveals Ken and Sylvia’s affair to everyone. It’s game over and the Jorgensons and Hunters divorce. Ken and Sylvia are free to marry.
However neither Helen nor Bart will relinquish custody of their respective children. Apparently, despite being horrible people, the courts don’t look kindly on Ken and Sylvia (aka the better parents) because of their adultery. Custody is granted to Helen and Bart. Ken and Sylvia are given visitation rights. Helen and Bart choose to send Johnny and Molly away to separate non-coed boarding schools. Johnny goes to Virginia and Molly goes to another school a few states away. Despite their distance however, they stay in touch via letters (which are of course read by Helen) and secret visits. It is during one of these visits where Molly learns that she’s pregnant and tells Johnny. Helen learns of Molly’s pregnancy and informs Ken.
Ken and Sylvia’s amazing house!
A Summer Place is such an amazing melodrama. I love the over-wrought melodramas of the 1950s. I love them even more when they center on teenage melodrama. A Summer Place has two nuclear families: The Jorgensons and The Hunters. Neither family is happy. The Jorgensons are torn apart by Helen’s prudishness, hate, and intolerance. Ken has a spectacular monologue where he berates Helen for displaying yet another prejudice:
(After Helen alludes to Molly’s “Swedish blood” as the reason why she lets Johnny kiss her the first night they meet)
KEN: So now you hate the Swedes. How many outlets for your hate do you have, Helen? We haven’t been able to find a new house because of your multiplicity of them. We can’t buy near a school because you hate kids. They make noise. And there can’t be any Jews or Catholics on the block, either. And, oh, yes, it can’t be anywhere near the Polish or Italian sections. And, of course, Negroes have to be avoided at all costs. Now let’s see: No Jews, no Catholics, no Italians, no Poles, no children, no Negroes. Do I have the list right, so far? And now you’ve added Swedes. And, oh yes, you won’t use a Chinese laundry because you distrust Orientals. And you think the British are snobbish, the Russians fearful, the French immoral, the Germans brutal, and all Latin Americans lazy. What’s your plan? To cut humanity out? Are you anti-people and anti-life? Must you suffocate every natural instinct in our daughter too? Must you label young love-making as cheap and wanton and indecent? Must you persist in making sex, itself, a filthy word?
RICHARD EGAN as KEN in A Summer Place (1959)
BOOM!
Helen (Constance Ford) remains stoic as Ken (Richard Egan) rips her a new one. Boo! Hiss! Helen is a witch with a capital B.
Helen has nothing to say. She just stomps out of the room. Helen sucks. She is a horrible, vile person. She has absolutely no redeeming qualities. She’s awful at the beginning of the film and she’s awful at the end. At least with Bart, I feel like deep-down, without the booze, he might be a semi-decent person. At least he isn’t full of so much hate. I think he mostly hates himself and how he’s squandered his family’s fortune and status. If this movie had been made pre-1950, Helen and Bart would have made some sort of turnaround to save their marriages and win back their spouses. However, in 1959, we are rooting for Ken and Sylvia’s adultery. These people deserve happiness. They should leave their spouses. Who cares that they’re cheating on their partners? Their partners aren’t worth keeping. Molly and Johnny’s love should be encouraged so they can save themselves from a fate like Ken and Sylvia’s. Being teen parents might not be the best thing in the world, but it’s not the end of the world either.
At the end of this film, two nuclear families have crumbled but two more are rising from the ashes. Johnny and Molly are starting their own family. Ken and Sylvia have found happiness with each other. Bart and Helen are left on the outside as they should be. True love prevails. Hate can kick rocks.
Ken and Sylvia deserve all the happiness in the world after putting up with their miserable spouses for so long
I can’t think of anything more comforting than watching Eleanor Powell and her amazing dancing.
This year’s CLAMBA (CLAssic Movie Blog Association) Spring blogathon is dedicated to classic films that people may turn to in times of crisis, emotional distress, stress, or any other time when they might feel a little weary from the drudgery of day to day life. Right now, during these trying times, having something comforting to turn to, whether it be a movie, a pet, a hobby, etc. is more important than ever.
I find movies, especially classic movies, to be comforting. Not every film has positive subject matter, and not every film is uplifting, but they allow you to escape into a different world. Full disclosure: This is coming from someone who watches “Forensic Files” and “Unsolved Mysteries” to relax before bed. I have my “pet” movies that I revisit over and over again (The Long Long Trailer, Gidget, Gidget Goes Hawaiian, The Brady Bunch Movie, Singin’ in the Rain… ) but I’ve already written about those–sometimes multiple times. I will try to branch out and share my Top 5 favorite comfort films.
One of my favorite types of films is a tried and true romance. Not necessarily a rom-com (though occasionally those can hit the spot, depending on what it is), or a overly sappy romance (e.g. Nicholas Sparks), or some generic, non-offensive, completely predictable film (Hallmark Movies, I’m looking at you), but a real romantic film–“happily ever after” not guaranteed.
1) Summertime (1955). David Lean’s romantic drama is aesthetically a gorgeous film. Shot on location in Venice, Italy, the scenery and color is beautiful and very fun to watch. Katharine Hepburn stars as Jane Hudson (not that Jane Hudson), a single (gasp!) middle-aged secretary from Akron, Ohio. She has had a lifelong dream of going to Venice and has saved money for many years. Finally, she has enough money and travels abroad for her summer vacation.
Even the credits sequence is gorgeous!
Jane Hudson (Katharine Hepburn) meets Renato de Rossi (Rossano Brazzi) in “Summertime.”
Upon arriving in Venice, Jane boards the local vaporetto (e.g. a waterbus that transports the public down the canals) where she meets two fellow American tourists. Jane and the three tourists are all staying at the same pensione (e.g. a boarding house that includes meals). At the pensione, Jane meets another American tourist, Eddie Yaeger (Darren McGavin), and his wife.
On her first night out, Jane goes out to dinner and spots an Italian man, Renato de Rossi, (Rossano Brazzi) watching her. The next day, Jane is window-shopping at an antique store and spots a red goblet. Interested in obtaining more information (and possibly purchasing) the goblet, Jane enters the store and discovers that the owner of the shop is Renato, the same man who was watching her the night before. Later that night, Renato finds Jane at her pensione and confesses that he finds her very attractive. She tries to ward off his advances, but ultimately agrees to attend a concert with him.
Jane and Renato’s romance is heating up!
Renato and Jane’s romance grows and soon find themselves completely enamored with one another. However, like so many romantic films, they reach an impasse when Jane finds out more about Renato’s past.
I love this film because Jane and Renato’s passion for one another is evident and who doesn’t love the idea of falling in love with a handsome stranger while on vacation? See Diane Lane in Under the Tuscan Sun for another example of this storyline. I also liked the idea that Hepburn was playing a woman who was not only single, but didn’t seem to regret being single. She wasn’t a miserable “can’t find a man” spinster. This film is also where Hepburn picked up her lifelong eye infection after performing a stunt where she falls into one of the fabled (and notoriously polluted) Venice canals.
Another type of movie that I find comforting is an over-the-top melodrama. For me, over-the-top is something so outrageous, so absurd, that it seems like it could never possibly happen. But at the same time, with the right mix of people and the right situation, it could definitely happen. One of my favorite melodramas also combines another of my favorites: 50s-60s teen movies.
2) A Summer Place (1959) has everything one could possibly want in a good melodrama: racism, bigotry, xenophobia, adultery, alcoholism, teen pregnancy, a catchy title theme tune, love, the use of the word “convenience” for toilet… this movie has it all. And if that was not enough, the movie is photographed using the most beautiful color. Every scene is seemingly shot with gauze over the lens, giving everything a slightly hazy, ethereal look. This film also features two of my all-time favorite stars: Sandra Dee and Dorothy McGuire.
At the beginning of the film, we meet the Hunter family. Patriarch Bart (Arthur Kennedy), his long-suffering wife, Sylvia (Dorothy McGuire), and their teenage son, Johnny (Troy Donahue). It is quickly apparent that not all is well with the Hunter household. Bart, despite having been born to a wealthy family and seemingly had it all, has allowed his family’s Pine Island, ME estate to fall into disarray. Most of the blame for the family’s decline falls squarely into the lap of Bart’s alcoholism. To make ends meet, the Hunter family is forced to transform their private family home into an inn and rent rooms out to paying guests.
Johnny (Troy Donahue) and Molly (Sandra Dee) fall in love in “A Summer Place.”
One day, the Hunters receive a telegram from Ken Jorgenson (Richard Egan) who along with his wife, Helen (Constance Ford) and teenaged daughter Molly (Sandra Dee), wants to rent out a room at the “inn” for the summer. The only hitch? Ken and Sylvia used to date twenty years ago, prior to their respective marriages and children. Ken at the time was a lifeguard on the island whereas, it is presumed that Sylvia must have come from “better stock.” However, the tables have turned and now Sylvia is seemingly lower class, whereas Ken is successful millionaire research chemist.
When the Jorgenson family is seen, it is obvious that Helen has some issues. “Some issues” is putting it lightly. Helen is one of the most prudish (even for 1950s standards), hateful women that I have ever seen in a film. She seemingly has an issue with everyone and anything that isn’t American, straight, puritan, and most importantly, White. Ken has an amazing scene where he rips his wife a new one. It is obvious that the Jorgenson union is going to be kaput by the end of the film.
What is this hat?
Upon arrival at Pine Island, Johnny immediately spots Molly. They are instantly smitten with one another, much to the chagrin of Helen. As a parallel to the budding union between the children, something is rekindled between Sylvia and Ken. Both are stuck in unhappy marriages and both want a new start. Sylvia and Ken find themselves confiding in one another, until their flame is reignited. At the same time, Molly and Johnny are finding themselves falling for one another. Jilted spouses Bart and Helen, find themselves on the outside, looking in.
I love this movie. I love everything about it. I never tire of it and look forward to reading the novel. There is so much drama to savor. Sandra Dee, despite being saddled with the goody two-shoes virgin image, is definitely NOT living up to that reputation in this film. One of Dee’s best qualities, in my opinion, are her eyes. Her fantastic large, brown eyes imbue Dee with a vulnerable quality. She seems to always have a wanting in her eyes. She just needs someone to take care of, and someone to take care of her. For whatever reason, Troy Donahue, despite not being that great of an actor I really enjoy. I don’t know what it is about him, but he has a quality that I find interesting.
Sometimes, all that will provide comfort is some good old fashioned eye candy. Just something to ogle for a couple hours. One such eye candy (for me) is Errol Flynn. During his heyday, he looks amazing in pretty much everything. Even in the 1950s, when Flynn’s bad habits were definitely catching up with him, though looking older than his age, he still possesses the panache and charisma of his youth. For this entry, I’m going to discuss my favorite Errol Flynn film.
This poster doesn’t do Errol Flynn or Alexis Smith justice!
3) Gentleman Jim (1942) is a biopic that features Flynn as James J. “Gentleman Jim” Corbett. At the beginning of the film, Jim and his friend Walter (Jack Carson) are attending an illegal boxing match in 1890s San Francisco. The match is raided by the police. Jim and Walter find themselves in the paddywagon with Judge Geary, a prominent member of the board of directors at the bank that employs both Jim and Walter as tellers. Jim is able to think quickly and saves his boss from embarrassment.
Later, through a chance meeting at his bank, Jim meets Victoria Ware (Alexis Smith), the socialite daughter of Buck Ware, a wealthy upper-class member of the Olympic Club–the same club that Jim’s boss also frequents. Victoria has arrived at Jim’s bank to collect change for a local game at the club. After hearing Victoria state that she’s on her way to the Olympic Club, Jim charms her into letting him escort her and carry her heavy coins. Victoria, obviously interested in Jim (because duh! who wouldn’t?) and seeing his ulterior motives right off the bat, agrees to let him accompany her to the club. She even treats him to lunch and cigars. Later, Jim meets the Judge and other members of the upper class in the gymnasium.
Errol Flynn and Alexis Smith
Judge Geary and a renowned British boxing coach (who has been hired to evaluate prospects) see a lot of potential in Jim as a boxer. Both men are looking to make boxing respectable and plan to start a boxing club that use the Marquess of Queensbury rules (the same rules still in effect today in the boxing community). These rules were set up a few decades prior in London and were meant to make the matches more even and fair. The Judge and the British coach find Jim’s appearance and polished demeanor as the perfect image for their new fighter. And, if Jim’s good looks and charm weren’t enough, he’s also a good fighter!
Soon Jim gets to work training and quickly finds himself scheduled for his first fight, which he wins. Eventually, Jim gets a manager, Billy Delaney (William “Fred Mertz” Frawley) who books him into even bigger matches. After winning a series of fights, Jim finds himself booked for his biggest fight yet–Taking on the current heavyweight champion, John L. Sullivan (Ward Bond).
“GIVE ‘EM ROOM!”
I love this movie. I love sports movies in general, and especially boxing ones. Flynn is so freaking adorable and hot in all of his scenes. The man even looks good in a union suit! The absolute best Flynn scene is when he falls into the San Francisco Bay and pulls himself out of the water. Ooh la la. Alexis Smith makes a great foil for Flynn’s brashness. Their love/hate relationship is one of the highlights of the film. One of the absolute best parts of the film though is Alan Hale as Flynn’s father. He is hilarious in this movie. Ward Bond is also excellent as John L. Sullivan.
Another type of film that I find comforting is something that is so adorable and so sweet, that you cannot help but feel better. Charlie Chaplin’s most famous character, The Tramp, is so sweet and kind, you cannot help but root for him. In The Kid (1921), even though the audience knows that Tramp’s “son,” belongs to someone else, you cannot help but root for the two of them to stay with each other. They belong together–even if the Tramp can’t provide financially. What he lacks in financial resources, he more than makes up for it in love and kindness. One of the absolute best examples of this is present in my favorite Chaplin film.
4) City Lights (1931). This film is so freaking adorable and sweet, I cannot stand it. Fortunately, I was able to see it in the theater prior to the COVID-19 pandemic. The film was even better on the large screen. To make the experience even better, I got to view a 35mm print. Anyway, I digress.
This is a great movie poster!
The film opens with a bunch of dignitaries and citizens assembling for the unveiling of a new monument dedicated to “Peace and Prosperity.” When the veil is removed from the statue, the Tramp is revealed to be asleep in the lap of one of the figures. After a few moments of hilarity, the Tramp escapes the angry crowd and runs into the city. While in the city, the Tramp encounters a blind woman (Virginia Cherrill) selling flowers. The Tramp is smitten with her, even after figuring out that she is blind. The blind woman mistakes the Tramp as wealthy when she hears a door open and shut on an automobile right as the Tramp approaches her to purchase a flower. She assumes that he’s just emerged from a chauffered vehicle.
Later that evening, the Tramp saves a drunk millionaire from suicide. The millionaire is grateful to the Tramp and declares him his new best friend. The millionaire takes the Tramp back to his home for champagne, and then for a night out on the town. They have a raucuous good time. The next morning, the Tramp spies the flower girl at her corner as he’s driving the millionaire home. He gets some money from the Millionaire, takes the Millionaire’s car, and drives the girl home.
The blind girl (Virginia Cherrill) and the Tramp (Charlie Chaplin)
At this point, a running gag starts where the millionaire is the Tramp’s BFF when he’s drunk, but sober, he has no idea who the Tramp is and wants him out of his house ASAP.
The Tramp continues to visit with the blind girl. It is during one of these visits that he learns that she and her grandmother are one missed rent payment ($22… Oh to pay rent in the early 1930s) away from being homeless. At this point, nothing will stop the Tramp until he’s able to save the blind girl from losing her home.
One of the sweetest scenes ever in film!
This film is so freaking sweet and I don’t want to spoil it by describing the ending. It is perhaps one of the best endings ever in film and with so few words. The ending scene fully illustrates why Charlie Chaplin deserves every inch of recognition and acclaim that he ever received.
Finally, another of my favorite genres is film noir. Some film noir can be romantic in nature, like the Bogie/Bacall films and others can be super gritty (The Asphalt Jungle comes to mind). I love all of them. There’s something about the noir style, the narration, the way characters speak, everything.
5) One of my favorite noir, is probably one of the most famous film noir of all time: Double Indemnity (1944). Fred MacMurray stars as Walter Neff, a seemingly decent insurance salesman who makes his living selling all types of insurance. One day, he makes a house call to the Dietrichson household to remind Mr. Dietrichson to renew his automobile insurance. When Walter arrives, Mr. Dietrichson isn’t home, but his second wife Phyllis (Barbara Stanwyck) is. In one of the all time best character introduction scenes, Phyllis appears at the top of the stairway clad in a towel and her “honey of an anklet.” Walter is instantly smitten.
While flirting with one another, Phyllis asks Walter about taking out a life insurance policy on her husband, without her husband’s knowledge. Walter at first, wants no part of Phyllis’ obvious plan to murder her husband, but soon devises a scheme to write a policy that contains a “double indemnity” clause–which would double the payout, should the policy holder die in some type of accident.
Barton Keyes (Edward G. Robinson) is on the case!
At this point, I cannot decide if Walter is really that enthralled with Phyllis that he’s willing to commit capital murder, or whether he wants to try and put something over on his boss, Barton Keyes (Edward G. Robinson). Keyes is responsible for investigating claims on behalf of the firm, to reduce the amount of payments that need to be paid out. Keyes seems to believe that he knows anything and everything about probability of different causes of death and everything that would negate an insurance claim.
This scene cracks me up. These two are the most conspicuous, inconspicuous people.
Walter inevitably ends up helping Phyllis commit the murder. Throughout the rest of the film, Phyllis and Walter try to cover their tracks as Keyes gets closer and closer to the truth.
I love this film. I love the way that Walter speaks, I love Phyllis’ hilarious wig, and Edward G. Robinson is fantastic. In the scene where Walter murders Mr. Dietrichson in the car, Phyllis has one of the most evil facial expressions in cinema.
Whimsically Classic 