Showing posts with label David Goodis. Show all posts
Showing posts with label David Goodis. Show all posts

04 April 2017

Cornell Woolrich: The Forgotten Man

by Paul D. Marks

Cornell Woolrich was one of the most popular writers of crime/mystery fiction in the mid twentieth century. He also wrote under the names William Irish and George Hopely. Today he’s largely forgotten at least on the written page. But I’m not going to talk about him as a writer per se. I’m going to talk about him as the hardboiled or noir writer who’s had more stories adapted for film than any other.

To give some idea of his popularity on celluloid, on IMDB there are 103 movies credited to him, including foreign movies. Chandler has 37. Hammett: 33. David Goodis 19. Mostly these are “based on” credits, but Chandler, Goodis and even Hammett actually wrote screenplays (the latter for Watch on the Rhine, not a mystery or noir, but a World War II propaganda flick).

The first movie based on a Woolrich story (writing as William Irish) was The Haunted House in 1928. The credit reads “titles,” so I assume that means he was writing the titles for a silent movie. The first flick credited to a story of his is Children of the Ritz (1929). The last movie listed on IMDB based on one of his stories is She’s No Angel (2002), based on I Married a Dead Man, which had been filmed several times before both domestically and in other countries. The American version was called No Man of Her Own (1950).

So 1928 to 2002 is a pretty good run, with over a hundred adaptations. And I suspect it’s not the end of his run.

Woolrich started out writing Fitzgerald-like stories, but found his niche in the mystery-suspense field, writing both short stories and novels. He spent some time in Hollywood but eventually returned to New York, where he lived in a hotel with his mother until she died, then he moved to another hotel. In the early days of his return to NYC he socialized with fans and MWA members. But alcoholism and the loss of a leg to gangrene because of a too tight shoe and the infection it caused, plus not going to the doctor soon enough, turned him into a recluse. A closeted homosexual, he spent the last years of his life alone and lonely. Nobody attended his funeral in 1968.

Here’s a handful of noir and mystery movies based on his work:

Phantom Lady, 1944: A man (Alan Curtis) and his wife have a fight on their anniversary. He takes a powder and picks up a woman in a bar. When he finally returns home he finds his wife strangled with one of his ties, the police crawling all over his place. And guess who’s the prime suspect? At first the only person who really seems to believe in him is his secretary, the bewitching Ella Raines. Curtis was seen by several people while out that night, but when Rains or the police talk to them they deny it. Eventually Curtis’ best friend (Franchot Tone) returns from South America (I hope I’m remembering this right) and Ella hopes he can help out. Noir icon Elisha Cook, Jr. has a great turn as a crazed drummer. A pretty good B flick, directed by Robert Siodmak.



Black Angel,1946: Blackmailer Mavis Marlowe is murdered. Kirk Bennet, a married guy with a loyal wife, is sentenced for the crime. His wife teams up with Marlowe’s ex-husband, an alkie composer and pianist, Dan Duryea, to try to find the real killer before the state executes her husband. Peter Lorre does a turn as a sleazy nightclub owner. Hey, it’s Peter Lorre, can the club owner be anything but sleazy? And any noir with Duryea is worth watching.



The Chase,1946: From the No Good Deed Goes Unpunished school of storytelling. Down on his heels World War II vet Robert Cummings returns a lost wallet to gangster Eddie Roman. Roman rewards him with a job as his chauffeur. Eventually Cummings volunteers to help Eddie’s wife, Michelle Morgan, escape her crazy husband. Will they get away to sail into the sunset together?

Deadline at Dawn,1946: A sailor wakes up with a stash of cash after a night of heavy drinking (hey, he’s a swabbie, what do you expect). With the help of dance hall girl Susan Hayward he tries to find the woman it belongs to, and does. Just one problem: she’s dead. He’s not sure if he did the deed or not. And now they only have a few hours to find out the truth before his leave is up.

Fear in the Night x 2, 1947 & 1956: A man (who should have been in outer space—DeForest Kelly) dreams he committed a murder in a strange mirror-covered octagonal room. He wakes up with unusual marks on his throat, blood on his sleeve. His cop brother-in-law tries to convince him that it was just a dream—but he’s freaking out. The cop, his wife, DeForest and his girl go on a picnic to a weird house in the woods…and find a mirrored room just like the one he dreamt about. What the hell’s going on?—I have to admit that, while I like all the movies here, I really love this low-budget flick. I’m not saying it’s even good. There’s just something I like about it. The sort of surreal aspect maybe. Remade as Nightmare (the title of the story it’s based on) with Edward G. Robinson and Kevin McCarthy in ’56. Almost an exact remake, but it lacks something, IMO, that Fear in the Night has.



The Window,1949: Woolrich’s version of the boy who cried wolf. It’s hot and sultry in the city, so 9 year old teller-of-tall-tales Tommy decides to sleep on the fire escape, but instead of doing it outside his apartment he does it at a higher one to get a better breeze. While there, he sees the Kellersons murder someone. But no one will believe him because he’s the boy who cries wolf. Well, the Kellersons believe him and they want to silence him...

Rear Window x 2 – 1954 & 1998: POSSIBLE SPOILER AHEAD. Forget the 1998 version, though it does have one unique thing. Christopher Reeve plays the wheelchair-bound photog played by Jimmy Stewart in the original. And he’s really confined to a wheelchair because of his fall off of a horse. That’s interesting, but the movie doesn’t touch the original. And for those out there who’ve never seen it, L.B. “Jeff” Jeffries (Stewart) is confined to a wheelchair in his apartment because of a broken leg. He likes to spy on his neighbors in the voyeuristic way that Hitchcock loves so much (Oh, did I forget to mention this is a Hitchcock flick?) So he’s watching his weird, wild and sad collection of neighbors across the courtyard when he sees someone who looks suspiciously like Perry Mason murder his wife. He soon involves his girlfriend (Grace Kelly) and his nurse (Thelma Ritter) in trying to ferret out what happened. Rear Window is one of Hitchcock’s 1950s string of great and classic flicks that includes Vertigo, Strangers on a Train, The Man Who Knew Too Much, North by Northwest and more.

Besides movies, Woolrich’s stories have also been adapted for various radio and television shows, including The Alfred Hitchcock Hour, Suspicion, Thriller and Fallen Angels.

I picked this group of films from the huge selection of Woolrich adaptations because to one degree or another (not including the Rear Window remake) I like them all and would recommend them as decent adaptations of his work.

Woolrich was very successful, but ultimately lived a life somewhat like his stories, sad, friendless and abandoned. There’s something very noir about the way his life played out.

***

And congratulations to O’Neil, Herschel, B.K. and R.T. on their Derringer noms! Good luck!

And now for a little BSP:

I’m thrilled to announce that my short story, “Ghosts of Bunker Hill,” was voted #1 in the 2016 Ellery Queen Readers Poll. If you’d like to read it (and maybe consider it for other awards) you can read it free on my website: http://pauldmarks.com/stories/ 

Coast to Coast: Private Eyes from Sea to Shining Sea is available at Amazon.com and Down & Out Books.


19 July 2016

A Noir Summer

by Paul D. Marks

Since Turner Classics doesn’t appear to be doing a noir Summer of Darkness like they did last summer, I thought I’d mention some film noirs to turn those bright sunny days into days of shadows, dread and despair. Hey, I’m just a happy-go-lucky guy.

And while Turner and other stations do run noirs at various times, they often seem to stick with the classics and well-known films. Double Indemnity, Out of the Past, Postman Always Rings Twice (some of my favorites). But they sometimes overlook the lesser-known noirs. And while noir fans might know these, people looking to expand their horizons into the dark side might not. So I thought I’d mention a few here that are available for purchase and/or rent, as I said, to darken those too cheery, happy days of summer.

One of my favorites is Too Late for Tears (aka Killer Bait) – 1949 – with Lizabeth Scott and Dan Duryea. She’s so evil in this one that even Duryea, who’s pretty good at being rotten himself, can’t take her. A husband and wife (Scott) are driving their convertible when someone in another car throws a suitcase full of cash into their car. She wants to keep it, he not so much. Noir ensues. Good, low budget noir. I like this one a lot. Some nice shots/scenes at Westlake Park in LA and other LA locations. It was written by Roy Huggins, who later created The Rockford Files and The Fugitive (TV series), though David Goodis might dispute that, among other things. And it’s just recently come out in a new, fancy-dancy restored Blu-ray/DVD edition.

Fear in the Night – 1947 – stars Paul Kelly, DeForest Kelley and Ann Doran. And yeah, it’s that DeForest Kelly, before he ran around saying stuff like “Dammit, Jim, I’m a doctor not a mechanic.” A man dreams he murdered someone in a weird-shaped mirrored room. Then slowly comes to believe it wasn’t a dream. It was remade in 1956 as Nightmare, with Edward G. Robinson and Kevin McCarthy and relocated to New Orleans. Both versions are good, though if I had to pick one I’d probably say I like Fear in the Night better. Both are based on a story by Cornell Woolrich (William Irish).

What do you do when your days as the boy ingĂ©nue are over and Judy Garland doesn’t go to CC Brown’s for a hot fudge sundae with you anymore – and you’re down on your luck? You gotta find something to do. You turn to noir. And Mickey Rooney did. After the War, in the 1950s, he made a series of low budget film noirs. I couldn’t decide if I should go with The Strip – 1951 – or Quicksand – 1950 – so what the hell, check ’em both out. In The Strip Rooney plays a drummer who loses his girl to a gangster buddy. In Quicksand he’s a mechanic who “borrows” 20 bucks from his boss to take a girl on a hot date. When he can’t pay up, he slips deeper and deeper into……quicksand. The Strip has the added attraction of Louis Armstrong and his band and seeing Louis do A Kiss to Build a Dream On, which was nominated for an Oscar. Interesting background on the song since it was written in 1935 but nominated for an Academy Award in the 50s. Normally a song would have to be new to be considered for an Oscar for best original song, but Oscar Hammerstein II completed the unfinished lyrics of the older song for the 1951 movie and I guess the Academy decided to fudge it. – You might have to wait till The Strip plays on one channel or another. I’m not sure it’s available for purchase or streaming.

Dick Powell wasn’t on the skids, but he did want to change his image from the juvenile lead in backstage musicals to something more adult. Going from lines like “Hey, I've been for you ever since you walked in on me in my BVD's” to “I caught the blackjack right behind my ear. A black pool opened up at my feet. I dived in. It had no bottom. I felt pretty good – like an amputated leg.” And, “She was a gal who'd take a drink, if she had to knock you down to get the bottle.” So, he jumped on the Raymond Chandler bandwagon, playing Philip Marlowe in Murder, My Sweet, two years before Bogie played Marlowe in The Big Sleep, and did a fine job of it. MMS is based on Chandler’s Farewell, My Lovely. One of Powell’s lesser known noirs is Cry Danger, with Rhonda Fleming and Raymond Burr, which is what I really wanted to point out here. Powell’s a mug sent to prison for something he didn’t do. He gets out, wants to set things right, and returns to LA. What I really like about this one are the great LA locations, especially of Bunker Hill and surrounds, an area that was totally flattened and redeveloped in the Sixties. Many film noirs were filmed at Bunker Hill, including Kiss Me, Deadly, Criss Cross and Backfire. So if you want to see LA’s real noir hood, check out these movies and Cry Danger. And as a side note, I have a couple of new stories coming out in Ellery Queen Mystery Magazine in the future that are set in modern day Bunker Hill (what’s left of it), but inspired by Bunker Hill before it bit the dust.


And to top the list off, a couple of Barbara Stanwyck noirs. She, of course, plays the ultimate femme fatale in the ultimate film noir, Double Indemnity. In The Strange Love of Martha Ivers – 1946 – she co-stars with Van Heflin, Lizabeth Scott and Kirk Douglas in his film debut. The File on Thelma Jordon – 1950 – is a companion to piece to that, at least in my mind. Something about Stanwyck’s aunts getting mysteriously dead in both movies. I like them both.

So, if you want to see dead aunts, LA’s infamous Bunker Hill, as opposed to that other one in Massachusetts, a hardboiled Mickey Rooney sans Judy and Lizabeth Scott at her most corrupt, check these out. This list barely scratches the surface but should give you start on making those hot, bright summer days just a little less bright.

***

08 September 2015

Noir and the Returning War Vet Sub-Genre

by Paul D. Marks

My name is Paul and I’m a film noir addict.

If I don’t get my fix of noir “I feel all dead inside. I'm backed up in a dark corner, and I don't know who's hitting me.”*

Fodder for another piece is why I’m so addicted to noir. For this piece I want to talk about a specific sub-genre of noir, the returning veteran. My latest book, Vortex (released 9/1), comes under this category.

The story originally went to a different publisher, a publisher of mystery-thriller novellas. somewhere_in_the_night_xlgUnfortunately they went belly up. But in talking with that first publisher, my pitch was to do a story—homage might be too strong a word, but yeah, let’s call it an homage—about a vet returning from the war in Afghanistan a la some of the classic film noir movies like Somewhere in the Night, The Blue Dahlia (written by Raymond Chandler), Ride the Pink Horse, and Act of Violence, etc., and books like David Goodis’ Down There, whose main character had been one of Merrill’s Marauders, or from later, Dog Soldiers by Robert Stone and James Crumley’s The Last Good Kiss, both inspired by the Viet Nam War.

Hey, even Walter Mosley’s Easy Rawlins is a returning World War II vet, who helped liberate the concentration camps.

47694-devil-in-a-blue-dress-0-150-0-225-cropMy favorite short story of any genre is Hemingway’s Soldier’s Home, about a disaffected WWI vet returning home and how he can no longer relate to anyone or anything. Close to that is Mayday by Fitzgerald. Both were written in the aftermath of World War I. Neither could be classified as noir, but they have a sort of hopeless noir sensibility.

When the vets in all of these stories come home it’s usually not all mom and apple pie.

There are arguments in some circles as to whether film noir is a post war movement or whether it was a result of (mostly) homefront conditions during the war. I think both sides are right, but ultimately I don’t think it matters. For me, the quintessential film noir is Double Indemnity, which came out on September 6, 1944, almost exactly 71 years ago from today. As the war still had a good year and half to go, this would preclude it from being a post-war movie.
But, of course, the Neff charac20_robert_stone_dog_soldierster (Huff in the book) is not a returning vet. Still, this film is (for me) the pinnacle of all noir movies and the jumping off point for the true noir cycle. Then, with the war ending, came a string of movies about returning vets, including those mentioned above. But not all were noir. The Best Years of Our Lives, Till the End of Time and others dealt with the difficult adjustments many vets faced on returning home in a non-noir way.

The war changed American society in a variety of ways. We lost our innocence as a country. Soldiers had seen things no one should have to see. Many came back cynical. Black soldiers came back wanting full rights for the country they had fought for. Women, Rosie the Riveters, weren’t so sure they wanted to be only housewives anymore.

And the Hells Angels motorcycle club (gang) was formed in Fontana, California (not far from LA, the noir capital of the world), in 1948 (just three years after the war) by disaffected World War II vets.

Many soldiers came back from the war who, if not physically wounded, were psychically wounded. Shell shock, combat fatigue, PTSD, “invisible” diseases but diseases that, nonetheless, tear at a man’s soul. Soldiers coming back from Korea were “forgotten,” those returning home from Viet Nam were often called “baby killers”. Those coming back from Iraq and Afghanistan are often depressed and alienated. One recent study says that roughly 22 veterans commit suicide every day, more than any previous generation of war vets.

It’s from there that the creative process began and I started to create characters and situations in Vortex. Call it an updating of the returning war vet noir genre.

Pageflex Persona [document: PRS0000037_00019]Vortex is the story of Zach Tanner, a recently returned Afghan war vet, who finds more trouble here than there. In his words, he went to “hell and back and back to hell again,” upon returning home. But that latest hell is one of his own making. A quagmire of quicksand that he’s sinking deeply into and struggling hard to get out of. And that predicament is fueled by his own greed. He’s also bringing his girlfriend, Jess, down into the mire with him. They’re on the run, careening down Sunset Boulevard and Pacific Coast Highway, being chased by a flashy red Camaro, when Jess says to him:

“What’re you doing?” Jessie said, clutching the handhold.
“We have to get out of here.”
“Talk to them, Zach.”
“We can’t go back, Jess. Don’t you understand, they’ll kill us.”
“They’re your friends.”
“Yeah.” The first rule of war is know your enemy. And I knew mine, too well—or maybe not well enough.

They’re on the run—from Zach’s best friends, or should I say former best friends. And now it’s up to Zach to get himself and Jess out of trouble, while at the same time trying to make sense of a world that has changed radically for him. A world that he now perceives differently because of what he saw and did in the war.

Zach and Jess are part of a generation that’s grown up on unreal reality shows that give them a false expectation of what success is and how to achieve it. A generation that watched the Bling Ring climb to fame and success by breaking into celebrities’ homes and stealing from them. And though some got minor  punishments they also got movies made about them and a couple starred in their own “reality” shows. That’s the quick and easy way to the top of the American Dream that many of Zach’s friends feel entitled to. They fall out when Zach realizes that getting something for nothing isn’t meaningful and when he wants more meaning and purpose in his life now.

Unfortunately, that’s what Zach’s friends still want when he returns home, that quick ride to the top at any cost. But after recuperating for some time in a hospital with plenty of time to think it’s no longer what he wants. Still, he’s part of their plan and even though he wants out, like quicksand they pull him in and under and won’t let him escape.

But what is escape? Zach and Jess hide out down at the Salton Sea, in the desert near Palm Springs. A once promising resort community that’s now dilapidated and going to hell, the underbelly of the American Dream. Built to be a waterfront paradise, it’s now a wasteland of dead fish and dead end streets.

As Zach, the narrator says, “The American Dream crashed and burned right here at the Salton Sea.”
And that’s where Zach finds himself. Now he must extricate himself from a mess largely of his own making and find some kind of equilibrium in a changed world. Will he?

I hope Vortex does a decent job of carrying on the returning war vet sub-genre.  I think these two quotes from Robert Stone and Ernest Hemingway epitomize that genre, even if they’re not noir per se.

“At first Krebs...did not want to talk about the war at all.  Later he felt the need to talk but no one wanted to hear about it.” ―Ernest Hemingway, Soldier’s Home

“If you haven't fought for your life for something you want, you don't know what's life all about.” ―Robert Stone, Dog Soldiers

*Quoted from “The Dark Corner,” written by Jay Dratler, Bernard C. Schoenfeld, Leo Rosten, directed by Henry Hathaway


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