Showing posts with label Lizabeth Scott. Show all posts
Showing posts with label Lizabeth Scott. Show all posts

30 August 2016

Lizabeth Scott: Queen of Noir

by Paul D. Marks

Recently at SleuthSayers I did a post ( http://www.sleuthsayers.org/2016/07/a-noir-summer.html ) suggesting some lesser-known movies for a noir summer. Two of those movies, Too Late for Tears and The Strange Love of Martha Ivers starred Emma Matzo…better known as smoky-voiced Lizabeth Scott. Doing that post made me think I should do a post on Scott. And even though she only has about 30 film and TV credits, she is one of the Queens of noir. 

Her noir canon consists mainly of these movies:

Dead Reckoning
Pitfall
Too Late for Tears
The Racket
I Walk Alone
Dark City
Two of a Kind
The Strange Love of Martha Ivers

Mostly they’re pretty good and mostly they’re actually noir.  My faves are:

Dead Reckoning: one of my favorite noirs. In fact, several of her noirs fall on my fave list. Along with Dead Reckoning are Pitfall, Too Late for Tears, The Strange Love of Martha Ivers. All good. Some people find Dead Reckoning a rather pedestrian noir, but for me it’s got everything a noir needs. Humphrey Bogart and his buddy are soldiers heading to DC so his buddy can be awarded the Medal of Honor. For some reason, the buddy doesn’t want to be the center of attention and takes a powder, leaving Bogart to try to figure out what happened. He ends up in Gulf City. Enter femme fatale Coral Chandler (Scott): noir ensues.


Pitfall: Dick Powell continues his escape from juvenile leads (actually he’s long away by now) as an insurance exec and family man married to Jane Wyatt (Margaret Anderson on Father Knows Best, so you know she’s a wholesome wife and mom, even though the movie came first). Checking out a case and working with slimy P.I. Raymond Burr, Powell meets femme fatale Scott. Noir ensues.


Too Late for Tears: As I’ve said, this is one of my favorite noirs, period. Scott’s so evil in this one that even Dan Duryea, who’s pretty good at being rotten himself, can’t take her. A husband (Arthur Kennedy) 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 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. And it’s just recently come out in a new, fancy-dancy restored Blu-ray/DVD edition.

Strange Love of Martha Ivers, The: Scott’s first noir and only her second movie. In this one she’s not the femme fatale, but she’s getting her noir footing down. Van Heflin winds up in his hometown, now run by his childhood sweetheart, Barbara Stanwyck, and her D.A. husband (Kirk Douglas in his first movie). Scott and Heflin have a thing for each other, but Stanwyck has other ideas. You know what happens next: noir ensues.

I Walk Alone: Frankie (Burt Lancaster) gets out of prison, expecting to go back to his old life of crime and high times with Kirk Douglas and Wendell Corey. But Kirk has other plans for his old pal. Things just ain’t the same for Frankie after fourteen years in prison, even if he did take the rap for Kirk. Enter Kay Lawrence (Scott) who’s been told by Douglas to find out what it is Frankie really wants. Guess what: noir ensues.


Becoming a Queen of Noir is a long way from Scott’s seminary upbringing in Scranton, PA. And her life wasn’t without controversy. She had an on again off again relationship with her boss and mentor Hal Wallis, one of the major producers of all time. It was rumored in a 1954 Confidential Magazine article that she was a lesbian and that her name was found in the Rolodex of a notorious Los Angeles madam. Some claim her career was ended by the scandal. 

According to the New York Times: “Ms. Scott sued for $2.5 million, contending that the magazine had portrayed her in a “vicious, slanderous and indecent” manner. The outcome was never made public, but the suit, filed in 1955, was believed to have been settled out of court for an undisclosed sum. The scandal, however, was nearly ruinous.” You can find the full article here:   http://www.nytimes.com/2015/02/07/movies/lizabeth-scott-film-noir-siren-dies-at-92.html?_r=0

I don’t think it was ever really proven one way or another, and it certainly doesn’t matter to us today, but at that time it was a big deal and probably one of the reasons her career slowed down. Whatever the truth was, she was an independent woman who didn’t give in to the pressures to put on an act or be something that Hollywood wanted her to be. 

She never married and lived alone in the Hollywood Hills until her death on January 31, 2015 at the age of 92. Lizabeth Scott left a legacy of several great noir films and is definitely one of the Queens of Noir.

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Please check out my story Deserted Cities of the Heart in Akashic’s recently released “St. Louis Noir.”



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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.

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