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Archive for the ‘Sterling Haydn’ Category

Crime of Passion

06 Oct

Crime Of Passion – Directed by Gerd Osward. Murder Drama. A successful newspaper columnist gives up her career to marry a decent chap and finds him unambitious and dull. 84 minutes Black and White 1957.

* * * *

Stanwyck is really superb in this picture – and so is Sterling Haydn. There’s a lot of nonsense talk about it’s being film noir. It aint. Film noir depended upon being shot in black and white, and it also depended upon a downbeat and beaten down male character or a ruthless female character as the lead and the sense no one can be trusted. This is not noir. Neither is House Of Bamboo or Clash by Night or a lot of other films talked about as noir. Just because a film is beautifully lit and in black and white does not make it noir. This picture is a good old fashioned woman’s picture – the story of an able and prominent newspaper reporter careerist who falls for a good hearted cop and is driven to distraction by his lack of ambition. The scenes with Raymond Burr are interesting because Burr, who made his career throwing his weight around, is quite sympathetic here. Odd to see it. Barbara Stanwyck is a commanding actress who holds the screen with a minimum of histrionics. She’s older here, but only in years. Her hair was going grey but it looks blond. And her figure is tops. You’ll find it  satisfying to see how many fabulous designer housecoats and negligees can be purchased on an ordinary police detective’s salary. This was Hollywood in the 50s. Fay Wray, Stuart Whitman, and Royal Dano are on hand as well. It’s not noir. It’s pulp. You’ll enjoy it.

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Crime Of Passion

28 Apr

Crime of Passion – Directed by Gerd Oswald.  Female Pulp. A successful columnist marries an ordinary Joe and goes nuts. 84 minutes Black and White 1957.

* * * *

Barbara Stanwyck is really superb in this picture – and so is Sterling Haydn. There’s a lot of nonsense talk about film noir. Film noir depended upon being shot in black and white and it also depended upon a disenfranchised, downbeat, beaten-down male or female character as the lead and the sense no one can be trusted. This film is not noir. Just because a film is beautifully lit and in black and white does not make it noir. This picture is a good old-fashioned woman’s pulp – the story of an able and prominent newspaper columnist who falls for a good hearted cop, retires, and is driven to distraction by his lack of ambition. The scenes with Raymond Burr are odd to see, because Burr, who made his career throwing his weight around, is quite sympathetic here. Stanwyck is a commanding actress who holds the screen with a minimum of histrionics. She’s older here, but only in years. Her hair was going grey, which is why she steered away from color movies for so many years, but it looks blond. And her figure is tops. It’s a double-edged proto-woman’s lib picture. All female noir films deal with a woman disempowered after WWII, at which point they marry, not for love but for money and power, using sex as the hook. This is not the case here; here the problem is the drabness of housework. Still, after Stanwyck loses her income, it’s entirely wonderful to see how many fabulous designer housecoats and negligees can be purchased on an ordinary police detective’s salary. This is the 50s; this is still movie star time. You’ll enjoy it.

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