Life and Death in L.A.

Tuesday, September 16, 2014

You Only Live Once: Outlaws on the Road


Sylvia Sidney and Henry Fonda in 'You Only Live Once.'

D
irector Fritz Lang's masterpiece of German cinema, “M” (1931), delves into the murky waters of criminality with an assuredness that few films of that era can match. A frantic search is on for a serial killer who murders children, resulting in an uptick in police raids and harassment of Berlin's illicit enterprises. The police are frustrated in their search for the maniac, so members of the city's underworld, eager to ward off police interference, take matters into their own hands. 

The dark, brooding atmosphere of "M," shot in glorious black and white, crossed the Atlantic with Lang when he left his native Europe and came to work in Hollywood. His vision of the shadowy underworld was destined to become part of the fabric of early- to mid-century American cinema in what was later known as film noir — French critic Nino Frank coined the term in 1946.

All of which leads us to a film the director made six years later. 

A word of warning here, SPOILERS ABOUND, so you might want to stop reading here if you've yet to see "You Only Live Once" and “M.”

Lang made “You Only Live Once” (1937) in the United States, and it’s based loosely on the exploits of real-life bank robbers Bonnie Parker and Clyde Barrow. In it, the director translates his German Expressionist aesthetics to the American gangster film. As with all of his films, Lang infuses the story with comments on injustices the powerless must face, in this case at the hands of enforcers of the law.

In the opening scene, a prosecutor and a public defender mull over the facts of a case while a fruit peddler complains that a cop on the beat steals apples from his stall. The peddler is shooed away while bureaucrats shuffle papers and bargain over how the law will be enforced. Failing to receive help, the forlorn peddler goes comically livid as a policeman swipes another of his apples right under his nose.

Eddie Taylor (Henry Fonda), a three-time loser, is released from prison and promptly marries his sweetheart, Joan Graham (Sylvia Sidney), who happens to be the public defender’s secretary. It was she who turns a deaf ear to the complaining fruit peddler, but as the story progresses her understanding of the justice system will change significantly. 

On their honeymoon they come upon a frog pond, where Eddie discloses that his first brush with the law came when he roughed up his peers who cruelly tore the legs off of frogs. The honeymooners note that these cold-blooded creatures mate for life. When one dies, the other soon follows — an omen of things to come, perhaps.

Death row visit.
Their wedding bliss is short lived, however, when the owner of the honeymoon suite spots Eddie’s mug in a true crime magazine and the couple are unceremoniously booted out.

What drives the story is Eddie's anger over the small and not so small disparities between the way the well-connected and the downtrodden are treated. He's the victim of foolish choices he made as a youngster, and now society and law enforcers won't let him off the hook. 

Set up in a job with a trucking company courtesy of the corrections system, Eddie’s path to redemption quickly turns rocky.

The couple finds a shabby residence, but Eddie's boss fires him for a minor offense. Joan moves into the house without telling Eddie. Reluctant to deliver the bad news, Eddie doesn’t let on that he’s unemployed, but the down payment is due by the end of the week. We see the makings of an alternate plan when he pulls back some bedding to reveal a gun under his pillow.

Last Ditch Effort
Eddie makes a break for it.
Eddie looks everywhere for another job, but has no luck. His boss turns down his appeal for a second chance, and Eddie loses his temper and slugs him. The film cuts to a cleverly shot heist scene — an armored car hold-up in a strong downpour, all beautifully filmed. A man is shot and killed and we see Eddie’s hatband, emblazoned with initials “E.T.” although we don’t see his face.

Turns out, his hat was stolen in a restaurant – it’s the only clue left at the robbery scene – and he is being framed. Joan wants him to turn himself in, but the police find him before he can. Eddie is found guilty and is sentenced to the electric chair.

With Eddie’s criminal record and prison history, the public, the police and prosecutor are quick to believe that he’s the culprit. “Eddie Taylor has been pounding on the door of that execution chamber since he was born,” says one.

Desperation
On death row, he and Joan have their last visit before he is to be executed and he tells her to bring him a gun. She does, but a priest who accompanies her is wise to the charade and quashes the plan. Then, an inmate passes Eddie a note that says there’s a gun stashed in the mattress in the isolation ward.

Shadows in a cell block.
In these critical scenes we see dramatic lighting effects set the mood and help illustrate the story. A shadowy expressionistic atmosphere helps dramatize Eddie's desperation, particularly the jail cell bars casting dark shadows that slice through the frame. They're severe, blunt, and an abstraction of the real world — the shadows could likely never be cast by the light sources we see in the frame. But they make the setting feel all the more claustrophobic while reinforcing the painful fact that Eddie is trapped in a spot from which there is no escape.

A Bold Move
Eddie tears apart a tin cup, cuts his wrist and acts erratically, hoping to be put in isolation. When he’s eventually taken there, he uses the gun to take a doctor hostage and escape.

The warden issues a shoot to kill order, adding that they should save the doctor being held hostage, if possible. The scene cuts to a news ticker tape — the armored car Eddie supposedly robbed has been recovered and evidence shows he is not the guilty party. Authorities issue a pardon for Eddie with a swiftness possible only in the movies. The real killer is Eddie’s former cellmate, Monk.

Of course, Eddie doesn't get the memo, and when he's told that he’s a free man he thinks it’s a ploy to capture him. Father Dolan, the priest who stopped Joan from smuggling the gun, intervenes, but Eddie has lost his faith.

Fog shrouds the prison grounds — another noir touch that reflects Eddie's confused state of mind — and officials are loathe to let Eddie escape with a gun even though he’s been pardoned. He’ll kill the first person he meets, they say. Before he can leave the prison grounds he shoots Father Dolan, his staunchest ally, and manages to get away. 

The Fugitives
Eddie Taylor on the run in 'You Only Live Once.'
Joan follows Eddie to a rail yard where he’s holed up in a boxcar. He's wounded, but they go on the run together, and as known fugitives they are blamed for every stick-up in the area.

Joan's sister wants to send her to live in Havana, but she hits the road with Eddie instead. It's not long before the law bears down on them and both are wounded.

Troopers pursue them on foot to the edge of the Mexican border, where freedom awaits them, but can they make it?

Eddie carries Joan, just yards from the border, and she expires in his arms. We see the pair lined up in a trooper’s telescopic sites. A blast of gunfire ends their quest for freedom.

A Voice from Beyond
We hear Father Dolan in voiceover, speaking from beyond the grave we must presume. “You’re free, Eddie, the gates are open,” referring to the gates of Heaven, rather than an earthly passageway to freedom.

In contrast, "M" ends on a decidedly pessimistic note. The murderer faces mob justice at the hands of underworld figures who capture him and bring him before a kangaroo court. The criminals are unanimous in calling for the killer’s head. The police and justice system, they say, would be too lenient, likely they will institutionalize him, and there is always a chance that he will escape and kill again. But the police arrive before the criminal element has its way, and the murderer is arrested and brought to trial.

Aside from religiosity, a glaring difference between the two films is that in “You Only Live Once,” American police, courts and prisons are called to task for their rush to judgment and use of lethal force that brings about the demise of Eddie and Joan. As for “M,” charges of law enforcement’s excessive leniency probably reflect a segment of German public opinion between the World Wars. 

Peter Lorre in "M."
In the early 1930s, the German Republic was beset by unemployment and hyperinflation brought about in part by the Great Depression. In this atmosphere, political extremism took root, leading to a dark period of fascist rule. We may assume that the public’s lack of faith in a just but faltering government helped pave the way for one of Germany’s darkest hours.

Both films come to tragic conclusions, but each has a distinct difference in tone and outlook. In the blunt closing scene of “M,” mothers of the young murder victims reflect that punishing the perpetrator will not bring back their children.

"You Only Live Once" ends on what some might say is a brighter, if slightly ambiguous, conclusion — Eddie and Joan find redemption in the afterlife. Or, do they?

Director and film historian Peter Bogdanovich asked Lang whether the gates of Heaven ending should be understood as ironic or as the truth, to which Lang replied, "As the truth." He reminded the interviewer that he was raised a Catholic, although admitting, by the church's standards, he was not a good Catholic.

"I think it was the truth for those people," he said. "The doors are open now."

The priest whom Eddie murders, the only prison official who believed in him, is the voice welcoming him and Joan to the Pearly Gates, while the authorities who judged them harshly likely expect the pair to be shunted off to eternal damnation. 

In Lang’s view, it seems, our deeds are rightly evaluated in the hereafter, and earthly judgment will forever fail society's outsiders such as Eddie and Joan, as it will the survivors of the young victims in “M.” For them, justice will always be out of reach in the here and now.






Sunday, September 7, 2014

James Ellroy to Discuss New Novel, 'Perfidia'

Celebrated L.A. crime novelist James Ellroy will be talking about his new book, "Perfidia," at the main branch of the L.A. Public Library on Tuesday, Sept. 9. Wait list tickets are all that are left, and admission is free. He'll be signing "Perfidia," but only copies you buy from the library -- proceeds help support its cultural programs. The event takes place at the Los Angeles Central Library's Mark Taper Auditorium, 630 W. Fifth Street. Wait list admissions will be handed out starting at 7 p.m. Get there early.

http://www.lfla.org/event-detail/1040/Perfidia-A-Novel

Saturday, July 12, 2014

A SIMMERING 'RAW DEAL' IS COOKED TO PERFECTION

From left, Pat Cameron (Claire Trevor), Ann Martin (Marsha Hunt) and Joe Sullivan (Dennis O'Keefe) in 'Raw Deal' (1948).
Be forewarned, there are many SPOILERS contained below.
In film noir, it's unusual for the femme fatale to act as narrator. But in "Raw Deal," the dilemmas of conscience are seen through the eyes of the morally challenged Pat Cameron (Claire Trevor), who cares only about saving herself and her convict boyfriend Joe Sullivan (Dennis O'Keefe).

Pat narrates the action in voiceover, as other-worldly music warbles in the background. When social  worker Ann Martin (Marsha Hunt), a straight arrow, enters the picture, Pat starts to feel that do-gooder Ann is crowding her out of the picture.

Joe skips out of prison — he wants a breath of fresh air — and circumstances bring Joe, Pat and Ann together. The trio goes on the lam and it doesn't take long for the smoldering love triangle to catch fire.

But it's not strictly a love story. There's a fair amount of action sprinkled about. Director Anthony Mann handles the film's violence artfully. Several fistfights and shootouts happen in dark, shadowy or foggy places, and we don't really see who is getting the better of whom. It's a device that ramps up the tension, and probably saved this bare-bones production some money in its stunts budget.

Each of the three main characters faces a moral dilemma or two. When another outlaw appears on the scene and begs for shelter, Joe must decide whether or not to hide the unlucky perp and put himself in jeopardy. Predictably, Pat wants to lock the schnook out, but Joe, against his better judgment, let's him in.

Going Native
Meanwhile, Ann, kidnapped by Joe and Pat, gets a strong case of Stockholm syndrome and goes from good girl to gaga for Joe.

When Pat receives the call that head bad guy Rick Coyle (Raymond Burr) captured Ann, and that he's going to do her in if Joe doesn't turn himself in to the gang boss, Pat flunks the morality test when she dummies up and doesn't spill the news to Joe, who would certainly come to Ann's rescue.

As the clock ticks and the couple gets ready to head for South America, Pat gets a pang of conscience. She fesses up and tells Joe that Ann's in trouble.

Joe to the Rescue
Joe confronts Rick at gunpoint, but Rick outdraws Joe and they wound each other. They struggle and the apartment accidentally catches fire. As the story wraps up we're treated to one of the film's least convincing process shots.
Joe, reunited with Ann, takes a tumble as a befuddled Pat looks on helplessly. 

Joe finally gets the breath of fresh air he wanted so badly when he was in the jug, but won't have the pleasure of savoring it. Pat finally sees happiness in Joe's face, but it's too late.

While Ann makes the leap from rigid, upstanding citizen to one who bends her principles for the man she secretly loves, Pat is redeemed when she decides to act in a morally sound manner, even if it means making a supreme sacrifice. 
With its bittersweet ending, we see that even in this tale of the doomed, a ray or two of sunlight can penetrate the dark clouds.

Tuesday, June 24, 2014

MAP CAN HELP YOU FOLLOW IN JAKE'S FOOTSTEPS

Jack Nicholson and Faye Dunaway in 'Chinatown.'
There's something about iconic films that make fans get dizzy. When a movie so inspires a legion of followers to dress up like the film's characters, and perhaps talk like them, when kindred spirits communicate at parties by exchanging sharp, witty lines of dialogue that they know by heart ... well, then you've got yourself a cultural phenomenon there, buddy.

If you're a "Chinatown" fanatic, you'll want to trace the movements of one Jake Gittes, the private eye who unravels the complex yarn of scandal, murder and deception that unfolds in Roman Polanski's 1974 classic film.

The folks at Curbed L.A. can help you do that, with their online Ultimate Chinatown Filming Location Map of Los Angeles. Some of the filming locations aren't exactly in the same location that they're supposed to be in the film. Immaterial.

What's important is that you can walk in the footsteps of "Chinatown" stars Jack Nicholson, Faye Dunaway and John Huston. You'll see such locations as:

Los Angeles City Hall, the scene of a Water Department meeting, where an angry sheepherder crashes the party with his charges.
The Oak Pass reservoir -- actually the Stone Canyon Reservoir, where Hollis Mulwray takes the big sleep.
The Brown Derby, where Nicholson and Dunaway meet to talk turkey.

And the list goes on. So, pack a lunch and gas up the car. It's "Chinatown" — remember it!

Wednesday, June 4, 2014

IT'S A NOIR KIND OF WEEKEND



TV Movies Network’s film noir lineup this weekend – June 7-8 -- looks good. The listings are all East Coast times starting early Sunday morning in the East, or Saturday evening in L.A. (KCOP-TV).

12:25AM / I Wake Up Screaming (1941) TV-PG
A young promoter is falsely accused of the murder of a beautiful actress he "discovered" while working as a waitress.
Featuring: Betty Grable, Victor Mature

2:10AM / The Burglar (1957) TV-PG
A jewel thief's big heist is upended when his half-sister is kidnapped by a crooked cop who demands the loot in exchange for her safe return.
Featuring: Dan Duryea, Jayne Mansfield

4:10AM / Human Desire (1954) TV-PG
A Korean War vet returns to his job as a railroad engineer and becomes involved in a sordid affair with a co-worker's wife and murder.
Featuring: Glenn Ford, Gloria Grahame, Broderick Crawford, Edgar Buchanan, Kathleen Case

6:10AM / Pickup on South Street (1953) TV-PG
A pickpocket unwittingly lifts a message destined for enemy agents and becomes a target for a Communist spy ring.
Featuring: Richard Widmark, Jean Peters

Wednesday, May 14, 2014

JOHNNY DEPP SHOWS HIS BEST GANGSTER FACE


DEA Agents raid Whitey Bulger's South Boston headquarters.
I know ... Whitey Bulger's ties to L.A. are tenuous. His career as boss of the Irish mob in Boston is not the stuff L.A. legends are made of. But, indulge me a bit. He was arrested here, or, in Santa Monica to be more precise, in June 2011, after years of being on the lam.

So, the news is that after some delay, filming of the Scott Cooper directed "Black Mass" is getting under way in Boston. The first shots of Johnny Depp in full Whitey Bulger makeup have been leaked, and the look seems at first glance fairly authentic.

The film is based on Dick Lehr and Gerard O'Neill's book, "Black Mass: Whitey Bulger, the FBI, and a Devil's Deal."

Johnny Depp, center, in Whitey makeup.
In addition to the tome in which the movie is based, Lehr and O'Neill co-authored another book about the life of James "Whitey" Bulger that covered the crime boss's ascent as a career criminal and eventual downfall. Whitey's  prison terms, including one at Alcatraz, are detailed in the book. Also discussed is his participation in an early test of the drug LSD.

Movie folks are reportedly busy mocking up a Triple O's set in Cambridge, Mass., that will be used for shooting exterior scenes. The real Triple O's, a South Boston bar Whitey used as his headquarters, no longer exists.

So, what are the chances that "Black Mass" will hit it out of Fenway Park, so to speak?

Cooper's previous crime writing-directing assignment, last year's "Out of the Furnace" scored a paltry 52 percent fresh on Rotten Tomatoes.
We'd better hope for some of that good Irish luck.

Sunday, May 11, 2014

A Touch of Orson: Venice Beach as Border Town

Orson Welles prepares a crucial scene in "Touch of Evil"
Downtown L.A.'s refurbished Million Dollar Theater recently screened the Orson Welles classic dark tale of corruption and murder, "Touch of Evil." The film was originally released in 1958 after the studio took control of it from Welles. There’s a recut and redubbed version in circulation these days that is largely restored to the version that Welles intended thanks to a 40-plus page memo he sent the producers protesting changes made to the film. Using the memo as a guide, restorers fixed much of the damage done by studio meddling 50 years after the original release. 
Film historians consider "Touch of Evil" to be the last film of the classic noir era, which began with "The Maltese Falcon" in 1941.
"Touch of Evil" is set in a Mexican border town, but Venice Beach, with it's Spanish style colonnades, stood in for a jerkwater berg overlooking our neighbor to the south.
Welles co-wrote the script, directed and co-starred along with Charlton Heston, Janet Leigh and Marlene Dietrich. Also, playing supporting roles are Zsa Zsa Gabor and Dennis Weaver.
Below, a video about the "Touch of Evil" restoration:



See the photo at top, and note how the crane shot is used in a clip from the film's opening: