Ripped From the Headlines, Part II: A Feast of Murder, Robbery and Exploitation

Cecil Kellaway, John Garfield, Lana Turner,
“The Postman Always Rings Twice” (1946).

By Paul Parcellin

As you’ve probably gathered by now, the 1940s and ’50s saw a bumper crop of sensational tales ready-made for the screen. It was an era when Hollywood greedily harvested stories from news tabloids' front pages.  

In the last post, we looked at noirs that were inspired by true crime stories, and here’s a second helping of the same — those fact-based films that translated, and perhaps reshaped, crime stories that captured the public’s imagination. 

Murder, grand larceny, police corruption, along with the news media running amok, obsessed with chasing down the latest hot item, are integral parts of the movies listed below. 

Although these noirs tell tawdry tales it doesn’t mean they all came directly from scandal sheets. Fact-based novels are also a frequent source of inspiration for crime films. Movies based on books by celebrated American authors James M. Cain and Theodore Dreiser make the list, as well.

Lana Turner, Leon Ames, John Garfield,
“The Postman Always Rings Twice.”

“The Postman Always Rings Twice” (1946)

In “The Postman Always Rings Twice,” drifter Frank Chambers (John Garfield) falls in love with Cora Smith (Lana Turner), the wife of a middle-aged businessman Nick Smith (Cecil Kellaway). 

Frank has a checkered past. He can be charming and charismatic, but is also impulsive and reckless. Cora is a beautiful and sensual woman who is trapped in a loveless marriage. She’s ambitious and willing to do whatever it takes to escape her situation. Nick, the wealthy businessman, is cold and controlling. He is a possessive husband who is suspicious of Cora's relationship with Frank.

Frank and Cora conspire to kill Nick and collect his insurance money, but their plan goes awry.

The dialogue in “The Postman Always Rings Twice” is sharp and witty. The characters speak in quick, clipped sentences and their words often have double meanings, creating a sense of tension and suspense. The viewer never quite knows what the characters are really thinking or feeling. 

Like the dialog, the title itself is a bit of a poetic riddle. It suggests that fate may play a role in our lives, and that we cannot escape our destiny. Frank and Cora receive delayed punishment for their crimes. The postman, representing justice, rings once and that may be ignored. But fate will step in to ensure that the second will be answered. Just as Frank and Cora are fated to commit murder, their destiny demands that they will pay for their misdeeds. 

Part I of this three-part post talks about “Double Indemnity” (1944), which was adapted from the 1943 James M. Cain novel of the same title. The film “The Postman Always Rings Twice” (1946) was adapted from Cain’s 1934 novel. Both novels used the same true-crime source material, although “Postman” wasn’t based on a single true story, but was inspired by several real-life cases. As a journalist for the Baltimore Sun in the 1920s, Cain covered a number of sensational trials and got a firsthand look at the dark side of human nature. He would later incorporate his observations into his fiction.

The 1927 murder of Albert Snyder by his wife Ruth Brown Snyder and her lover, Judd Gray served as source material for both Cain novels. Snyder and Gray were both convicted of the murder and sentenced to death.

Another possible source of inspiration for the “Postman” novel was the 1932 murder of waitress Agnes LeRoi, 32, by her husband, Albert, a truck driver with a history of violence. He had an assault and battery conviction and Agnes accused him of domestic violence on several occasions.

On the night of the murder, Albert and Agnes were arguing in their Los Angeles home when Albert became enraged and strangled Agnes. In an effort to make it appear to be an accident, he staged the crime scene to look like a robbery. However, police quickly determined that it was a murder and he was arrested.

Albert was convicted of first-degree murder, was sentenced to death and was executed in the gas chamber at San Quentin State Prison in 1933.

Walter Sande, Montgomery Clift, Fred Clark, “A Place in the Sun” (1951).

"A Place in the Sun" (1951)

Based on Theodore Dreiser's novel "An American Tragedy,” the film and book were inspired by the true homicide case of Chester Gillette, who was convicted of murdering Grace Brown in 1906. 

The Gillette case began July 19, 1906, when Brown's body was found floating in Big Moose Lake in New York. Brown had been strangled and her body was weighted down with stones.

Gillette was a 20-year-old factory worker who had been having an affair with Brown. Brown was pregnant with Gillette's child, and Gillette promised to marry her. However, he was also involved with another woman, Eleanor Mills, who was from a wealthy family.

Gillette and Brown went on a boat trip together on Big Moose Lake. During the trip, Gillette strangled Brown and threw her body overboard. Gillette then returned to Mills and told her that Brown had left him.

Gillette was eventually arrested and charged with Brown's murder. He was found guilty, sentenced to death and was executed in the electric chair in 1908.

The film “A Place in the Sun” stars Montgomery Clift as George Eastman, the character based on Gillette. Eastman, a poor young man is entangled with two women: Alice Tripp (Shelley Winters), who works in her wealthy uncle's factory, and the other, beautiful socialite Angela Vickers (Elizabeth Taylor). Eastman murders Tripp, and the film explores the consequences of his actions.

The film was a critical and commercial success and it won six Academy Awards, including Best Picture. George Stevens won the Best Director award for the film.

“A Place in the Sun” takes a hard look at Eastman’s obsession with social mobility and the lengths to which he will go in order to achieve it. In the end, his desperate pursuit of The American Dream brings about his downfall.

Kirk Douglas, “Ace in the Hole” (1951).

"Ace in the Hole" (1951)

“Ace in the Hole” is a fictionalized account of the true story of Floyd Collins, 37, who was trapped inside Sand Cave, Kentucky, following a landslide in 1925.

The real-life events that inspired the film began on Jan. 30, 1925, when Collins was exploring Sand Cave and a rockslide trapped him underground. Collins was only about 150 feet from the cave's entrance, but was unable to free himself.

The news of Collins's plight spread quickly, and soon reporters from all over the country descended on the small town. News hawks camped out near the cave and competed for the most sensational coverage.

Collins's family and friends were hopeful that he would be rescued, but the days turned into weeks, and his chances of survival began to dwindle. Meanwhile, the reporters continued to exploit the story and Collins's plight became a national media circus.

Trapped in Sand Cave for 18 days, Collins died of starvation and exposure on Feb. 16, 1925. His death was a national tragedy, but it also exposed the dark side of a highly exploitive media.

The film “Ace in the Hole,” directed by Billy Wilder, fictionalizes Collins’s grim story. The protagonist, Chuck Tatum (Kirk Douglas), is willing to do anything to get a big story, and in doing so he exploits the plight of the trapped man, renamed Leo Minosa (Richard Benedict) in the film. That Tatum is so deeply concerned with his own personal gain is stunning and almost laughable — he embodies our darkest fears about the news media, showing us he couldn’t care less about Minosa's survival.

The film was a critical and commercial success, and it was praised for its dark humor and sharp social commentary, hitting hard at media exploitation.

Jack Elam, John Payne, “Kansas City Confidential” (1952).

"Kansas City Confidential" (1952)

“Kansas City Confidential” is a fictionalized account of an armored car robbery that took place in Kansas City, Missouri, in 1950. The film stars John Payne as Joe Rolfe, an ordinary man who is framed for the robbery by a group of corrupt cops.

The events that inspired the film began on Feb. 13, 1950, when an armored car was robbed of $1.2 million in cash and bonds in Kansas City. Four men were arrested for the robbery but were all acquitted at trial. The cops who were suspected of being involved in the robbery were never charged. However, there is evidence that they took part in this and other criminal activities.

One of the acquitted men, small-time gambler and hoodlum Tony Romano, claimed that he was framed by the police. He claimed to know the names of the real robbers, but refused to testify against them because he feared for his life.

In the film’s fictionalized account of the story, Joe Rolfe, a mild-mannered delivery driver is framed for the armored car robbery by a group of corrupt cops. Rolfe is eventually cleared of the charges, but he is left with a deep sense of injustice.

The film, directed by Phil Karlson, who created a string of powerful noirs in the 1950s, was praised for its gritty realism and suspenseful plot. The film also helped raise awareness of the issue of corruption in among law enforcement officers.

You can also read Noir True Crimes Part I and Part III.

He Directed Gripping Noirs … But You May Not Recognize His Name

John Payne, Lee Van Cleef, Neville Brand,
Preston Foster,  "Kansas City Confidential" (1952).

By Paul Parcellin

Everything seemed to come together for Phil Karlson in the 1950s. It was an era in which his talent, energy and unique sensibilities were made to order for a  public with an insatiable appetite for raw, gritty crime films. It was in that period that he directed some of the decade’s most essential noirs. Prior to that he’d cranked out dozens of titles beginning in the mid 1940s under the banners of Monogram (he shot several Bowery Boys and Charlie Chan films there), Eagle-Lion and other Poverty Row operations. Some might remember his two lightweight spy spoofs of later years, “The Silencers” (1966) and “The Wrecking Crew” (1968), both starring Dean Martin — although, he’d probably wish that you wouldn’t. He continued to work over several decades but didn’t strike pay dirt until the release of his revenge fantasy “Walking Tall” (1973). It was his biggest and most commercially successful film and it made him rich. Otherwise, he was mostly mired in the B-movie bush league for the remainder of his career. 

But two decades before “Walking Tall,” the Chicago-born Karlson began work on a string of crime movies that would influence future generations of filmmakers.

His uncompromising narratives, short, action filled scenes and great attention to detail helped pave the way for filmmakers seeking to challenge the traditional Hollywood conventions and explore the darker aspects of human nature. Directors such as Martin Scorsese, Quentin Tarantino, and John Woo have all acknowledged his impact on their own filmmaking careers. Scorsese, in particular, cited Karlson's "The Phenix City Story" (1955) as a major inspiration for his seminal film "Mean Streets" (1973).

Karlson grew up in a working-class family in Chicago and developed an affinity for storytelling and filmmaking at a young age. He attended local film screenings and immersed himself in the world of cinema. His passion eventually led him to pursue a career in the film industry. While studying law he got a job as a prop man at Universal Studios to make ends meet during the Great Depression.

Phil Karlson.

In the 1930s he began working as an editor for various film studios. It was during this time that he gained invaluable experience and insights into the technical aspects of filmmaking. This early exposure would shape his later directorial style and attention to detail.

As Karlson parlayed his editing experience into directing gigs, he brought a distinct sensibility to his films. His works often explore the dark underbelly of society and tell their stories in a blunt, no-nonsense manner that avoids extravagant visuals and focuses on raw emotional impact.

One of the defining themes in his films is the exploration of crime and its consequences. He had a keen eye for depicting the complexities of human nature, delving into the psychological motivations of his characters. This was exemplified in films like "Kansas City Confidential" (1952) and "99 River Street" (1953), where he portrayed flawed protagonists grappling with the consequences of their actions.

Karlson had a knack for working with actors and bringing out their best performances. He had a successful partnership with actor John Payne, with whom he collaborated on multiple projects. In addition to his noirs, he worked on a variety of movie genres: romances, comedies, musicals, westerns and war pictures. But it’s his influential noirs, shot between 1952-’57, that inspired new generations of directors making crime films. Here’s a rundown of his work:

"Kansas City Confidential" (1952).

Kansas City Confidential

A masked gang of armored car robbers, identities hidden from each other, frame delivery driver Joe Rolfe (John Payne) for their crime. But Rolfe trails them to their rendezvous point, intending to infiltrate the crew and bust them up. A taut caper followed by a well-paced contest of nerves among desperate characters. Note that the story unfolds in a virtual cloud of smoke. In nearly every scene cigarettes, pipes and cigars are nervously, thoughtfully and dramatically lit and puffed on — a sure sign that we’re watching noir. Tarantino’s “Reservoir Dogs” (1992) is thought to be inspired in part by “Kansas City Confidential.”

John Derek, Broderick Crawford, "Scandal Sheet" (1952).

Scandal Sheet

Newspaperman Mark Chapman (Broderick Crawford) has a past he'd like to forget but his wife won't allow it. He gets into a bind and his reporters begin nipping at his heels — they don't know that the boss is the one they're chasing. Based on a Samuel Fuller novel, “Scandal Sheet” is all about making it big by printing the sleaziest rag in town. News hacks come within millimeters of breaking the law just to get a sensational story. Everyone’s fueled on adrenaline, booze and black coffee, talking at a fast clip and firing off wise-guy rejoinders. Chapman’s paper sponsors a lonely hearts soiree. The cynical, exploitive idea behind the parties is to corner a pair of lovebirds who just met and get them to tie the knot in front of the crowd. Meanwhile, a bit of Chapman’s dirty laundry may be about to be aired and it won’t be pretty. 

Jack Lambert, John Payne, "99 River Street" (1953).

99 River St.

Punched out boxer Ernie Driscoll (John Payne) takes a beating in and out of the ring in "99 River Street." A former heavyweight contender, he drives a cab and is as a doormat for nearly every bully he meets. When his girl turns up dead it looks like he's going to take the fall. As in “Kansas City Confidential,” Payne plays another falsely accused outsider who has been dealt a rotten hand and must redeem himself in society’s eyes. Panned by the New York Times when it was released, the film received more favorable favorable treatment in later years. Martin Scorsese and film critic Jonathan Rosenbaum both chose to include “99 River Street” on lists of best and favorite films.

John McIntire, "The Phenix City Story" (1955). 

The Phenix City Story

Crime and vice majordomo Rhett Tanner (Edward Andrews) has a corrupt Alabama town under his thumb. Local mouthpiece Pat Patterson is urged to run for the A.G. seat, but who wants that job? When violence visits the reformers he reconsiders his neutral position. But the mob doesn’t take kindly to the threat of a law and order attorney general in their midst. Based on a true story, “The Phenix City Story” portrays the struggles of honest folks who wrestle with their conscience and decide to take positive steps despite the threat of violence to themselves and their families. Ever the stickler for detail, Karlson had his actor wear the clothes belonging to the murder victim on whom the story is based. 

William Conrad, Brian Keith, "5 Against the House" (1955).

5 Against the House

Korean War veterans studying at college decide to rob a casino as a lark. Ronnie (Kerwin Mathews), a rich kid who doesn’t need the money, wants to prove he’s smart enough to mastermind the perfect crime. It’s all just a prank by overgrown school boys — they plan to leave the stolen loot where the casino can recover it. But Brick (Brian Keith), who suffered a head wound in the war, is a wild card in this shaky caper. The rest of the gang is in various stages of arrested development, picking up where they left off before trudging off to Korea. But they soon find that swiping a casino’s money is not mere fun and games.

Ginger Rogers, Brian Keith,
Edward G. Robinson, "Tight Spot" (1955).

Tight Spot

U.S. attorney Lloyd Hallett (Edward G. Robinson) offers good-girl inmate Sherry Conley (Ginger Rogers) a chance to bust out if she finks on a mobster. Lt. Vince Striker (Brian Keith) acts as her bodyguard — and soon things heat up between them. Rogers gets the chance to play against type in the role of Sherry, the brassy, fast talking blonde trying to get all she can from the prosecutor who wants her testimony. It’s a risky ploy for her. The last witness never made it to the courtroom, and odds are that Sherry won’t do much better. Call this one a noir with a hint of screwball comedy.  

Richard Conte, Patricia Donahue, Jane Easton, 
Richard Bakalyan, "The Brothers Rico" (1957).

The Brothers Rico

The happily married Eddie Rico (Richard Conte) owns a laundry business in Florida and seems to have the world on a string. But his past connection to organized crime as well as family ties threaten to pull him back into the syndicate. A gangster demands that he provide a hideout for a syndicate hitman. Worse news, still, Eddie learns that his two brothers, Johnny (James Darren) and Gino (Paul Picerni), both of whom are still involved with the mob, have disappeared. Prolific Belgian novelist Georges Simenon wrote the book on which the film is based. Studio executives finessed the novel’s downbeat ending and tacked on a happier conclusion, much to the disappointment of the author’s fans and to Karlson, too.

 By the time that “The Brothers Rico” came to the screen it was near the end of the road for the classic noir era. The following year Orson Welles would release “Touch of Evil” (1958), which many consider the final classic noir. Karlson continued to direct films and television thereafter but never equalled the level of artistic excellence he achieved in the 1950s. Still, his handful of films noir made a mark on the genre and continue to influence today’s filmmakers.