Dark Candy in Your Stocking: 25 Christmas Noirs

Robert Montgomery, “Lady in the Lake” (1946), an odd seasonal thriller.

By Paul Parcellin

Sometimes you need relief from the hectic days that close out the year. From Thanksgiving ’til New Year’s Day we live with a sense of renewed optimism and anticipation as the new year approaches — well, some of us do, anyway. Chances are you’ll desire a break from the season of cheer, something to counter-balance the joyful spirit that the holidays demand. For that, you might take in a few films noir. 

What’s especially fitting at this time of year are dark tales with a seasonal theme, the ones that take special delight in dishing out gritty violence and bad will toward men amid the ribbons,  wreaths and mistletoe. Tinsel and colorful twinkling lights contrast brutally with noir’s undisguised onscreen malevolence, highlighting the grim corruption and heart wrenching tragedy that is modern society.

So pour yourself a slug of rye and get comfortable. Here are 25 noirs that are an antidote for this physically exhausting, stress inducing, hyper-joyous season:

Edmond O’Brien, Viveca Lindfors, “Backfire.”

“Backfire” (1950)

While recuperating from wartime back injuries, veteran Bob Corey (Gordon MacRae) is visited on Christmas Eve by a woman carrying alarming news. He hopes to go into business with a wartime buddy, but a major roadblock stands in the way.

“Beware, My Lovely” (1952)

A mentally disturbed handyman (Robert Ryan) on the run, for reasons even he doesn't understand, takes a job at the house of a lonely war widow (Ida Lupino) in 1918. The story takes place over the holiday season, and the warmth associated with Christmas sharply contrasts with the film’s dark elements. 

“Blast of Silence” (1961)

It’s the holidays, and a hired killer from Cleveland (Allen Baron) is in New York City, his hometown, to rub out a gangster. It should be a piece of cake, but his return to the old neighborhood brings on some unexpected complications.

“Cash on Demand” (1961)

A charming but ruthless criminal (André Morell) holds the family of a bank manager (Peter Cushing) hostage as part of a cold-blooded plan to steal a small fortune. The holiday setting stirs up the emotions we feel for the family being held against their will.

“Christmas Holiday” (1944)

The title suggests a light, whimsical storyline, but it’s nothing of the kind. A young woman (Deanna Durbin) realizes that the man she married (Gene Kelly) is not who she thought he was. In flashback we learn of her troubled past as she spends Christmas in New Orleans. The film explores themes of betrayal, guilt and loss.

“Cover Up” (1949)

There’s nothing like a small Midwestern town bedecked in holiday splendor to put us in the Christmas mood — but not this town. An insurance company investigator (Dennis O’Keefe) tackles a case of supposed suicide. But the locals are unhelpful and even hostile. Could this be a case of foul play?

Lawrence Tierney, Anne Jeffreys, “Dillinger.” 

“Dillinger” (1945)

Legendary bank robber John Dillinger (Lawrence Tierney) begins his life of crime as a petty thief, meets his future gang in prison and eventually masterminds a series of daring robberies. Turns out, Christmas ornaments provide an exciting, colorful backdrop for stickup men.

“Flame of the Islands” (1955)

A café singer (Yvonne De Carlo) buys a gambling casino, and a number of men fall in love with her (Howard Duff, Zachary Scott). Set in the tropics, it’s not an overtly Christmas themed flick, but the holiday provides a seasonal context. 

“I Wouldn't Be in Your Shoes” (1948)

A dancer (Don Castle) is the focus of a murder investigation after his shoe prints are found at the scene of the crime. His wife (Elyse Knox) follows the trail of clues to the genuine killer. The film’s holiday setting makes the wrongly accused man’s plight all the more tragic.

Elisha Cook Jr., “I, the Jury.” 

“I, the Jury” (1953)

Detective Mike Hammer (Biff Elliot) is determined to catch and kill the person who shot his close friend dead, so he follows clues that lead to a beautiful, seductive woman (Peggie Castle). Nothing says Christmastime quite like Mickey Spillane’s creation, the violence prone Hammer.

“In Bruges” (2008)

Christmas in Bruges, Belgium, is postcard perfect. Two hitmen (Colin Farrell and Brendan Gleeson) are sent there and told to await orders from their cold-blooded boss. When instructions finally arrive the story takes a decidedly surprising and dour turn.

“Kiss Kiss, Bang Bang” (2005)

A New York burglar (Robert Downey Jr.) does some after-hours Christmas Eve shopping in a closed toy store and nearly gets busted. He stumbles into a film audition, is mistaken for an actor and is sent to Hollywood to train under a private eye (Val Kilmer) for a potential movie role. From there, the story only gets weirder. 

“L.A. Confidential” (1997).

“L.A. Confidential” (1997)

The film opens outside a house bedecked in holiday lights and a decorative Santa and his sleigh on the roof. Inside, a man beats his wife and detective Bud White (Russell Crowe) and his partner arrive on the scene. The violence contrasts with the season of cheer and goodwill and sets the stage for a tale of corruption and routine underworld brutality in 1950s Los Angeles.

“Lady in the Lake” (1946)

Robert Montgomery directs and stars as Phillip Marlowe, who soon finds himself smack in the middle of a murder. It takes place at Christmastime and a chorus of seasonal carols offer a sardonic counterpoint to the grimmest action on the screen. Opening credits are printed on Christmas cards, to boot. It’s oddly appealing that this may be the most unChristmas-like Christmas film ever made.

“Lady on a Train” (1945)

It’s Christmastime in New York, and a woman (Deanna Durbin) who witnesses a killing seeks the aid of a crime novelist (Bruce David) to solve the murder. The film’s lighthearted holiday atmosphere starkly contrasts with the dark crime witnessed from a train window.  

John Payne, “Larceny.”

“Larceny” (1948)

The veneer of holiday cheer lingers in the background as a con man (John Payne) sets out to swindle a widow (Joan Caulfield). He aims to grab money she received to build a memorial to her war hero husband. But the swindler winds up falling in love with her instead.

“Mr. Soft Touch” (1949)

When he learns that a gangster has taken over his nightclub and murdered his partner, returning World War II hero Joe Miracle (Glenn Ford) steals the money from the club's safe and hides in a settlement home, while the mob is on his tail. Themes such as charity, goodwill and second chances are explored amid the yuletide season.

“No Man of Her Own” (1950)

A pregnant woman (Barbara Stanwyck) adopts the identity of a railroad-crash victim and starts a new life with the woman's wealthy in-laws. But her devious ex blackmails her. The Christmastime setting helps underline the woman’s longing for family stability and belonging.

Louis Hayward, Joan Leslie, “Repeat Performance.”

“Repeat Performance” (1947)

On New Year's Eve 1946, Sheila Page (Joan Leslie) kills her husband, Barney (Louis Hayward). She wishes that she could relive 1946 and avoid the mistakes that she made throughout the year. Her wish comes true but cheating fate proves more difficult than she anticipated. It’s primarily a New Year’s Eve story, but Christmas elements, such as reflection and renewal, are folded into the mix.

“The Man I Love” (1946)

A homesick, no-nonsense lounge singer (Ida Lupino) decides to leave New York City and visit her sisters and brother on the West Coast. Eventually she falls in love with a down-and-out ex-jazz pianist (Bruce Bennett). More romantic drama than a pure noir, the film’s scenes with Christmas decorations add just a touch of holiday ambiance to the story.

“The Night of the Hunter.”

“The Night of the Hunter” (1955)

A self-proclaimed preacher (Robert Mitchum) marries a gullible widow (Shelley Winters) whose young children are reluctant to tell him where their real dad hid the $10,000 he'd stolen in a robbery. Pastoral winter scenes, exploration of themes such as good and evil and children singing “Silent Night” add to the subtle Christmastime atmosphere.

“The Reckless Moment” (1949)

After discovering the dead body of her teenage daughter's lover, a housewife (Joan Bennett) takes desperate measures to protect her family from scandal. The holiday setting and themes such as family responsibility and criminal intent offer dramatic contrasts that propel the story.

“The Roaring Twenties” (1939)

After returning home from fighting together in World War I, three men (Humphrey Bogart, James Cagney, Jeffrey Lynn) try to make a killing during Prohibition. A Christmas Eve speech by one of the trio (Cagney) reflects themes of loss, regret and nostalgia. 

“The Silent Partner.” 

“The Silent Partner” (1978)

A timid bank teller (Elliott Gould) anticipates a robbery and steals the money himself before the crook arrives. When the sadistic crook (Christopher Plummer) realizes he's been duped, he tracks down the teller and chases him for the cash. Much of the action takes place in a shopping mall decorated for Christmas.

“The Story of Molly X” (1949)

After gang leader Rick is killed, his wife Molly (June Havoc) takes over his gang, but a robbery goes wrong. Molly finds herself in jail where she undergoes a personal transformation.

Although there are no direct Christmas references here, themes such as hope, forgiveness and second chances reflect the spirit of Christmas — heartwarming stuff for the holidays.

The 900 Pound Gorilla in the Room: Why Watching “Lady in the Lake” Requires Extensive Mind Over Matter Skills, and Perhaps a Bourbon on the Rocks

Robert Montgomery, "Lady in the Lake" (1946). 

By Paul Parcellin 

I have a confession to make: For as long as I’ve watched film noir (and I don’t care to go into exactly how long that is) I’d never sat down and watched “Lady in the Lake” (1947) until very recently. That’s not really a stunner, I guess. It’s not widely regarded as a top-shelf Raymond Chandler screen adaptation, as are “The Big Sleep” (1946), “Murder, My Sweet” (1944), and dare I say it, “The Long Goodbye” (1973) — I can almost hear the howls of disapproval over the last in that trio.

The reason why I’ve been ignoring “Lady in the Lake” all these years is the strange point of view camera placement that makes this one unique to all other Chandler adaptations, and come to think of it, to just about all other American films made up to that point.

The gimmick, and I don’t mean that as a put down necessarily, is that in each scene the camera sees the action from the point of view of private eye Philip Marlowe (Robert Montgomery). That means that we the audience are drawn into the film, walking in the shoes of Chandler’s immortal private dick, in theory, at least. Consequently, Montgomery, as Marlowe, has little if any screen time in the film except here and there when a mirror catches his reflection. We hear Marlowe’s voice and occasionally a hand will jut out into camera range when he’s reaching for something or putting up his dukes for a fight. Otherwise, he’s pretty much the invisible man.

That was about all I knew of the film except that I’d seen some short clips on YouTube and from them I inferred that Montgomery’s avant garde camera placement is the 900 pound gorilla in the room that we’re not supposed to notice, and as much as I like the animal kingdom the idea did not appeal to me.

But, as I mentioned, the other night I decided to drop my preconceived notions about the film and give it a watch, and overall, I thought it was surprisingly good. The camera stuff is a bit freaky at first. Yasujirō Ozu is about the only other director whose work I’ve seen who lets his actors look directly into the camera when delivering monologues. Although his films make undeniably powerful statements and Ozu is widely regarded as a genius, for me it took a little getting used to. 

On the positive side, “Lady in the Lake” is a tightly constructed drama with a multitude of surprises along the way, the first of which is that the story takes place at Christmastime. Music director David Snell provides a chorus of seasonal carols that at times offer a sardonic counterpoint to the grimmest action on the screen. Opening credits are printed on Christmas cards, to boot. It’s oddly appealing that this may be the most unChristmas-like Christmas film ever made.

Apart from its bone-dry humor, the whole package is quite watchable — gripping, even. I’ve read the novel on which it’s based, of course, but the twist at the end, which I won’t give away, still got to me. 

What makes the film even more remarkable is that Robert Montgomery took on the Herculean task of both starring in and directing it, a voluntary undertaking that should require a note from one’s psychiatrist. Although he doesn’t appear on camera much, which presumably lightens his workload, Montgomery’s endeavor is still an awe inspiring undertaking. When the tire treads come in contact with the asphalt he comes out looking pretty good, indeed.

Now comes the part where I complain, so you can stop reading here if you’ve gotten this far and prefer not to tolerate a wet blanket.

Audrey Totter, with a hairstyle
like the grill of a '59 Buick.

The cast includes Audrey Totter as magazine editor Adrienne Fromsett, who hires Marlowe to find her boss’s wandering wife. Fromsett, who’s as brassy as her hairdo, an explosion of then-fashionable “victory roll” curls, works hard to appear benevolent but her demeanor immediately gets Marlowe’s back up. He senses that she’s a phony and he aims to let her know exactly what he thinks of her. His prickly manner is meant to show both us and Fromsett that he won’t tolerate her brand of mendacity. The trouble is that he comes on a good deal too strong and seems to play the bully. The woman may be putting him on, but she hadn’t exactly bared her fangs at him, either. 

Montgomery’s Marlowe is quite different from those seen in other films. He’s much more abrasive and ill tempered than Bogart in “The Big Sleep” or Dick Powell in “Murder, My Sweet.” Consider Bogart’s first meeting with Lauren Bacall, as Vivian Sternwood, in “The Big Sleep,” where he uses his dry wit to tamp down her snooty, entitled behavior. He refuses to knuckle under, but he gets his message across without getting nasty. The same is true for Dick Powell, who can be cool and charming even when dealing with thugs and murderers.

Montgomery is sturdy and determined, but lacking in the charm that Bogart could exude, despite the fact that underneath it all he’s a tough guy, too. We get the sense that Bogie enjoys parrying with cranks, crackpots and cutthroats alike and only turns mean when he needs to do so. Montgomery’s Marlowe has a chip on his shoulder and is less enjoyable company for it. By the end of the film his personality gets a makeover, but first impressions are lasting ones.

Maybe it was Montgomery’s extra heavy workload of directing and acting that led to some important characters feeling a bit off. A more objective director might have identified and remedied the film’s flaws and dissonant tones. 

The first off-key note, other than Marlowe’s heavy handedness, is Audrey Totter’s performance, which feels self-conscious and out of place with the rest of the cast, especially in the scene of her first meeting with Marlowe. We’re too aware that she’s playing to the camera and her performance of the magazine editor of questionable character would seem more at home on the stage than in a movie. She comes off as a caricature rather than a character, with her every line reading telegraphed across her face. Another director probably would have told her to cool it.

Fortunately, veteran actors Lloyd Nolan as the corrupt Lt. DeGarmot and Tom Tully as Capt. Kane bring us back to reality with subtle, natural acting that puts the film on the right track. Both were veterans of the stage and screen and they knew how to play their gruff lawmen roles with a light touch. Leon Ames as magazine publisher Derace Kingsby also helps anchor the film in place with a subtle but colorful performance.

Then, there’s the story itself, typical of Chandler fiction, this adaptation nearly dips into incomprehensibility in expositional moments as the players tell us about important action that takes place off screen — no matter; if the plot isn’t at least somewhat confusing it isn’t a Chandler story.

Montgomery, Totter

What the film lacks, however, is both the lady and the lake. Unlike the novel, in which Marlowe spends a good deal of time in the Lake Arrowhead region, the camera never ventures out into nature or gets near the water, except in scenes that take place in the oceanside community of “Bay City,” which is really Santa Monica. That’s a shame since it would have been entertaining to see Marlowe out of his element, without pavement under his feet or a cocktail lounge where he could order a soothing gimlet. He’d no doubt wander through the woods and lakeside summer cabins in suit, tie and fedora, searching for clues in the drowning of the cabin caretaker’s wife. Typical of Chandler stories, Marlowe becomes embroiled in what seems like two separate cases, but lo and behold, it turns out they’re related.

The film concludes on a rather too sweet note, with Marlowe uncharacteristically in the throes of romance. Sentiment is never a good look for him, particularly when he’s been a snarling bear of a man throughout the film. It feels like a meet-cute romcom with gunplay, which now that I think of it isn’t a bad idea for a movie, but not quite the way it’s executed here.

Still, I enjoyed “Lady in the Lake” and will watch it again sometime soon despite Montgomery’s failed experiment in camera positioning. I must admit that some shots using mirror reflections of Marlowe’s kisser, as well as some woozy drunken driving scenes that seem to be shot with a jittery hand-held camera are quite effective.

It’s usually encouraging to see a director go out on a limb and try unconventional approaches to movie making, but this is the exception simply because it doesn’t work, at least not for me. I prefer to view the action from the sidelines and not be a participant. 

The bottom line is that had the film been shot in the more standard way it would almost certainly have been better. We’ll never know for sure unless someone gets the notion to remake it. Then we might get to see that theory put to the test.