I’m starting to appreciate the MOVIES! channel’s two nights per week of back-to-back noir showcases, “Noir To Die For” and “Sunday Night Noir”, no longer griping about the loss of TCM’s carefully curated classics hosted by the Film Noir Foundation’s Eddie Muller, or even complaining about the MOVIES! channel’s frequently re-run well-known’s from a mighty short list of noir faves. Instead, I’m learning to enjoy some of the oddball unknowns and rarely viewed films aired there, those not-quite-B-movies that maybe don’t even qualify for cult status.
Example: Hugo Haas’ films, at least two of which (maybe more) are currently in rotation on MOVIES!.
Hass (1901 – 1968) was an Austrian expatriate who’d been acting and directing in Prague theater and films in the 1930’s, but after the Nazi occupation of Czechoslovakia, he fled Europe (his father and brother who remained were killed in Auschwitz in 1944). Haas made it to Hollywood, where he found frequent work as a character actor. After WWII, he directed (and usually starred in) a series of low budget melodramas and crime films, typically focused on the story’s female leads, which almost always were predatory femmes fatales of one sort or another. Cleo Moore (1924 – 1973), one of the 1950’s many ‘blonde bombshells’ looking to ride Marilyn Monroe’s coattails to fame and as much a pinup model as an actor, starred in no less than six of Haas’ films (bleaching her brunette tresses the entire time, at the studio’s insistence).
The first Hass-Moore collaboration I saw on MOVIES! was Columbia’s One Girl’s Confession (1953), written, directed and produced by Hugo Haas…with him in the male lead. But it’s really Cleo Moore’s film all the way, “the kind of girl every man wants…but shouldn’t marry”, as the poster touted. Here she’s a bitter waterfront tavern barmaid nursing a grudge against her boss, the man who swindled her family out of their life’s savings years before. Her chance for revenge comes when she steals twenty-five grand, but is caught, convicted and sent to prison, though the money’s never retrieved. Once paroled, she finds herself in the same job in yet another harbor dive, working for another less than honorable boss, but snagging a handsome hunk along the way. It gets a little confusing here, but she’s double-crossed once more, the new boss gets his mitts on the stolen loot, and now she’s really out for vengeance.
The sets, costumes, editing, everythingare pure bargain basement, but it moves along at a steady clip, perfect for a drive-in, a double feature, or in my case, something to chase away the blues after viewing the cable news shows.
More about some of these not-quite-B and not-quite-noir films (and Cleo Moore too) to follow soon…