Nora Prentiss

Nora Prentiss - Hnd Colored

Not sure if I’ll be home in time for TCM’s 11:00 PM CST Noir Alley with host, noir maestro Eddie Muller. Tonight it’s Vincent Sherman’s 1947 Warner Brothers film Nora Prentiss, shot by James Howe Wong with a Franz Waxman score, starring one of Hollywood’s hardest working actresses, Ann Sheridan. I’ve never seen the film and would like to, particularly with Muller’s always insightful opening and closing remarks.

You like your film noirs with syndicate bosses, mobsters, dirty cops and gun fights? Who doesn’t? But there’s an equally essential subset of classic film noir and crime melodrama focused on smaller stories that are equally dark and fatalistic, Nora Prentiss among them, considered by some as one of the best “women’s noir”.

Nora Prentiss - MontageKent Smith plays Dr. Richard Talbot, bored with his humdrum life and marriage, who begins an affair with seductive nightclub singer Nora Prentiss, played by Ann Sheridan. He fakes his own death in order to run away with her, relocating from the west coast to New York, where she goes back to work in the clubs. But it can’t go well, and Dr. Talbot grows increasingly paranoid once he leans that his faked death is now a murder investigation. Soon he’s bitter, jealous, combative and drinking too much, finally crashing his car. Disfigured from the accident, unable to identify himself, he’s actually accused of his own murder.

Nora Prentiss still

Though the film sounds like it’s Talbot’s story more than Ann Sheridan’s, it’s really not, at least based on what I’ve read. And Ann Sheridan rarely disappoints, especially when she gets a meaty role where she can play street smart with an undercurrent of vulnerability (though I suspect her husband-stealing songbird might not be particularly vulnerable). Well, in or out, that’s what DVR’s are for. I’m catching this movie one way or another.

Nora Prentiss poster

Tonight: 99 River Street

99 RIver Street

I’ve read better lobby card tag lines: “One did it with sheer stockings…One did it for sheer excitement!” But the more I think about it, it does have a rather perverse ring to it.

99 River Street 4

Diligent hard work all day Saturday earns downtime later Saturday night, as in Eddie Muller’s Noir Alley on TCM at 11:00 PM CST. Tonight: John Payne, Evelyn Keyes and Peggy Castle in 1953’s 99 River Street, directed by low budget noir-ish crime film maestro Phil Karlson, who did three such movies with Payne in the lead. John Payne plays a washed up prize fighter reduced to driving a cab, with a wife who’s none too pleased with cutting coupons in dumpy flat. Which may be why she’s having an affair with a smooth talker, who also happens to be a thief, and who knocks off the the unfaithful wife and then tries to pin the murder on boxer-now-cabbie.

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99 River Street didn’t earn rave reviews when released but its reputation has increased in the years since, thanks in large part to film noir experts like Eddie Muller himself. I was sure I’d seen this movie before, but now I’m thinking I’ve mixed it up with a different film altogether (a few of them do start to look the same after a while), so I’m doubly anxious to shut off the computer a few hours from now and settle in at 11:00 for Muller’s intro and an hour and half of some prime viewing. Thank you once again to TCM and Eddie Muller for Noir Alley!

Noir City

Noir Alley Is Back

Noir Alley 1

Noir Alley returned to TCM in March, last night showing John Huston’s 1940 classic High Sierra with Humphrey Bogart and Ida Lupino. Turner Classic Movies’ Saturday night feature was on hiatus in February and sorely missed ‘round here. If behaving, and at home working on a Saturday evening, it’s right around 11:00 PM when even I’ve had enough and need a break, and what a perfect break Noir Alley is.

Noir Alley 2

A spinoff of TCM’s 2015 ‘Summer Of Darkness’ film noir series, Noir Alley is hosted by novelist and non-fiction author, Noir City Film Noir Festival host and Film Noir Foundation founder and president, Eddie Muller, who provides intriguing and fact-filled introductions to each film. The series shows its share of the classics you’d expect, of course, but also some lesser-known films that aren’t always at the top of everyone’s list. Next week it’ll be Lady In The Lake and later in April there’ll be John Payne and Evelyn Keyes in 99 River Street and Ann Sheridan in Woman On The Run among others.

High Sierra Montage

High Sierra was a perfect wind-down to a productive Saturday for me, Ida Lupino one of my absolute favorite classic Hollywood era actresses, and she couldn’t be better than she was here as taxi dancer Marie Garson, hooking up with gangster Roy Earle played by Humphrey Bogart. And what can you say about Bogart? He’s Bogart, after all, and this film was a breakthrough for the actor, leading to The Maltese Flacon, Casablanca and so many other classic roles. High Sierra, based on William R. Burnett’s novel of the same name and co-written by Burnett and director John Huston, isn’t film noir in the sense of shadowy rooms, dark urban alleys and rain soaked tenement lined streets. It’s mostly set in…well, the High Sierras, after all. But it’s noir embodied nonetheless (even though the term wasn’t in use yet) with it’s overwhelming sense of fatalism, foreshadowing, and both Bogart’s and Lupino’s desperate and unfulfilled quest for freedom. Like so many films of the era, there are some cringe-worthy racial stereotypes inserted for some poorly chosen comic relief, and it gets increasingly difficult to process those bits.

Anecdote: Pard, the cute pup that foreshadows doom for all, but especially for hard-as-nails yet soft-as-velvet taxi dancer Marie Garson and world-weary gangster ‘Mad Dog’ Roy Earl, was actually Humphrey Bogart’s own real-life pet dog, Zero.

TCM’s Noir Alley hosted by dark-renaissance man Eddie Muller…guess where I’ll be next Saturday at 11:00.

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