“DANGER, DARKNESS, AND DAMES IN HIGH DEFINTION”

By Raymond Benson

Ding ding ding! Attention all lovers of film noir! The Warner Archive has released an outstanding 4-film Blu-ray collection of some of the best titles in this cinematic movement that ran from (approximately) 1941 to 1958. While author James Ellroy states in the included supplemental documentary, Film Noir: Bringing Darkness to Light, that noir began in “1945,” this is obviously incorrect. It would leave out such classics as one of the titles in the collection (Murder, My Sweet), as well as Double Indemnity and Laura. Film noir is generally accepted by most film scholars as beginning in 1941 with High Sierra and The Maltese Falcon.

Much debate and discussion proliferate among film historians and scholars about what film noir is. Foremost, it is NOT a genre! It is mostly a style, along with thematic elements that define a group of American motion pictures that were made throughout the 1940s and 50s that share these qualities. They are most always crime movies, although there are some instances of other genres—westerns, science fiction, horror—that were made in a style associated with film noir.

Generally, these crime pictures are in black and white, shot in a style akin to German Expressionism (highly contrasting dark and light, with lots of shadows); are usually told from the point of view of the criminals; feature cynical, hard-boiled protagonists; include the presence of a femme fatale (a bad woman who causes the downfall of “good” man); and are shot in urban locations, among them seedy bars, shabby motels and hotels, alleys, and streets. There may be many scenes at night and/or in the rain. Characters smoke and drink as if their lives depend on it. There are betrayals and double-crosses, and a heavy focus on past events (lots of flashbacks). Voiceover narration is a common attribute. Because the plots often deal with taboo subjects (according to the Production Code), the filmmakers had to be clever with the dialogue—thus, the movies contain witty, crisp dialogue with innuendoes and quotable one-liners. A “pure” film noir has no happy ending. There is more, but you get the idea.

The Warner Archive’s new collection combines four titles that are also available separately. In chronological order (according to when they were originally released), these gems are in the package.

Murder, My Sweet (1944) is based on Raymond Chandler’s 1940 novel, Farewell, My Lovely and is the first appearance of the Philip Marlowe character. Here, though, he’s not portrayed by Humphrey Bogart, but is embodied by Dick Powell. This casting was controversial at the time because Powell was known mostly as a singer/dancer in musicals. Powell surprised everyone with his tough, sardonic performance. He’s terrific and certainly gives Bogart a run for his money in the part. The plot is confusing and all over the place, which is typical of most of the films adapted from Chandler, but it’s still entertaining to boot. Claire Trevor is the femme fatale of the piece and delivers a fine, heightened characterization. It’s violent (for the era), tough, and hard-boiled. It’s a worthy example of film noir. The high definition transfer is gorgeous with its natural grain appearance—assuredly a step up from Warner’s original DVD release. There are no supplements on the disk aside from an audio commentary by author and film noir expert Alain Silver. Oddly, there is no mention of Silver’s name on the packaging or the disk menu!

Out of the Past (1947) is easily one of the better film noir entries and is often cited as a favorite among aficionados. Based on the novel Raise My Gallows High by Daniel Mainwaring, the picture features Robert Mitchum as a man who is haunted by his past, of course, and beautiful femme fatale Jane Greer and Kirk Douglas (as the villain!) are instruments of his affliction. Beautifully shot by Nicholas Musaraca, and moodily directed by Jacques Tourneur (Cat People), Past also has a complex plot, but it is much easier to follow than the previous title’s tale. It’s a landmark picture that probably could be dropped in a bucket containing the “five most important films noir.” The high definition transfer is breathtakingly good. Again, there are no supplements except for an audio commentary, this time by author and film noir authority James Ursini. Yet again, the Warner Archive dropped the ball and does not list Ursini’s name on the packaging or on the Blu-ray disk menu.

The Set-Up (1949) is directed by the versatile Robert Wise, who was a master craftsman in every genre. Another milestone in the film noir catalog, the movie is based on a poem by Joseph M. March. It stars Robert Ryan as Stoker, a washed-up boxer who is hoping to win big in one last fight. His wife, played by Audrey Totter, has wanted him to give it up for a long time. However, the boxer’s crooked manager has arranged a “dive” with the mob without Stoker knowing it. Surprising the manager and the mob, Stoker gives the fight his all. To reveal more would be a spoiler. Hard-hitting and cynical as hell, The Set-Up apparently was a big influence on Scorsese’s Raging Bull; in fact, Scorsese himself appears as an audio commentator on the disk along with director Wise! This audio commentary is the only supplement, but at least this time both Scorsese and Wise are listed on the packaging and on the disk menu.

Gun Crazy (1950) is based on a short story by MacKinlay Kantor, who co-wrote the screenplay with none other than master movie scribe Dalton Trumbo, who, because of being blacklisted at the time, was forced to use a pseudonym in the credits. It’s a picture in the film noir sub-genre known as “lovers on the run.” Peggy Cummins and John Dall star as Annie and Bart, gun enthusiasts who begin to commit armed robberies. Their affection for each other drives the movie, and in many ways Gun Crazy could also be called a great romance picture. For a low-budget effort, though, Crazy is also one of the essential films noir—well-written, acted, and directed. The audio commentary here is by author and film noir historian Glenn Erickson. An additional supplement on the disk is the previously mentioned 2006 documentary, Film Noir: Bringing Darkness to Light, which features many talking heads and film clips. It’s quite good. Erickson’s name doesn’t appear on the packaging, but this time his name is on the Blu-ray disk menu.

The Warner Archive has done a slam-bang job on the presentation of these four upgrades to Blu-ray from their original DVD releases. The transfers are fantastic and the movies themselves belong in any cinephile’s collection. Aside from the oversights of leaving off documentation of the first two audio commentators’ names, this is a superb package… and buying the collection is less expensive than buying the four titles in their separate Blu-ray editions. Highly recommended.

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