I post reviews (here) of Film Noir movies from Hollywood’s Golden Age of Noir, the 1940s and 1950s. I write as an amateur film noir enthusiast, but not an authority as such.

Maybe, like me, you are looking to enjoy films that are different, or of a different era. Films you may not have seen, ones encompassing cynical detectives, seductive femme fatales, flawed sidekicks all tossed together into intricate plots. (Not forgetting the snappy dialogue too).

Backstory: Film Noir has its roots in German expressionist cinematography and American crime fiction. During the 1930s Hollywood became a perfect storm of film artists fleeing the threat of Nazi Germany, emigrating to America, and specifically to the Film studios of Hollywood. This included great directors such as Fritz Lang, Jaques Tourneur, Michael Curtiz and Robert Siodmak.

This new dramatic visual style combined with American hardboiled crime stories (noir fiction), emerged during the Great Depression and produced many classic noirs. Some of these writers include: Raymond Chandler, James M. Cain, Dashiell Hammett, Patricia Highsmith, Jim Thompson and Mickey Spillane.

I hope to showcase some of these memorable noir movies here for you. And advance apologies for a mixture of British and  US English occasionally.

I have applied the link below, to the Amazon.com DVD of today’s featured film. (As an Amazon Associate I earn from qualifying purchases).  Inspired by hardboiled detective stories and film noir, I have written a, Sterling Private Investigator Series, set in present-day London. I have also posted a link to my books at the bottom of the page.

Today’s film is:

Road House

USA Link: Road House Blu-ray DVD: https://amzn.to/4fQjNwC

UK Link: Blu-ray DVD: https://amzn.to/3W2kLy2

 “She does more without a voice than anyone I ever heard.”

 Film Studio: 20^th Century Fox 1948/B&W

Director: Jean Negulesco

Original Music: Cyril J. Mokridge

Cinematography: Joseph LasShelle

Film Editor: James B. Clark

Written by: Edward Chodorov, Margaret Gruen, Oscar Saul

Produced by: Edward Chodorov

Main Actors: Ida Lupino, Richard Widmark, Cornel Wilde, Celeste Holm

Run time: 95 minutes

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Preview

Inspired by a story called: The Dark Love by Margaret Gruen and Oscar Saul, Ida Lupino decided this would be her next project. She purchased the rights (with an agent, Charles Feldman), for $20,000. Later she sold the rights to 20th Century Fox under the condition she played the lead. Ida Lupino was not only a great actor and director (The Hitch-Hiker), but she was also a shrewd business woman. Interestingly, Ida Lupino was born in Herne Hill, London.

 This 20^th century Fox sleeper of a film sneaks into the film noir category like a prowler rolling under a closing garage door. Part romance, part noir. Full love triangle.

Road House, sadly, did not receive the attention it deserved when first released in 1948. Though in recent years it has gained a well-deserved reputation as a first-rate suspense noir. Read on to see why.

Synopsis

Pete Morgan (Cornel Wilde), first encounters newly hired entertainer Lily Stevens (Ida Lupino), in the manager’s office; sat in his chair, she shuffles a pack of cards, shoes off, with one stockinged leg swathed across his desk. Smoke fills the air.

From this introduction, we already know Lily is the kind of “dame” who is going to ruffle feathers and create sparks. And true enough, things will not be the same at The Road House. Men are soon fighting over her, and women are jealous of her. And she has barely checked in…

Jefty Robbins (Richard Widmark), oversees a mountain retreat which includes a nightclub, a bar; bowling alley all under one roof, up near the Canadian border. The man has superficial charms, and after his maniacal and Oscar-nominated, Kiss of Death performance, it’s not a stretch to suspect early on, that he will be controlling and narcissistic here too.

Jefty’s day-to-day manager (and best buddy), Pete Morgan is introduced to his latest hire: a raspy-voiced contract singer called, Lily Stevens, whom he has hired after a visit to Chicago.

Pete oversees the purse strings and is sore at Jefty for signing a contract over the usual going rate. For the amount offered, we can surmise that the owner, Jefty, has serious designs on Lily. And right enough, this is the case.

Jefty’s attentions are rebuffed however, but that doesn’t stop his charge. At this point, we’re all thinking the same: just don’t upset him.

Sweet gal, Susie Smith (played by Celeste Holm) has had her eye on Pete, but Lily’s perceptive eyes (and heart) soon turn towards the handsome Pete. This is acted upon when Jefty leaves town for a hunting trip returning with a marriage licence to wed Lily.

Jefty’s misplaced trust in his friend and manager, means he has left him alone with Lily (uh-oh). They were either going to kill each other or make love. Jefty’s poor judgement will come back to haunt him, or at least trigger him.

Things begin to build from here… and the film captures these jealousies and romantic overtures sometimes requited and sometimes not. The tension is ratcheted when this secret relationship begins and you will soon be squirming in your seat in discomfort long before the owner’s return.

When Jefty discovers the affair, he doesn’t go full psychotic, (but yes, he’s upset alright…). Unhinged, vengeful and displaying sociopathic behaviour is what (Richard Widmark), was born to do/portray of course. He hatches a plan and well, you can enjoy the finale at the cabin in the woods…

The dialogue crackles like dry pine needles thrown onto a fire. The screenplay is smart and the direction by Jean Negulesco (who went on to direct, Phone Call from a Stranger starring Bette Davis), is first rate with powerful black and white imagery of both the characters and the interiors in this out of the way, slightly aberrant lodge.

Things to like

Sultry singer and world-weary entertainer, Ida Lupino performing at The Road House, drink to hand and a lit cigarette balanced on the edge of the piano (producing a series of scorch marks), as she sings: “One for my Baby (and one more for the road),” in her gravel-tone voice.

The historic bowling alley, when employees or “Pinboys” as they were known, jumped down into the pit to reset the pins and roll the bowling balls back. A different time before automation came along.

Ida Lupino being, sometimes skittish, and sometimes fierce, commanding our attention whenever she is on the screen.

Quotes

From a customer: “She reminds me of a woman who first slapped my face.”

***

Pete: “That’s a nice outfit but you’d better add to it before you go to church.”

***

Sam: Hey Susie! What do you think of this one? She’s something, isn’t she?

Susie: “If you like the sound of gravel.”

***

Lily: “Well, I’m Lil Stevens, the new entertainer from Chicago. Right now I’d like to sleep.”

Pete: “Oh. The new equipment.”

Must see scene

 New contract singer, Lily, steps out from The Road House to check in to her hotel. Manager, Pete offers to take her but instead drives her to the Railway Depot, to basically offload her to, “Where she came in.” Something, we suspect he has done to other Jefty-hired entertainers before…).

This torch-singer, however, is having none of it, and shows off her fierce and feisty side in this memorable scene. Let’s say, she makes it handily clear she’s no pushover and the only ride she will be taking is one on her own terms. And as she says, “I am intent on collecting every nasty cent of the contract.” 

Summary

 If you are a looking for an introduction to a Film Noir this is a great first pick — or just a great pick. Lesser known perhaps, but it has plenty of noir atmosphere as the film progresses. The lodge is a great backdrop and the clattering sound of those falling bowling pins and the smoky ambiance suck you right in.

You’re not so much a fly on the wall but a red-eyed patron in the next 10-pin lane.

The plot has a few flaws but holds up surprisingly well for a film that is over 70-years old. The characters are sharply drawn, believable and in some cases, damaged.  The Road House with its rustic setting, trophy antlers and cheap liquor is like a character all of its own. You can see why people would go there, but I think Lily Stevens may have regretted not taking that early train home.

This ranks highly in Film Noir circles. True, no femme fatale exactly, but Ida Lupino’s performance exudes greatness (and Richard Widmark, a leading noir-man, is in fine form too), making it well worth your time.

USA Link: Film Noirs & Mini Bars (paperback): https://amzn.to/3Brw4bI (eBook): https://amzn.to/3BneGow

UK Link: Film Noirs &Mini Bars (paperback): https://amzn.to/3PhgHpD (eBook): https://amzn.to/3DKY3Ux

****

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