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 the 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: 

The Scarlet Hour

USA link DVD: https://amzn.to/3DX3tfp        Blu-ray DVD: https://amzn.to/4fUpCYZ

UK link DVD: https://amzn.to/4jkADpI        Blu-ray DVD: https://amzn.to/4jeIsNv

 

“There is someone else, isn’t there.”

 

Film Studio: Paramount Pictures 1956/B&W

Director: Michael Curtiz

Original Music: Leith Stevens

Cinematography: Lionel Linden

Film Editor: Everett Douglas

Novel: Frank Tashlin (“The Kiss Off”)

Screenplay: Alford Van Ronkel, Frank Tashlin, John Meredyth Lucas

Produced by: Michael Curtiz

Main Actors: Carol Ohmart, Tom Tryon, Jody Lawrance

Run time: 95 minutes

 

 

 

Preview

The Scarlet Hour is a 1956 film noir crime film directed by Hungarian -American, Michael Curtiz, who directed films from the silent era and many films during Hollywood’s Golden Age. He was invited to Hollywood in 1926 (age 39), by Warner Bros. having directed 64 films in Europe already. He helped Warner Bros. become one of the fastest growing movie studios. Curtiz had previously directed films such as, Casablanca, Yankee Doodle Dandy and White Christmas. He won the Oscar for best director with Casablanca of course.

This film stars Carol Ohmart, Tom Tryon and Jody Lawrance and was distributed by Paramount Pictures. The screenplay is based on the story: The Kiss Off  by Frank Tashlin. One of the film’s notable sequences features Nat King Cole at the nightclub singing, “Never let me go”.

 

Synopsis

 

The Scarlet Hour begins with distinct views overlooking Los Angeles at night. Two lovers have parked up in this way-out destination. The man, E.V Marshall “Marsh” (played by Tom Tryon), casually leans against the car, smoking, while the woman, Pauline “Paulie” Nevins (played by Carol Ohmart), re-applies her lipstick. A few moments later, car headlights illuminate their faces and they nervously duck down in their seats. “Do you think we’ve been followed?” he queries. Immediately, we presume theirs is an illicit affair.

In fact, Marsh works for Paulie’s husband who is a wealthy real-estate businessman: Nevins Development Co. Real Estate. 

A passionate kiss follows but then another car comes along. This rural lover’s lane is getting busy…. Upon hearing car doors close, intrigued, they crouch behind some bushes and are witness to a meeting between the occupants of the cars. One well-spoken man is referred to as “boss” who then goes over a plan of a jewellery robbery, “Rings, bracelets pins and several rather good necklaces. The collection is insured for $350,000,” he tells them. He looks over to a grand house in the distance and says to the two other men, “A ripe plum, ready to pick.”

The man draws a diagram in the dirt showing the layout of the rooms of the house, “1822 Falcon Drive” and the location of the safe. He says the owner’s (Dr. Lynbury and his family), are leaving town and the servants live off-site. The execution of the robbery is planned for: “Saturday, the 25th.”

When the men leave, Marsh suggests they go to the police but Paulie does not want to risk exposure (of their relationship). They head off to a bar and at one point, Marsh asks, “What are you thinking?” She replies: “About $350,000.” We learn that Paulie grew up poor and she won’t go without her husband’s money, hence not wanting to leave him just yet. Or at least without a divorce settlement presumably.

When she gets home, her husband, Ralph Nevins (played by James Gregory) is waiting for her. He confronts her as to where she has been. She lies and says she went to a movie, “Until 2.00 a.m.?” he questions, “I liked it. I saw it again,” she replies. He physically assaults her (shown by their shadows on the garage ceiling). The next day, Paulie goes over to Marsh’s apartment. She tells him of the beating she has received. Marsh, angry, calls Nevin: “I’m going to settle this,” he rails, but Paulie grabs the phone and puts her hand on the receiver… Did Nevin hear his wife’s bracelet jangling? (See quotes below) And that bracelet becomes a clue later. Finally, Marsh tells his boss that he overslept and will be late for the meeting.

When Marsh arrives at the office we can see the secretary, Kathy Stevens (played by Jody Lawrance) fusses over Marsh, straightening his collar and asking if he’s had any breakfast. The secretary makes a show of liking him but her love for him is unrequited. After the meeting has concluded, Nevin tells Marsh that he is going away for a while on a trip (he is suspicious that his wife is having an affair), “to get things straightened out.” He is putting Marsh in charge of the business.  Kathy, upon hearing the news, is ready with coffee and dougnuts, by way of a little celebration but Marsh (having Ralph Nevins wife on his mind), ignores her offering. Kathy Stevens will play a more important role as the story develops.

At a hastily arranged get-together at a car wash, Paulie pleads with Marsh to rob the thieves directly after the heist, so they can run away together. He is resistant but later phones her and tells her, he’ll do it. (See play by play of robbery in must see scene below). As ever, things do not go according to plan, setting up a finale of complexities, deceit and betrayal.

 

 

Things to like

The scene: the sales office at the dusty construction site of new homes. Marsh is assisting a young couple with their choice of plots for their new build. Outside the window, we see Paulie drive up, park to the rear, and head inside. “I’ll be right with you,” he tells her. A moment later, alone, they embrace. She tells him of a plan, using her friends as cover with a planned social get-together (“a farewell party”), at the Crystal Room. She asks Marsh to arrange for her husband to have to work tomorrow night, “Something he can’t delegate.”

Suddenly, her husband has rolled up outside. Panicked, there is only one exit. What to do? “Quick, while he has his back turned,” Marsh suggests. Paulie dives out of the door but her husband, about to close the car door, sees her in the reflected car window. The game is surely up… Marsh watches as she drives at the rear of the building, while Ralph Nevin says to his driver, “There is something I’ve got to take care of…”

A performance of, “Never Let me Go” sung by smooth crooner, Nat King Cole at the Crystal Room.

Paulie lurking around Kathy Steven’s apartment lobby near the main entrance, checking out the mailboxes etc. A Fatal Attraction vibe. She sees Marsh and his secretary enter the communal door a moment later, then stepping back into the shadows, she watches them head upstairs. Her face is revealed as she slowly moves back into the light. Her fears have come true and her jealousy isn’t misplaced after all, and her piercing gaze looks almost murderous.

The seductive and calculating character of Paulie Nevins juxtaposed with the sweet secretary, Kathy Stevens. We can clearly see that Marsh has chosen the wrong woman, and he alone, is unable to see it, that is, until it is too late.

The multi-talented, Elaine Stritch, in her film debut. She had performed on Broadway and television previously. Here, she plays a loyal friend to Paulie. Her scenes display a sense of fun, one time, in Nevins home, spontaneously playing the piano and singing, “When I take my Sugar to Tea”.

 

 

Quotes

Marsh: “What are you thinking?”

Pauline: “About $350,000 dollars.”

***

Ralph Nevins: “I’m not a particularly easy man to cross; they know that when I make up my mind to go after something, I stop at nothing.”

***

Pauline (regarding her bracelet): “My husband read a fairy story once about a mouse who put a bell on a cat. So, it always knew where it was...”

Marsh: “I wish you wouldn’t wear it.”

***

Paulie: “Is the business an alibi, Marsh? Or is it that little wide-eyed secretary I saw you holding hands with….”

***

Ist Detective: “I don’t think anything will help on this one but prayer.”

Lt. Jennings: “Well, it is Sunday. let’s go.”

***

Phyllis: “Paulie. you look like nine million bucks.”

Paulie: “I hope so, at least three hundred and fifty thousand.”

Phyllis: “What?”

***

Marsh (In the car on the way to hijack a robbery): “Nervous?”

Paulie: “I’m scared silly but it’s a funny kind of scared, I think I’m actually kind of enjoying it.”

 

 

Must see scene

*** Spoiler Alert ***

Paulie goes to The Beverly Hills Hotel, Crystal Room nightclub with friends: Phyllis (Elaine Stritch) and Tom Ryker (Billy Gray), then leaves them in the lurch. “There’s someone special I have to say goodbye to,” she lies. She heads outside and is picked up by Marsh. Unseen by both, her husband, Ralph Nevin watches on from his newly rented car; he proceeds to follow. Arriving at the targeted house, the camera pans across its white walls shimmering in the darkness. This is what the film has been leading up to, and we’re reaching full (film noir) atmospheric level: harsh shadows, silhouetted characters and doom-laden music. It’s all here.

Marsh gets out leaving Paulie to wait, while Marsh in turn, lies in wait for the thieves…

We return to Paulie just in time to see her husband yanking the driver side door open, “Hello baby.” Though, he isn’t giving out any sweet platitudes. A one-sided fight ensues. Then we return to Marsh who surprises the two men (with gun in raincoat pocket or likely, not), and demands the briefcase. He orders them into a garage and locks the door. They soon escape, and start shooting at the inky figure of Marsh running off. To add to the chaos, Paulie struggles with her husband and fatally shoots him, his body falling out of the car and slumping to the ground.

Marsh catches up with her, escaping the speeding bullets and jumping in. He briefly sees Ralph lying dead in the road and assumes he has been shot by the chasing thieves. Paulie plays along with his assumption; she may have caught a break. Besides, why start being truthful now. They make their getaway. The thieves arriving on foot, see the dead body and flee too. But not before finding Paulie’s bracelet on the drive, potentially tying her to the hijack.

 

 

Summary

A striking looking film, well scripted and acted. I have a soft spot for The Scarlet Hour because it keeps you entertained and guessing with its many twists and turns. An underrated film in my opinion. I enjoyed the characters, and particularly Carol Ohmart’s performance.

There are some similarities to Double Idemnity... to which few films compare, but as a stand-alone it shines quite nicely. The cheating femme fatale has little morality and is an unsympathetic character but enjoyable, nonetheless. This plays well, in contrast to Marsh who is weak, and also wavering (about the heist), and is soon going back and forth between two women. When Marsh suggests calling the police at the start, Paulie remonstrates: “Don’t be such a Boy Scout!” When he backs down, we know he is fully under her spell. And we wonder what he will be willing to do, and how far he is willing to go. Quite far as it turns out.

 

 

 

 

USA Link: Film Noirs & Doused Cigars (paperback):  https://amzn.to/4hhsNv6   (eBook): https://amzn.to/4hifMRM

UK Link: Film Noirs & Doused Cigars (paperback): https://amzn.to/4gU3hMv  (eBook): https://amzn.to/3DY9p84