The Window (1949): The City as a Prison

Filmed on the streets of New York and in deep focus, The Window challenges Jule’s Dassin’s The Naked City (1948) as the first documentary noir…

The Window, an RKO b-noir that was a big box office hit in 1949, features an Oscar-winning performance from child-actor Bobby Driscoll as a kid who has told too many tall stories to be believed when he actually witnesses a murder.  Based on a story by Cornell Woolrich, the movie is a tight thriller of entrapment, where the tenements of working-class New York are a prison few escape. Filmed on the streets and in deep focus, The Window challenges Jule’s Dassin’s The Naked City  (1948) as the first documentary-style noir – it was actually completed two months before The Naked City in January 1948.  Director Ted Tatzlaff and DPs Robert De Grass and William Steiner fashion a cityscape and built spaces that express a deeply oppressive ambience.

The Window (RKO 1949) 73min
Directed by Ted Tetzlaff
Writing credits: Cornell Woolrich (story) and Mel Dinelli (screenplay)
Cast:
Barbara Hale – Mrs. Mary Woodry
Arthur Kennedy – Mr. Ed Woodry
Paul Stewart – Joe Kellerson
Ruth Roman – Mrs. Jean Kellerson
Bobby Driscoll – Tommy Woodry
Original Music by Roy Webb
Cinematography by Robert De Grasse William Steiner


	

Femme Noir: “In her own mad mind she’s in love with you”

From poster for Devil in a Blue Dress (1995)

Strange brew, kill what’s inside of you

She’s a witch of trouble in electric blue
In her own mad mind she’s in love with you, with you
Now what you gonna do?
Strange brew, kill what’s inside of you

She’s some kind of demon messing in the glue
If you don’t watch out it’ll stick to you, to you
What kind of fool are you?
Strange brew, kill what’s inside of you

On a boat in the middle of a raging sea
She would make a scene for it all to be ignored
And wouldn’t you be bored?
Strange brew, kill what’s inside of you

Strange brew, strange brew
Strange brew, strange brew
Strange brew, kill what’s inside of you

Strange Brew – Cream (1967)

 

Film Noir Origins: Angels Over Broadway (1940)

Film Noir Origins: Angels Over Broadway (1940) Directors Ben Hecht & Lee Garmes | DP Lee Garmes | Art Director Lionel Banks…

Angels Over Broadway (1940)  Directors Ben Hecht & Lee Garmes  | DP Lee Garmes  |  Art Director Lionel Banks

 

Film Noir Origins: Métropolitain (France 1939)

Film Noir Origins: Métropolitain (France 1939) Director Maurice Cam | DP’s Nicolas Hayer, Pierre Méré, and Marcel Villet… …

Métropolitain (France 1939)  Director Maurice Cam  | DP’s Nicolas Hayer, Pierre Méré, and Marcel Villet

 

Film Noir Origins: Private Detective 62 (1933)

Film Noir Origins: Private Detective 62 (Warner Bros. 1933) Director Michael Curtiz | DP Tony Gaudio | Art Director Jack Okey…

Private Detective 62 (Warner Bros. 1933)  Director Michael Curtiz  |  DP Tony Gaudio  |  Art Director Jack Okey

 

Film Noir Origins: Paid (1930)

Film Noir Origins: Paid (1930) – Director Sam Wood | DP Charles Rosher | Art Director Cedric Gibbons….

Paid (1930) Director Sam Wood  |  DP Charles Rosher  |  Art Director Cedric Gibbons

 

New Books on Noir: From Screwball to Dragnet

TV Noir: The Twentieth Century by Ray Starman and Screwball Comedy and Film Noir: An Analysis of Their Imagery and Character Kinship by Thomas C. Renzi…

A couple or recent publications have come to my attention.

TV Noir: The Twentieth Century by Ray Starman

Starman covers 50 prime-time television series over 50 years from Treasury Men (1950-55) to the X-Files (1993-99).  For those like me who grew up watching b&w TV in the 50s and 60s there is a wealth of noir analysis and a big dose of nostalgia, with chapters on shows like Dragnet, The Naked City, The Untouchables, Peter Gunn, 87th Precint (a personal favorite), The Fugitive, and Streets of San Francisco.  Available from Amazon.

Screwball Comedy and Film Noir: An Analysis of Their Imagery and Character Kinship  by Thomas C. Renzi

A comparative analysis of Screwball Comedy and Film Noir. Despite their contrast in tone and theme, Renzi sees Screwball and Noir as having many common narrative elements in common, and discusses their historical development and related conventions, offering detailed analyses of a number of films, among them The Lady Eve and His Girl Friday on the Screwball side, and Gilda and Sunset Blvd. on the Noir side.  Available from Amazon.

 

Cinematic Cities: Manhattan Melodrama (1934)

Swedish Poster Manhattan Melodrama (1934)

 

Cinematic Cities: Skyscraper Souls (1932)

A Cinematic City: Skyscraper Souls (MGM 1932) directed by Edgar Swlwynand art direction by Cedric Gibbons …………………………………………………………………………………………………….. ……

Skyscraper Souls (MGM 1932): Directed by Edgar Selwyn  |  Art Direction by Cedric Gibbons

 

Directors on the Edge: Outliers in Hollywood – James Ursini’s new book

Noted film noir authority and writer James Ursini has just published a new book, Directors on the Edge: Outliers in Hollywood, analysing the work of five émigré b-noir directors…

Now Available on Amazon

Noted film noir authority and writer James Ursini (The Film Noir Reader series, L.A. Noir, and many DVD commentaries) has just published a new book, Directors on the Edge: Outliers in Hollywood, analysing  the work of émigré b-noir directors Hugo Haas, Reginald LeBorg, Ida Lupino, Gerd Oswald, and Edgar G. Ulmer.  Ursini argues that as ‘outriders’ working outside the Hollywood mainstream these auteurs were the best observers of their adopted culture – of the zeitgeist of their times – and purveyors of an alternative cinema, ‘transgressive’ films critical of the mainstream.  Ursini says that hopefully the book will lead to a greater appreciation of these directors “who used limited budgets to create thoughtful and critical films within a system that encouraged conformity and repetition”, and who were forerunners to the American independent film movement.

Edgar G. Ulmer's Detour (1949)

Edgar G. Ulmer is the best known of the group for his cult b-noir Detour (1945).   To my mind his best movie was the Black Cat (1934) – an erotic expressionist masterpiece.  Ida Lupino has a reputation as the only female noir director of the classic film noir cycle, with The Hitch-Hiker (1953), considered her best picture.  Gerd Oswald is best known for the late-cycle A Kiss Before Dying (1956), and TV productions in the 50s and 60s.  Reginald LeBorg had a long journeyman career in movies and television from the 30s to the 70s.  It will certainly be fascinating to see how Ursini weaves these film-makers into his thesis!

The book is available from Amazon for US$8.95.