Tag Archives: Gene Tierney

Laura (1944, Otto Preminger)

Laura is a film with multiple twists and a brilliant screenplay by Jay Dratler, Samuel Hoffenstein and Elizabeth Reinhardt but none of it would work without Preminger’s direction of his cast. Preminger’s direction, in terms of composition, is fantastic. Thanks in no small part to cinematographer Joseph LaShelle, every moment of Laura looks wonderful. Preminger has a fabulous way of positioning his actors, particularly Dana Andrews in the first half of the film, to enhance the performance. It’s not quite a trick, though it is separate from the other way Preminger directs the cast.

The film is able to get through its twists and turns, which–with a major exception–are entirely about the characters, not just because of how the actors succeed in those scenes but because of how they, and Preminger, have established their characters throughout. It’s also where the script comes in–for example, Laura works because Andrews and Clifton Webb bond. With the beautifully cut flashback sequence introducing the viewer (and Andrews) to Gene Tierney’s eponymous character, through Webb’s perspective–Louis R. Loeffler is the editor; don’t want to forget him–Preminger is able to sublimely arrange the characters for later revelations. Webb and Andrews play wonderfully off one another. Webb’s erudite snob and Andrews’s mildly laconic police detective are great together. The script goes for gimmicky dialogue; Preminger and the actors sell it thanks to a self-awareness.

Because, even though it’s a mystery, Laura needs a certain amount of melodramatic flair to succeed. David Raksin’s lush, emotional score, along with rainswept New York streets–not to mention the wonderful sets–Laura is far from realistic. Preminger never lets it go too far though. The film runs less than ninety minutes, with it changing tone fifty minutes in; that second half, very different from the first, still occupies the same spaces. The film’s exquisitely constructed.

The film’s major twist is incredibly melodramatic in its plot implications. All that careful construction is what makes it work so well.

And, like I said, that careful construction has to do with the actors as well. Like when Tierney and Andrews get together, their chemistry is perfect. Scene after scene, even as their relationship develops, the chemistry is precise. It’s a little more obvious–as Andrews moons over her–but it’s the same careful way Preminger established Andrews and Webb’s relationship.

All the acting in the film is excellent. Webb’s the best, just because. Andrews and Tierney are both great. Andrews gets to have more fun at the beginning of the film, but it’s only fair because co-star Vincent Price doesn’t get to have much fun until near the end of the film. Price’s good, Judith Anderson’s good. No one else got billed, but Dorothy Adams deserved it as Tierney’s maid.

Laura’s a phenomenal film.

4/4★★★★

CREDITS

Produced and directed by Otto Preminger; screenplay by Jay Drawler, Samuel Hoffenstein and Elizabeth Reinhardt, based on the novel by Vera Caspary; director of photography, Joseph LaShelle; edited by Louis R. Loeffler; music by David Raksin; released by 20th Century Fox.

Starring Dana Andrews (Det. Lt. Mark McPherson), Clifton Webb (Waldo Lydecker), Gene Tierney (Laura Hunt), Vincent Price (Shelby Carpenter), Judith Anderson (Ann Treadwell) and Dorothy Adams (Bessie).


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THIS POST IS PART OF THE GENE TIERNEY 95TH BIRTHDAY BLOGATHON HOSTED BY SIMOA OF THE ELLIE BADGE.


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The Secret of Convict Lake (1951, Michael Gordon)

The Secret of Convict Lake is a depressing affair. I knew it was Glenn Ford and Gene Tierney, but Ethel Barrymore’s in it too. So you have these three fantastic actors—Ford and Tierney even muster enough chemistry to accomplish their ludicrous romance—and an otherwise lousy Western.

The film opens and closes with some useless narration, which probably should have given away the narrative problems, but it also has these great snow sequences. Unfortunately, those sequences are about as open as the film gets. The titular lake is never seen on screen and most of the film plays out in stagy scenes. Oscar Saul’s script is weak, but not so weak a good director couldn’t have done something with it. Gordon’s composition is, generously, inept. Some of the problems might have to do with the sound stages… but, really, he’s not much of a director. When the film opens up slightly at the end and goes on location, the composition gets even worse. Leo Tover’s photography might play some fault too. Sol Kaplan’s score certainly does; it’s awful.

Then there’s the supporting cast. Zachary Scott is half-okay, mostly terrible as the lead villain. Cyril Cusack, Richard Hylton and Jack Lambert are all bad as his sidekicks. Hylton, in particular, is laughably bad (as a psychopath).

Most of the female actors are fine; except Ann Dvorak and her histrionics.

It’s a shame Fox didn’t team Ford, Tierney and Barrymore in a good picture.

Convict Lake’s a long eighty minutes.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Michael Gordon; screenplay by Oscar Saul, based on an adaptation by Victor Trivas and a story by Anna Hunger and Jack Pollexfen; director of photography, Leo Tover; edited by James B. Clark; music by Sol Kaplan; produced by Frank P. Rosenberg; released by 20th Century Fox.

Starring Glenn Ford (Jim Canfield), Gene Tierney (Marcia Stoddard), Ethel Barrymore (Granny), Zachary Scott (Johnny Greer), Ann Dvorak (Rachel Schaeffer), Barbara Bates (Barbara Purcell), Cyril Cusack (Edward ‘Limey’ Cockerell), Richard Hylton (Clyde Maxwell), Helen Westcott (Susan Haggerty), Jeanette Nolan (Harriet Purcell), Ruth Donnelly (Mary Fancher) and Harry Carter (Rudy Schaeffer).


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Sundown (1941, Henry Hathaway)

The majority of Sundown is excellent. Hathaway sort of mixes the Western and British colonial adventure genre with a World War II propaganda piece. New Mexico stands in for Kenya—it’s an interesting war film because there aren’t any Americans. Lead Bruce Cabot is playing a Canadian.

Cabot does well throughout. He handles the colonial scenes well, handing off his command to George Sanders in the first act. Sundown’s peculiar because it takes a self-indulgent pace getting to where it’s going. There’s the tension between Cabot and Sanders, but none of it is necessary to get to the finish. Neither is Joseph Calleia, who has a nice supporting role as an Italian prisoner of war who’d rather cook than fight. Or Harry Carey, who shows up in the second half as the local white hunter.

And Gene Tierney—who gets top-billing—is barely in the film until it’s a third over. It’s an early performance from her and there are ups and downs. Some of it has to do with the role (Sundown’s the one where Gene Tierney plays an Arab), but she’s also not quite ready yet. She does well with Cabot though, selling their attraction right off.

Hathaway’s direction is often fantastic, especially how he shows life on the outpost. The night scenes are problematic, Charles Lang shoots too dark and then the finale’s in a dank cave, which doesn’t film well.

The end brings in the propaganda and lays it on so heavy, Sundown sinks.

1/4

CREDITS

Directed by Henry Hathaway; screenplay by Barré Lyndon, based on an adaptation by Charles G. Booth and based on a story by Lyndon; director of photography, Charles Lang; edited by Dorothy Spencer; music by Miklós Rózsa; produced by Walter Wanger; released by United Artists.

Starring Gene Tierney (Zia), Bruce Cabot (William Crawford), George Sanders (Major A.L. Coombes), Harry Carey (Alan Dewey), Joseph Calleia (Pallini), Reginald Gardiner (Lt. Roddy Turner), Carl Esmond (Jan Kuypens), Marc Lawrence (Abdi Hammud), Gilbert Emery (Ashburton), Jeni Le Gon (Miriami), Emmett Smith (Kipsang) and Dorothy Dandridge (Kipsang’s Bride).


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The Mating Season (1951, Mitchell Leisen)

The Mating Season is an awkward social comedy of errors. I say awkward because to make the plot work, Gene Tierney has to act selfishly every time she’s supposed to be garnering sympathy. Thinking about it now, the film never even resolves her flirtations with the guy out to ruin her husband (and their marriage).

If Tierney’s unsuccessful navigating the film, leading man John Lund doesn’t do much better. His character remains sympathetic throughout (even taking the blame for Tierney’s shortcomings), but Lund can’t bring believability to it. It’s never believable he wouldn’t have punched out his gold digging mother-in-law (Miriam Hopkins, who creates an impressively evil character).

The whole plot of the thing reminds me a little of “Jerry,” the show in a show on “Seinfeld” with the court appointed butler. The writers of Mating Season clearly thought they were on to something, but they can’t pull it off. The plot requires supposedly likable characters to be far too disagreeable far too often.

However, there is a bright spot. Thelma Ritter. Ritter’s wondrous as Lund’s mother (who Tierney, being upper crust, mistakes for a cook). The film’s a disjointed pairing of Ritter’s compelling story and Lund and Tierney’s contrived one.

There are a couple nice supporting performances from Larry Keating and James Lorimer.

Leisen’s direction is uninspired. He seems to understand there’s only so much he can do with the script and relies heavily on a scantily clad Tierney.

It’s definitely worth seeing for Ritter, but it’s a disappointment.

1/4

CREDITS

Directed by Mitchell Leisen; screenplay by Charles Brackett, Walter Reisch and Richard L. Breen, based on a play by Caeser Dunn; director of photography, Charles Lang; edited by Frank Bracht; music by Joseph J. Lilley; produced by Brackett; released by Paramount Pictures.

Starring Gene Tierney (Maggie Carleton), John Lund (Val McNulty), Miriam Hopkins (Fran Carleton), Thelma Ritter (Ellen McNulty), Jan Sterling (Betsy), Larry Keating (George C. Kalinger Sr.), James Lorimer (George C. Kalinger Jr.), Gladys Hurlbut (Mrs. Conger), Cora Witherspoon (Mrs. Williamson) and Malcolm Keen (Mr. Williamson).


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