in Classic Film Noir
(chronological by film title)
Introduction & 1941 | 1944 | 1945 | 1946-1 | 1946-2 | 1947-1 | 1947-2
1948 | 1949 | 1950-1952 | 1953 | 1954-1956 | 1958
|Film Title and Director, Femme Fatale and Description|
Vera (Ann Savage)
Edgar G. Ulmer's gritty, cheaply-made ("Poverty Row"), fatalistic, cultish B-crime film was about the bleak twists of fate ("Yes, fate or some mysterious force can put the finger on you or me for no good reason at all").
The nightmarish flashback story was cynically narrated with almost non-stop voice-over by a world-weary, fatalistic, self-pitying, down-and-out hitchhiker Al Roberts (Tom Neal). He had been haplessly involved in an ambiguous death during his thumbing trek from NY to Los Angeles.
After picking up a vulturous, nasty and despicable hitchhiker Vera (Ann Savage), she revealed her knowledge of his true identity ("You're a cheap crook and you killed him"). She accused Roberts of 'killing' ex-bookie turned businessman Charles Haskell (Edmund MacDonald) who had earlier picked Roberts up, while he was hitchhiking in Arizona enroute to Hollywood. When Haskell suffered a heart attack, Roberts stole his car and adopted his identity.
Roberts commented upon fate and the blackmailing, castrating, exploitative, sadomasochistic and vindictive femme fatale con: "That's life - whatever way you turn, Fate sticks out a foot to trip you up."
Vera's plan was to sell the car and also to claim a substantial inheritance from Haskell's dying father, by having them pretend to be Mr. and Mrs. Haskell.
To make matters worse, Roberts accidentally strangled Vera with a telephone cord through a closed door during a vicious argument when she threatened to call the police. A second disastrous twist of fate for Roberts was signified by the in-and-out of focus shots from his deranged mental state and POV as he wandered the highways like a hobo. He imagined his arrest in a tawdry diner (to appease the Hays Code censors of the time).
Fallen Angel (1945)
Stella (Linda Darnell)
Handsome, smooth-talking, amoral drifter and con man Eric Stanton (Dana Andrews) became entranced in a small California beach town with sexy diner waitress Stella (Linda Darnell) at Pop's Eats, but she ignored the down-and-out guy.
It was revealed that the manipulative and slutty sexpot was stealing money from the diner's till (stuffing bills in her bra).
To assure her favor, black-hearted Stanton seduced rich, blonde church organist June Mills (Alice Faye), the town's pure-hearted spinster, and married her after one date (and then even spent his wedding night with Stella) to get her inheritance.
He wanted to run off with Stella, but found her murdered and became the major suspect in the case investigated by Mark Judd (Charles Bickford) - who was ultimately found to be the killer.
Leave Her to Heaven (1945)
Ellen Berent Harland (Gene Tierney)
This psychological, unsettling melodramatic Technicolored noir highlighted a menacing, father-fixated, unstable, and deranged, darkly alluring femme fatale named Ellen Berent (Gene Tierney).
She vowed to her novelist husband Richard Harland (Cornel Wilde): "I'll never let you go, never, never," stopping at nothing to make the man she loved her exclusive possession.
In one scene, she expressed to him after her father's cremation and the scattering of ashes: "I can't help it. It's only because I love you so. I love you so, I can't bear to share you with anybody."
The most dramatic scene was the drowning murder of her paraplegic brother-in-law Danny (Darryl Hickman) in a lake as she calmly watched from a nearby rowboat. The scene began with her cheerfully assisting Danny in applying suntan lotion before he slipped into the water from the boat. He asked: "Can I swim all the way across today?" When she asked: "Do you think you can make it?", he assured: "Why sure? I made it three-quarters yesterday and I wasn't a bit tired." She followed in the rowboat, and promised he didn't have to worry about his direction: "I'll keep you on your course." She steered him into the middle of the lake and noted: "You're not making very much progress, Danny. Are you alright?" When he became winded and had a kink in his side, he admitted he was getting tired. She told him to "take it easy," but then pushed him further: "You don't want to give up when you've come so far." When he became exhausted and distressed in the water from severe stomach cramps (after eating a large lunch), Ellen passively watched as he called out: "Help me!" He submerged twice and then disappeared under the surface. She pretended to assist him by diving in, but it was obviously too late.
Later, Ellen deliberately fell down a flight of stairs to cause a miscarriage and kill her unborn child. Before the 'accident' occurred, she detestfully looked at her pregnant self in a mirror: "Look at me. I hate the little beast. I wish it would die." She told her half-sister Ruth (Jeanne Crain): "I never wanted it. Richard and I never needed anything else." Ruth replied: "How could you say such wicked things?" to which Ellen admitted: "Sometimes the truth is wicked." Plotting, she changed into a longer blue robe and high-heeled blue slippers, emerged from her bedroom, and stood at the top of the stairs. She realized she could fake a tripping fall by catching her left slipper under the rug - she flung herself forward with a scream.
Finally, she committed suicide with cyanide, implicating Ruth in the death (although she was found innocent) and sending Richard to jail for two years for withholding evidence.
Veda Pierce Forrester (Ann Blyth)
This melodramatic, flashbacked, post-war noir classic was a tale of greed and murder.
Before filling in the backstory, the film opened in a beach house with the shooting murder of Monte Baragon (Zachary Scott) by an unseen assailant, and the contemplation of suicide on a Santa Monica pier by Best Actress-winning Joan Crawford, playing suspected murderess Mildred Pierce-Beragon. Possibly seen as the film's femme fatale, Mildred set up business associate Wally Fay (Jack Carson) to return to the crime scene where her husband had been murdered.
It was later revealed that Mildred had an obsessive mother-daughter love for her venomous femme fatale daughter Veda (Ann Blyth), and had contributed to her daughter's spoiled, ungrateful, unappreciative and slutty behavior for a long time. Veda had been indulgently showered with gifts, nice clothes, and piano lessons, provided by Mildred's sacrificial baking of pies and cakes, although Veda was embarrassed by her mother's occupation: "My mother - a waitress!"
In a second major confrontation on a staircase, Veda slapped Mildred after brutally insulting her mother:
Mildred threatened back: "Get out before I kill you."
Veda's outrageous behavior went much further, as she:
In the end, Veda was revealed to be Monte's killer, after Monte had confronted her inside the beach-house: "You don't really think I could be in love with a rotten little tramp like you, do you?"
As Veda was led away at the police station, she asserted to her mother: "Don't worry about me, Mother. I'll get by."
Scarlet Street (1945)
Katharine "Kitty" March (Joan Bennett)
Fritz Lang's steamy and fatalistic film was one of the moodiest, blackest thrillers ever made.
It told about a meek, middle-aged cashier and unhappily-married, hen-pecked husband and amateur painter named Christopher Cross (Edward G. Robinson). He unwittingly fell into a cruel trap set by cold-hearted, amoral femme fatale gold-digger and Greenwich Village streetwalker Katherine "Kitty" March (Joan Bennett) and her abusive, slick and mercenary boyfriend-pimp Johnny (Dan Duryea).
Cross first met Kitty when she was being beaten up by Johnny on a rainy night, and they got to know each other in a bar for a late-night drink. He was immediately entranced by the clear plastic raincoat-wearing sexy dame.
She led Cross to commit embezzlement, impersonated him in order to sell his paintings, and was deceitful and cruel to him. After he proposed marriage, she told him:
She caused him in a fit of jealous anger to murder her. He stabbed her with an ice-pick through her bed covers.
The film ended with Johnny being accused of the crime, and Cross suffering humiliating disgrace, haunting psychological torment and mental anguish (i.e., Cross attempted suicide by hanging and failed, and in abject homelessness wandered the streets).
The final image was his shuffling by a 5th Avenue gallery passing the portrait he had made of Kitty.