in Classic Film Noir
1947 - 1
(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|
Born to Kill (1947)
Helen Trent (Claire Trevor)
Robert Wise's dark, racy, amoral and noirish crime melodrama was based on James Gunn's novel Deadlier Than the Male, with the themes of divorce, sex, and adultery.
The story opened in Reno with the cold-blooded double-murder of his girlfriend Laury Palmer (Isabel Jewell) and male date (Tony Barrett), committed by jealously enraged, megalomaniacal bad guy Sam Wilde (Lawrence Tierney). He was an irresistible male femme fatale with a killer instinct - an obvious reversal of the typical noir pattern.
The wealthy, worldly and beautiful socialite Helen Brent (Claire Trevor), in Reno for a divorce, discovered the bodies on a kitchen floor but didn't report them to police, because she had plans to travel to San Francisco to marry wealthy fiancee Fred Grover (Phillip Terry).
When Helen and Sam fled town separately, they found themselves on the same train and sexually interested in each other - she was drawn to the cold-blooded murderer, as the film's tagline described their relationship: "The coldest killer a woman ever loved."
Sam married Helen's affluent newspaper heiress foster-sister Georgia Staples (Audrey Long), although he maintained an illicit sexual relationship with Helen - his lustful and passionate "soulmate."
Both repelled and attracted to Sam, Helen hinted to seedy private detective Matthew Arnett (Walter Slezak) trailing Sam that he was a remorseless murderer, while still offering him $15,000 to suppress evidence against Sam.
In one repellent scene, Helen and Sam embraced in a kitchen while gleefully reminiscing about the double-murder.
By film's end, an enraged Sam fatally shot Helen through a door just before he was killed by police gunfire, with her final thought about how her fiancee Fred hadn't saved her from being irresistibly drawn to Sam:
Dead Reckoning (1947)
Coral 'Dusty' Chandler (Lizabeth Scott)
This overly complex film noir about doomed romance, conspiracy and betrayal was told in flashback by returning WWII military paratrooper veteran Capt. Warren 'Rip' Murdock (Humphrey Bogart).
He and his army buddy Sgt. Johnny Drake (William Prince) were to be decorated with the Congressional Medal of Honor and Distinguished Service Cross. Enroute to Washington to receive their war service honors, Drake told Murdock that he was haunted by a blonde in his past, and was advised:
Drake disappeared from the train in Philadelphia when photographers and news-reporters appeared. Later, 'Rip' traced Drake to his sultry southern Gulf City hometown where he learned that Drake had recently been killed in a fiery car accident. Digging through Drake's past, he learned that he had been accused of murder a few years before the end of the war when involved in a love-triangle, and he had fled to join the Army with a fake name (his real name was Johnny Preston).
Drake's blonde ex-lover Mrs. Coral 'Dusty' Chandler (Lizabeth Scott) had a memorable entrance scene. She was found as a cabaret lounge singer ("Cinderella with a husky voice") at the Sanctuary Club owned by gangster Martinelli (Morris Carnovsky). The camera panned up as she prepared to smoke a cigarette - and Rip held out a match to the alluring femme fatale. In voice-over, Rip reflected:
A letter written by Johnny before he died was thought to hold clues to the case. Rip also found himself falling in love with the alluring but treacherous and duplicitous Coral:
She was revealed to be the widow of a wealthy, elderly victim named Stuart Chandler that Drake had killed before he joined the Army. Eventually, Coral claimed that she had committed the murder in self-defense, and was thereafter blackmailed by Martinelli after she gave him the murder weapon. Contrary to her story, Martinelli claimed that he and Coral were married and that he killed Chandler and then framed and killed Johnny so that Coral would inherit her rich husband's wealth.
In the film's ending, Coral killed Martinelli, thinking it was Rip - and as Rip drove her to the police station to turn her in, he told her: "You're going to fry, Dusty...when a guy's pal is killed, he ought to do something about it."
As he was driving, she held a gun on him and fired as he accelerated to 80 mph - leading to a loss of control and a car crash, with her subsequent death from injuries.
Lady in the Lake (1947)
Adrienne Fromsett (Audrey Totter)
Robert Montgomery both directed (his directorial debut film, with an experimental and revolutionary subjective camera technique) and starred in this classic noir, adapted from Raymond Chandler's 1944 novel of the same name.
In 1940s Hollywood, private detective Phillip Marlowe (Robert Montgomery) was on the case of a missing wife. The victim was promiscuous Chrystal (Ellay Mort) who was married to millionaire pulp-crime magazine publisher Derace Kingsby (Leon Ames). Marlowe was hired by Kingsby's tough-girl, manipulative, witchy and kittenish editor-assistant and career woman Adrienne Fromsett (Audrey Totter) - the film's femme fatale.
Supposedly, the wife Chrystal had run off to Mexico two months earlier, according to a telegram, with muscle-bound gigolo boyfriend Chris Lavery (Dick Simmons) - who later turned up dead. The case became even more complicated when another woman's body was found drowned in Little Fawn Lake near Kingsby's summer retreat cabin. The corpse belonged to Muriel Chess (her real name was Mildred Haveland (Jayne Meadows)), the wife of Kingsby's caretaker.
Gold-digging, self-interested Adrienne, who suspected that the caretaker's wife was murdered by Kingsby's wife Chrystal, wanted Marlowe to investigate and either find "murderess" Chrystal dead or alive - so that she could be prosecuted for murder. Adrienne was eager for Kingsby to begin divorce proceedings against Chrystal, or to find Chrystal dead, so that she could marry her boss.
The plot became even more complex when Kingsby fired Adrienne for her scheming ways, and announced that he had no plans for divorce.
Ultimately, in a long concluding dialogue with Marlowe (with the camera entirely on her), Adrienne abandoned her ways to show her affection for the private detective on Christmas Eve: