Mid Century Mysteries, Macabre, and Mayhem
By
Kristin Battestella
From big sci-fi horrors and mental scares to quiet Victorian fair and murder, classic film stars of the fifties and sixties knew how to spot these quality, good, old-fashioned, noir-infused mysteries and thrillers.
The
Hitch-Hiker – Actress turned
director and co-writer Ida Lupino (High
Sierra, Outrage) sets the bar with this ominous, black and white 70 minute
road trip noir from 1953. From the foreboding “this could be you” opening
warning and the faceless what you don’t see start to public paranoia and
international investigations hot in pursuit, William Talman (Perry Mason), Edmond O’Brien (The Barefoot Contessa), and Frank
Lovejoy (House of Wax) keep the
suspense heavy. Everything from getting gas to stopping for groceries becomes
intense here! Ominous scoring, period
music, stylized shadows and light, and Spanish flavors accent the peril while
cool cars, gunplay, and desert locales keep this carjacking dangerous. The
vehicular footage is anxious too thanks to nice interior filming and
claustrophobic camerawork. Speedy roadwork and more close calls keep the viewer
wondering when and how this all comes to a head. Though the end is a little
rushed, the tension is entertaining in getting there. Sure, some may find the
early fifties look dated, but this one feels quite modern actually, with
desperation and intensity to spare.
Man
in the Attic – Jack Palance (Shane, City Slickers, and most
importantly, Ripley’s Believe it or Not)
stars in this black and white 1953 remake based upon the oft-adapted Jack the
Ripper novel The Lodger by Marie
Belloc Lowndes. While the fifties meets Victorian Ripper colloquialisms and
trite accents are tough to start the 82 minutes, period fashions and décor add
to the old world mystery atmosphere. The young and handsome Palance is, of
course, slick as always – he looks slightly fifties in his suave suit, but not
so American as to be unbelievable in the
role. Although we suspect him of Ripper relations just because he’s Jack Palance,
to his credit, his nicely odd, antisocial, awkward, and wound up tenant Slade plays
against our sinister expectations. The criminal pace, police investigations,
and suspicions, however, mount accordingly with a tense score to match. Sadly,
the Can Can and French style musical scenes are too dated, small scale, out of
place, and simply not as interesting as the titular implications, and this
gives the scenes away from Palance a slightly unpolished feeling. Thankfully,
the clarified, easy to follow, step-by-step Ripper plot is well done – good
screams, smart uses of shadows and light, and off screen killings lead into a
pursuit finish for this nice little atmospheric thriller.
The
Phantom Fiend – Then
again, this 1932 hour long talkie with Ivor Novello – star of Alfred Hitchcock’s
1927 silent version, too – is also from same Lowndes source and still worth a
look. The print quality is poor and the fast, tough to hear dialogue can be
confusing, yet it’s neat to see those classic phone operators, newspaper
headlines, tilted hats, furs, and period dressings adding to the crimes. Though
seemingly charming, there is something creepy and suspicion afoot as the body
count rises for a screaming finish. And did I mention there’s a 1944 adaptation
just called The Lodger as well? Whew!
Please
Murder Me – This 1956 black and
white 75-minute noir starring future television crime solvers Angela Lansbury (Murder She Wrote) and Raymond Burr (Perry Mason) mixes guns, affairs, and bribery.
The courtroom doubts and debates up the ante, too, and for love or money motives
accentuate the crimes. Though stylized shadows and dark, up close photography
add to the mood and suspense, the picture is too dark in some spots. The more
telling than showing start is also a little slow, but great one on one scenes with
fun soap opera drama and dialogue keep up the tension in all the right places. Lightning,
hefty scoring, and black cats are tossed in for good measure as the titular
actions hit, too. Some of the deduction and legalese may be too simplistic for today’s
trial savvy audiences, yet other unforeseen twists and the novelty of seeing
the stars in such early performances more than makes up the difference.
The
Psychopath – I caught this 1966
Amicus toy creeper and murder mystery from director Freddie Francis (Evil of Frankenstein) and writer Robert
Bloch (Psycho) late one night on
Turner Classic Movies, and the sinister little dolls at the scenes of the
crimes are very effective. Likewise, Inspector Patrick Wymark (The Plane Makers, The Power Game) is affable
in his deduction – even if the investigation techniques are perhaps
straightforward or obvious compared to the intricate plots tempting today’s
criminology wise viewer. There’s a fine, international feeling to the
intriguing suspects as well. Each has interesting accents, quirky vibes, snotty
airs, suspicions, motives, and secrets. Nutty old lady Margaret Johnston (Portrait of Clare) adds to the macabre
with her creepy doll collection, and the old school Victorian feelings and
décor accent the then-contemporary classy, swanky sixties looks. There’s room
for humor, too, thanks to the sardonic autopsies on the doll victims, and a
hint of skin and sauce balances the suspenseful killings. The eerie sounds,
music, and silence keep the pace steady for the full 83 minutes as the crimes
escalate towards a memorable topper. Sure, there’s a plot hole or two, but
there’s also room for some guesses, twists, and good old-fashioned
mystery.
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