Out In The B-Film Noir Night Where The Slippery Slide Sideways- Richard Basehart And Barry Sullivan’s “Tension” (1949)- A Film Review

Out In The B-Film Noir Night Where The Slippery Slide Sideways- Richard Basehart And Barry Sullivan’s “Tension” (1949)- A Film Review

DVD Review throat

By Sarah Lemoyne

Tension,   

I am feeling sky high today, feeling like I belong to the fraternity today, to the film critic circle (although my mentor the legendary journalist and reviewer Seth Garth has always made me painfully aware that in this cutthroat business you are only as good as your last review while your competitors sharpen their knives getting ready to take that big back stab if you stumble). As a cautionary tale Seth eternally mentions his old friend Sam Lowell, who I have locked horns with under his guidance, as the avatar of what he is talking about. Sam, when the deal went down, cast the deciding vote against retaining his old friend, their old friend, Allan Jackson as site manager on the simple idea that the place needed new blood. And this a guy whom Allan loves, and Sam loves him so Sam says. Point taken.

The reason I believe I belong, can give as good as I get is that in my last review, Robert Mitchum and Jane Russell’s noir-ish His Kind Of Woman, I was able to take a leaf from the film critic’s playbook for use when you have no “hook” to lure the reader in and came up smelling like roses. I went on my own to the old tried and true “boy meets girl” ploy which has saved a million movies and not a few reviewers. Seth was happy to read the review and texted congratulations since he was out of town trying to coax Allan Jackson to come back and do another set of Encore Introductions for a series he edited several years ago and so I was on my own. Even curmudgeon Sam Lowell let up for a minute, put away his saber and acknowledged that for a young gal, his term of endearment, what I did was pretty smart and savvy. Most of all Greg Green the site manager liked what I did and granted my request to do more film noir reviews and here I am reviewing another minor B-noir classic Tension. (I did not expect after only two reviews to get a crack at the major classics like Out Of The Past or L.A. Confidential but I am on my way up the challenging and ruthless food chain-watch your backs.)

During my on-going battles with Sam Lowell, helped as I have gladly expressed on more than one occasion by Seth, I have come to realize that my true calling is to be the 21^st century film noir diva (and other stuff too but that is enough for right now). Part of that realization was that Sam’s definitive The Life and Times of Film Noir:1940-1960 which the older writers bow down to does not stand up under 21^st century conditions. (Seth made me laugh one time when I asked him if he had actually read all 900 plus pages of the Lowell tome and he said with a smirk, his trademark smirk, was I kidding the thing as impossible to finish, a real snorer. Then he let the cat out of the bag and told me he had probably written half of it and he had mulled over the other half with Sam so he felt no compulsion to ever read the thing-to even consul it like half the other film critics did who wanted to crib some stuff with no heavy lifting). There are major flaws in the analysis, again for a modern audience too familiar with real life drama. Moreover, Sam never revised or updated after 1960 so there was, is plenty of room for me to make my nuggets with what is missing for the last half century.          

But now to B-noir-dom circa Sam’s volume time. In a funny way this is a police procedural which I think is the weakest link to the noir genre. The weakest part of Sam’s work as well since I will admit that he knows his noir private detectives but I don’t think he really had any sympathy for coppers, and neither did Seth, and so they both underplay any smart public coppers skills. The overriding premise of noir including obviously police procedurals is that crime does not pay and that the villains will get their just desserts, will face the eternal slammer or the big step-off, Seth and Sam’s term for state-sanctioned executions, even if the good guys don’t always fare that well. Naturally coppers, public coppers, would have you believe that they have solved every big case, every murder, one case with stealth, determination and perseverance. Baloney (courtesy of Seth). Most cases go to the deep cold case storage bin and only resurface as exploitative television series (and then are rarely solved there as well except when the perp in moral quandary and remorse shows up at the police station bleeding from all pores with guilt ready to face her or his maker-bullshit, me).  

This lead cop, Collier, who the hell came pronounce his last name and everybody called him Collier so that is what I will use, since he made lieutenant thought he had everything under control, could sweat the truth out of any situation by some ring around rosy strategy of putting the big squeeze, putting elastic-like tension on the whole operation until somebody cracks. Told us all how he had it wrapped up and delivered no sweat in the cameo intro all braggadocio and assorted bullshit. To prime us, to justify the camera look he took us through the notorious Quimby case, the subject of this noir (notorious since the wrong person went to the gas chamber, a woman, Claire, Quimby’s unfaithful wife, took the big step-off when Collier tricked her weak head playing on her weak knees for men into confessing after some lame ruse which we will get to below). Trouble was that Collier was long gone, had taken to the ashes, better had gone to sleep with the fishes from what I heard when some Claire hometown high school sweetie with more guts than good sense gutted him and dumped him in the briny Pacific near La Jolla to be washed clean by the Japan currents, before the information came out via Quimby’s girlfriend Mary, played by Cyd Charisse who was no mean dancer but did not go through her steps here, about who and who did not do what. The “did not” was that Claire had not killed her lover but was set up by Collier to play the patsy since she seemed the logical choice justified by his well-advertised introduction.   

No question Claire was no lady, was a tramp, was what even young women of my generation call any man’s woman, a woman of easy virtue by Seth’s, always looking for the main chance, always looking for the best next thing as long as it was male and had money, lots of it. But that craven desire is no reason tramps, the hell with it lets call a thing by its real name whores, have to take the fall for some background dangler. The set-up was a beauty I have to admit. Everything worked out according to plan once Quimby, played by nerdish Richard Basehart, figured out how to commit the perfect murder. How to do murder, one and walk away. According to my sources this blonde as sin Claire, played by notorious femme, maybe better wannabe femme, Audrey Totter in the film, was working the docks in San Diego looking for some red hot sailors with plenty of dough from their exertions and no women for a while (we will not even get into the “girlfriend” stuff at sea as the sailors paired up in those seaborne bunks something Sam would not even dare mention when he was a reviewing All Aboard and totally missed the obvious guy who killed the “fairy,” the word used in the film, his shipside lover being of that prissy pre-Stonewall generation that took forever to speak about the “love that dare not speak its name,” speak of sodomy and the like).

Bingo along comes Walter Mitty, oops, sailor boy Quimby, with dough and big plans. She reeled him in, reeled him in good and made the cardinal mistake every tram makes-see what he has besides the bulging wallet (and bulging pants I thought I would put in to show I can be as salacious as the guys when I want to be even though I have my girlfriend Clara keeping me warm in other ways). Didn’t know that he had no jack, had big plans but no dough as they migrated north, married if you can believe that, to L.A. and Collier’s bailiwick. That was like lemmings to the sea for Claire once she got wise as she tried to make every man in town while humble pie Quimby was working like seven dervishes as manager of an all-night drugstore to make his scratch. To give her my grandparents’ post-World War II dream of a nice suburban home on a little space lot with maybe a garden, quiet and maybe kids and dogs galore, galore the kids part.                

Claire balked, balked and once she knew Quimby’s score grabbed every man in town until she hustled Barney with a Malibu address, nice suits and a big ass Buick which my grandfather said in his Nash Rambler world was the ticket to paradise. Took a hike on Walter, no, Warren sorry got mixed up on my too clever Walter Mitty description and never looked back, blew the stinking apartment hovel they lived in with a suitcase in hand and whatever sex toys would keep things interesting. (This is another thing guys like Sam, even Seth for that matter, balked on talking about when they were denigrating tramps, whores, refused to talk about the tools of the trade.) Naturally Warren took it hard, had many sleepless nights wondering how to get his dame back. Made the big, very big ninety-eight pound weakling mistake of cruising to that Malibu hideaway and confronting Claire and Barney out in their turf. All he got for his efforts was sand in his mouth from a Barney punch and a good laugh from kiss-off Claire.

I admit this is where I got a lot more respect for Warren when he responded to that series of insults with an idea-with a perfect plan to murder Barney for making him look like some cheapjack punk in front of his two-timing, at least two, wife. Decided to go the fake identity route that had worked plenty of times before when he researched the matter. Changed his appearance, name, occupation, address to Paul something, does a last name really matter since it was all smoke and mirrors anyway, and was off. What he intended to do was by stealth some dark moonless high tide night when Claire was at the movies or shacking up with her next best thing once Barney wouldn’t give her every fucking thing she wanted was to head to Malibu and do the dirty deed.

Warren went out there but just then things were kind of murky, said he had passed out and wasn’t sure what happened. He was relating this to his new girlfriend, that Mary mentioned before, whom he took up with as part of his cover. Had met her at the apartment complex where he was known as Paul, Paul something. Like I said this Mary was a looker, was nice. What Paul didn’t know, didn’t find out about until later was that behind that angelic smile Mary was running a high-end pornography “club” for rich clients with kinky tastes and the money to indulge them out of the apartment complex. With the landlady’s, Ma Geiger’s, blessing. Mary had taken over for Ma, whose husband Arthur had started the business in Bay City but had been wasted by his boyfriend on the orders of Eddie Mars the gangster who ran the operations, when she got too old to act as a front for the eye-candy hungry clientele.

Enter the police, enter bozo Collier, or first enter Claire who came back home to Warren and his dull night manager of the something out of Edward Hopper Nighthawk lame drugstore since her Barney had been killed, murdered. Now enter the cops who have already put a target on Claire’s back and give her the third degree. Claire “lived” out there nobody else had been seen around, Claire had a gun permit and so they wrapped that baby up no problem. Until Mary looking for her man, looking for missing Paul, yeah, Paul somebody went to the coppers and they really do put two and two together once they get a photograph of him from Mary (not naked, okay remember this was 1940s Hollywood in uptight 1940s Cold War America) and realize, wow, the two guys are one. Immediately Warren was targeted as the fall guy, the patsy.

Collier had put a big bull’s eye on Warren’s photograph although he never gave up hope that he could snag Claire for the crime since she would not give him a tumble even when he had threatened to have her locked up for prostitution. Old Barney had been killed by a gun and he had no gun, had asked Warren if he owned a gun and he said no. Satisfied with that answer he went back to Claire, Claire and her missing gun. Played her like a violin telling her that without a gun he would not be able to nail Warren. That got her thinking, thinking wrongly but thinking that she could get out from under the murder wrap by framing Warren with a big frame. See Claire had had an argument with Barney that night Warren had showed up earlier and had been in a fog, really overwrought nerves from the idea of killing a man. He had threatened her over her weak knees for men-other men and she had shot him, had thought she had shot him, shot him dead, very dead as Seth would say. Collier figured that she was guilty of something and if he ever expected to make captain he had better have a collar on this case. Claire was built for the frame and it fit, fit snugly when he pulled the tense elastic on her feeble brain.

Yeah, Claire took the big step-off for no other reason that her whole freaking rotten but murder-free life led her down that back alley. Collier did make captain although little good it did him when that hometown Claire sweetheart found out the real story. Warren never got over Claire’s execution despite all of Mary’s charms-and the dough rolling in from the “dirty pictures” clubs once Eddie Mars gave her the franchises for Southern California. Warren wound up a homeless junkie over in the Bunker Hill district of L.A. and died a few years after that. Mary on her own deathbed told her confessor, her priest what had happened. The night Warren, Claire and she were in Barney’s Malibu digs she noticed that Warren was too chicken, was too much the ninety-eight pound weakling to crush Barney and he had fled the scene in panic and lightheadedness. Claire had that altercation with Barney and went bang-bang. Claire had fled as well, panicked, dropping the gun. All Mary did was provide the extra bang before Claire regained her wits and went back for the vagrant gun. So sweet and nice Mary walked. When the dust settled the only one still standing beside Mary was public copper I think his name was Conrad something who just chuckled a knowing cop chuckle.