The Nighttime Is The Right Time-With Fritz Lang’s Film Adaptation Of Clifford Odets’ “Clash By Night” In Mind

The Nighttime Is The Right Time-With Fritz Lang’s Film Adaptation Of Clifford Odets’ “Clash By Night” In Mind  

By Film Critic Emeritus Sam Lowell

No, I am not here to look over somebody’s, some other reviewer’s shoulder now that Greg Green, the moderator on this site has let the cat out of the bag and told one and all that with my review of 1956’s Giant I was, as he put it, putting myself to pasture. Although I would not have put it that way a few more or less serious medical problems have required me to back off a little on reviewing films, a task I have done now for over forty years-and will continue periodically to do.  (I should add beyond the medical problems, or rather in conjunction with those medical problems my long-time companion Laura Perkins who graces this publication with her occasional reviews had raised holy hell if I don’t slow down and back off-you know that is definitive then.)

Today though I am here to comment on a review of Clash By Night by one of the in-coming reviewers, Sandy Salmon, whom I have known for at least thirty year and have respected for his work at the American Film Gazette almost as long. That is saying something in this cutthroat film critic business where it seems the only real hearing you get is if you plummet some other reviewer’s take, which after all is just a subjective take, and draw blood. As fitting commentary to that respect is that I have freely “stolen” plenty of stuff from his pithy reviews over years (another “trick of the trade” when you don’t have anything bright to say or were hung-over or otherwise indisposed). So enough said about that.  

After reading Sandy’s review I also realized that I was not familiar with the film under review although as the regular readers know I live for film noir, or variations of it which I think is closer to the nut in Clash. So naturally I called him up to ask to borrow his copy of the DVD which he sent me a few days later and which I viewed a couple of days after that. No question as Sandy pointed out Clash is a little hidden gem of a film with the standout cast of Barbara Stanwyck, Paul Douglas, Robert Ryan, and a pre-iconic Marilyn Monroe. With top notch direction by Fritz Lang, the exiled German filmmaker who first drew my attention with his magnificent Metropolis. Lang knew to the marrow of his bones how to set a mood in black and white from the beginning of a film to the end here with a close up look at the shoreline of Monterey setting us up for the clashing waves to come-human clashing waves and with a screenplay by my old friend Artie Hayes from the hot pen of playwright Clifford Odets who before he turned 1950s red scare fink, snitch, sell-out did some very good work (interesting that most of the finks and slinkers like Elia Kazan, Langston Hughes, Josh White and a million others never did produce that much good work after they  went down on their knees to McCarthy or the HUAC and guys like Dalton Trumbo, Dashiell Hammett and Howard Fast who carried their toothbrushes ready to face the stinking bastinado with them into the House Un-American Activities Committee’s witch-hunt tribunals lived to do some good work after the red scare blew away like dust.   

No question this film had a good pedigree, had the stuff that kept things moving along in the funny little human drama being played out among ordinary folk with ordinary dreams which got smashed up against  the real world. Sandy made some good points as he summarized the ploy-line for the reader.  I have no quarrel with that but what I want to do is highlight some things that Sandy, the soul of discretion, kind of fluffed. (Remember every good film critic, maybe the whole freaking journalism profession such as it is, depends on some bloody spilling, giving that praise with one hand AND bombshells with the other already mentioned in this damn cutthroat profession-the lord (or lady) giveth and taketh away.) My take on what was going on with all that high-end dialogue that Artie produced to throw in the main character’s mouths. 

For openers let’s call things by their right name, this Mae Doyle, the role played by Barbara Stanwyck, was nothing but a tramp, a drifter and nighty-taker, nightery of any handy warm bed if it came to that. Sure Mae had some femme fatale qualities, Sandy was right to make a comparison with Phyllis, the wanton femme and man trap who put Walter Neff through the wringer in Double Indemnity also played by Ms. Stanwyck, but she was strictly from the wrong side of the tracks. That Phyllis had a certain style-a fatal style like all the beautiful femmes have as well as some handy pocketbook gun and a handy back-up guy waiting in the wings to bail her out when jam time came. Mae, and here Sandy and I will not disagree or if we do he is wrong since he is young at the film nori wars, was bound to let some guy who just wanted a good-looking woman to fill his house with kids take the gaff.  Mae had come home to working class Monterrey after having been out in the big wide world and gotten her younger years dreams crushed. She was now world weary and wary looking for a safe port. Call me politically incorrect or culturally insensitive but once a tramp always a tramp.

Here’s the play- Mae returns to her small family home where her brother, a commercial fisherman, remember old-time Monterey was the sardine capital of the world, Cannery Row now a shopping mall on the bay, made famous by John Steinbeck, is enthralled by Peggy, played by Marilyn Monroe, who is a lot more forgiving about the fate of a lost sister than her brother who nevertheless lets her stay. While keeping a low profile as something of a home body her brother’s boat captain, Jerry, played by gruff and throaty Paul Douglas, a regular sea dog working stiff comes a-courting. After a while, succumbing to a strong desire to have somebody take care of her, to be settled she accepts Jerry’s offer of marriage. Even in accepting Jerry’s proposal though she warned him that she was spoiled goods.           

Things go along for a while with Jerry and Mae, about a year, during which they have a child, a baby girl, but Mae begins to get the wanderlust, begins to get antsy around the very ordinary and plebian Jerry. Enter Earl, or rather re-enter Earl, Jerry’s friend, who had been interested in Mae from day one when Jerry introduced them. He, in the meantime, was now divorced and takes dead aim at Mae. And she takes the bait, falls hard for the fast-talking cynical Earl. They plan for Mae to fly the coop with the baby and a new life. Not so fast though once they confront Jerry with their affair, with his being cuckolded. This is where the dialogue gets right down to basics. Mae gives Jerry what’s what about her and Earl, about her needs. Jerry, blinders off, builds up a head of steam and in another scene almost kills Earl before he realized what he was doing.

This is the “pivot.” Jerry takes the baby on his boat. Mae suddenly realizes that the baby means more to her than Earl who as it turned out didn’t give a rat’s ass about the child. Having been once bitten though when Mae goes to Jerry to seek reconciliation he is lukewarm but as she turns to leave he relents. Maybe they can work things out, or at least that is the look on Mae’s face when she is brought back into the fold at the end of the film.  You really have to see this film to get a sense of the raw emotions on display, and on the contrary feelings each character has about his or her place in the sun. Nicely done Fritz and crew, nicely done.        

Mae knew it, knew it all the time she was leading poor sap Jerry, the role played by Paul Douglas. She took a supposed tough guy, a guy who had been hardened by the sea and twisted him around in and out in two second flat once she got her hooks into him. Earl knew that, Earl played by Robert Ryan, knew from minute one that whatever play Jerry was making for Mae he, Earl, was going to go down and dirty under the silky sheets with her before he was done-wedding ring or no wedding ring. And guess what as you already know she, when she got bored with the frankly boring Jerry and his fucking fish smells, his goddam sardine aura, she was ready to blow town with the hunky Earl. Didn’t think twice about it even with a little child in the way. Yeah, Jerry was made for the role of cuckold, maybe deserved it for having, what did Sandy call him, oh yeah, the blinders on way before he found some silky negligees and come hither perfumes hidden in her bureau drawer (courtesy of Earl or who knows who when she was “going to the movies” every night).       

Then he man’s up, man’s up when it is too late as they, Mae and Earl are ready to take a hike with that little baby in tow. Then Mae got cold feet, supposedly was mother-hungry for the child and was ready to do penance for her indiscretions. Earl had it right though, had Mae pegged as a tramp, as someone looking for the next adventure. That is what makes the end of the film run false as she practically begs Jerry to take her back now that she had seen the light. Jesus what a sap. Earl said it best. If she didn’t go away with him then it would only be a matter of time before she got bored again and took a walk, maybe came running back to him, him and the wild side of life. I bet six, two and even and will take on all-comers that she blows town before the next year is out. You heard it here first- a tramp is always a tramp-end of discussion. Nice first review here Sandy even if you didn’t get it all right, babbled the ball in a couple of places, good luck.      

Dancing Cheek To Cheek, Oops-Ginger Rogers And Fred Astaire’s “Roberta” (1935)-A Film Review

Dancing Cheek To Cheek, Oops-Ginger Rogers And Fred Astaire’s “Roberta” (1935)-A Film Review 

[Sam Lowell, the now retired free-lance journalist who worked with a number of reviewers here has already given his take on being a kid with two left feet in a companion piece to this review. (Actually, in his usual over the top way he only used this review as a foil to express his boyhood frustrations at not being able to dance. I know my man well having worked with him to old days when we were both stringers at American Film Gazette before he moved on and I worked my way up the food chain there before coming over to this publication to finish out my career and once again reunite with the old curmudgeon.) Naturally an over-the-top guy has to try and out shine whoever is doing the companion piece. Unfortunately I don’t have a story at hand to compete with Sam’s high school flame experience meshing with a girl with two left feet whom he did not trip over while dancing the famous, maybe infamous, last chance last dance of the school or church event.

Sam didn’t get a chance to trip over those feet because she tripped over his (to his apparent delight the way he related the story) and full of apologies tried to placate him by accepting his offer to head to the shore and watch the “submarine races.” That is what the teens called it in his locale we just called it fogging up the window shield if in a car and “necking” if not but it was the same heated hormones adventure in either locale. For one of the few times in his life, certainly he never told the truth about any fellow film reviewer during his career in this dog eat dog business, Sam confessed to the girl in question that he did know how to dance either thereafter suggesting that they form a Two-Left Feet Club. He went to heaven when she replied -with only two members. How are you going to compete with a story like that. No way. Truth: I never got a chance to display my own two left feet for except in the acknowledged privacy of my lonely midnight hour room I never went to dances in high school. So I will just have to present this review and take a backseat on this stuff. S.S]

 

DVD Review

By Sandy Salmon

Roberta, Ginger Rogers, Fred Astaire, Irene Dunne, music by Jerome Kern, 1935

I can’t dance, can’t dance a lick. Like a lot of guys, maybe gals too but I will just concentrate on guys here, I have two left feet. Nevertheless I have always been intrigued by people who can dance and do it well. Have been fascinated by the likes of James Brown and Michael Jackson growing up. As a kid though I, unlike most of the guys around my way, was weaned on the musicals, the song and dance routines where the couples kicked out the jams. Top of the list in those efforts were the dance team of Fred Astaire and Ginger Rogers whose dancing mesmerized a two left feet kid just at a time when I was coming of age, coming of school dance and checking out girls age and once in a while in the privacy of my lonely room I would try to work out a couple of steps sent on the big screen. No success. Although I had never viewed the Rogers-Astaire film under review back then I got a distinct rush of déjà vu watching this film, Roberta.          

Déjà vu is right since although I had not viewed the film on one of those dark Saturday afternoon matinee double-features when they were running a retrospective at the local theater I already knew what was going to happen. I had seen say Top Hat then and if the truth be known the formula did not vary that much in the whole series of song and dance films Astaire and Rogers did together. It was not about story line although it probably helped the director to have a working script so he could figure out where to have somebody burst out in song, or trip over a table and begin an extended dance routine. That said the “cover” story here is Fred leading a band of upstart Americans into gay Paree (gay in the old-fashioned sense of being happy, thrilled) expecting to have a gig which went south on them. Fred meets Ginger working as Polish countess who is into high fashion which I expect everyone knows old Paris is famous for. That’s allows those bursts into song and dance to go forth without too much interference from the story-line. In short do as I did as a kid and now too just watch Ginger and Fred go through their paces. That’s worth the price of admission.  That and tunes like Smoke Gets In Your Eyes via the magical and under-rated composer Jerome Kern         

Grease Monkey’s Sonata-Mickey Rooney’s “Quicksand” (1950)-A Film Review

Grease Monkey’s Sonata-Mickey Rooney’s “Quicksand” (1950)-A Film Review

DVD Review 

By Film Critic Emeritus Sam Lowell

[This is a DVD that I found of all places in a “for sale” bin of discontinued material at the Cambridge Public Library several weeks ago. This while my transition to emeritus and the ending of the grind of film reviewing under deadlines and Sandy Salmon my replacement on the day to day work was in progress. I had offered the film for Sandy to review knowing (and hoping) from long friendship and competition (mostly friendly as among most film reviewers outside of New York City) that he didn’t give what we called in the old neighborhood where I grew up a “rat’s ass” about reviewing a 1950s film noir. So here I am again in the saddle for a minute.) 

Quicksand, starring Mickey Rooney, Jeanne Cagney, Peter Lorre, Barbara Bates, directed by Irving Pichel yet another Hollywood figure blacklisted in the red scare Cold War night when the powers- to-be in Tinsel-town and their cowardly hangers-on took a dive on funny little things like constitutional rights-and peoples’ livelihoods, 1950  

Forgot the film noir aspect of the film under review, Mickey Rooney’s Quicksand, although only now is this minor classic noir and probably Mickey’s best performance against type (he spent his early career as the “ah, shucks” cinematic version of Andy Hardy of that classic series of young adult books) being recognized as such. This plotline is strictly from Sister Cecelia’s, maybe Sister Mary Rose’s, or maybe Sister Delores’, hell, maybe all of them, lessons from Sunday school at old Saint Stephen’s Roman Catholic Church in mu old home town. The lesson: once you go down the slippery slope of sin (and probably crime as here was the same thing in their imaginations) then there is a serious rollover effect, serious consequences. Yeah, and obviously Mickey’s character Danny, the lowly grease monkey, you know, auto mechanic either didn’t pay attention or was absent those Sundays when whoever was running the Sunday school operation where he worshipped was holding forth about that very prospect. No question, he uncorked every possible evil as he went down the road to perdition.        

Funny from a first look at Danny he didn’t look like a guy who would wind up doing from one to ten in some California penal colony once the dust settled. But then you didn’t know then what steered him down the garden path. Of course then we didn’t know that he would run smack daub into a low rent femme fatale, Vera, played by Jeanne Cagney, who was serving them off the arm at a hash house where the local grease monkeys filled their lunch buckets and he made the fatal mistake of dating her up (a mistake as well since she was too tall for him, maybe too blond as well). Once you know all he was doing was trying to move might and main to get her down among the downy billows then all his fevered actions made a kind of off-hand sense as every guy, including this reviewer, has had first-hand experience with if he goes for the femmes. (Frankly this Vera didn’t have the look of steam-infested career waitress, looked more like a bar girl or a roper on a scam but you never know what has a gal serving them off the arm).

Okay here is what the slippery slope looked like if you follow along (and suspense disbelief as well). It seemed after making that hot date for that very night Danny was cash-shy, needed some dough to carry some weight with Vera. Everybody was tapped out so, and remember, this is where he falls down, gets ready to take the big step-off if he doesn’t catch a break, he grabbed a measly twenty buck from the skinflint larcenous auto boss’s till. Just an overnight loan. No problem because some guy who owned him more than twenty would cover him the next day and that hot date would be worth it he could tell. Problem: the boss’s accountant showed up early the next day for some other reason so he would need to cover the twenty bucks fast. He can’t get the dough to cover so naturally he gets the fever-driven bright idea that if he goes and buys an expensive watch on credit for a hundred bucks (remember this is before cash-back credit cards could have saved his butt even they were charging usurious rates) and then hocked it for thirty bucks.

That idea worked well enough for Danny in the short term, got him a reprieve from the boss’s accountant although just barely and with a very jaundiced eye but then the next hurdle showed up at the garage-the dreaded “repo” man. Seems that in California in those days you didn’t actually own, couldn’t own, an item on credit until it was fully paid for, now too if I am not mistaken. The repo man gave him twenty four hours to ante up the C-note or he was going to stir for grand larceny. What to do, desperately what to do since a hundred bucks was way out of his league on such short notice. Simple, our Danny boy bops a drunk carrying plenty of dough on the head in darkened parking lot (let’s call that one assault and battery in the night time and armed robbery, okay and you get an idea that Danny’s wheels have gotten well off the track). He is in the clear now, his miseries are over as he handed the repo man his piece. Of course Danny is just a misbegotten grease monkey and not some kind of career criminal so when he flashes fifty dollar bills Vera’s way she knows he is the guy who bopped the well-known drunk. Worse, the guy she used to work for at the local penny arcade who seemingly still has a thing for her, Nick, a seedy guy no question, played by the lovely Peter Lorre, knows he grabbed the dough. Has the handkerchief he used as a mask doing the robbery. Nick’s price for keeping quiet-a new car from the auto shop. Or else.                

  

There’s more, believe there is more in this Dante-like descend into hell. Danny grabs the car alright and thinks he is back on easy street and can now enjoy his new honey in quiet, maybe get under the sheets with her finally. Nope, that larcenous auto shop boss has his own scam. He accused Danny of stealing the car (he also accused others in the shop of the same crime in order to blackmail them). His price for keeping quiet three thou for a two thousand blue book car. Jesus. That is where the quick-thinking hustling Vera comes in to save his bacon, maybe. Seems that Nick besides running that seaside arcade does some business in cashing checks for guys-a low rent operation that is still with us unfortunately. She knows where Nick keeps the dough and it is not in a bank. So Danny goes and grabs the dough, hey who would have thought, thirty-six hundred. Now he is only easy street and can get back to the serious business of running around with that femme Vera.

Forget it. Vera, who was a drifter from hunger just like Danny, had her big eyes on a mink coat and while Danny was off doing something she bought the coat for the cash she was holding for him. Eighteen hundred bucks, her half of the heist according to her thinking, and not a bad price when you think about in the days when women craved mink and it wasn’t politically incorrect, very politically correct to wear fur. Danny went crazy and finally saw she was little more than a bent whore. But that left Danny short with his boss. He went to the boss with his eighteen hundred-take it or leave it. The boss took it naturally since he was a larcenous character. Except that was a stall-he was holding out for three thou and was calling the coppers when Danny freaked out and strangled him. Murder, one, the big step off at the Q no doubt. Grabbed his gun too on the way out knowing he was nothing but a desperado now, an outlaw. All for a twenty buck deal to go around with a floozy.            

Things looked grim, very grim as he was going on the lam to Mexico, or someplace very far away from California. This is where we get a little sneak redemption. See Danny had thrown over a nice girl, Helen, played by Barbara Bates, who would have been right up his alley if he was Andy Hardy but he had been in throes to that damn femme. The thing was this Helen was still carrying the torch for him, carrying that flame despite knowing that he was in a heck of a lot of trouble. Yeah, true love which he finally realizes he could have held onto for dear life. She would share his fate whatever happened. So people are like that, thankfully, thankfully for Danny. He tries to talk her out of going with hi but no use. As they try to blow town his damn automobile blows a gasket. So he is back in the bright idea business. He, they will, at gunpoint stop a car on the highway and force the driver to take them away to Mexico. So add on hijacking, kidnapping and who knows what else to the total. And who knows what Helen will get for being his sidekick on this part of the descent.

Then Danny, Helen draw a convenient little break. The guy they kidnapped was a non-plussed lawyer who asked for the whole story. Asked as well whether that auto shop boss was really dead which would have been a tough dollar to get around for what started out as a twenty dollar petty larceny case. As it turned out that auto shop boss was not dead but had just been unconscious. Free, free at last. Well not quite. There was too much of a mess to get him off scot free  so he would be doing that one to ten. Guess who will be waiting for him coming out stir? But wouldn’t Danny have been better off having listened to Sister Cecelia, Sister Mary Rose, Sister Delores, hell, maybe all three of them, about the slippery slope of sin. If you are a noir fan and can find this one take a look.