Tag Archives: 1946

Top 100 Films #40 – A Matter of Life and Death (1946)


34c6ac_7e6afc2f1f51475a9ab0c130326db5cc#40. A Matter of Life and Death (1946)
Directed by: Michael Powell, Emeric Pressburger
Written by: Michael Powell, Emeric Pressburger
Starring: David Niven, Kim Hunter, Roger Livesey, Kathleen Byron, Richard Attenborough, Marius Goring

European filmmakers Michael Powell and Emeric Pressburger – collectively known as “The Archers” (named after their production company) – are very easily two of the most visually impressive and ambitious directors of the 1940’s. Their catalogue of terrific films include 49th Parallel, The Life and Death of Colonel Blimp, A Canterbury Tale, Black Narcissus, and The Red Shoes among others – all of which are considered to be the strongest films of the era.  Their film A Matter of Life and Death is undoubtedly my favorite of the bunch, as it combines their penchant for striking visuals with a poignant, romantic, spiritual story that likes of which I’ve never seen before.  The films sees Squadron Leader Peter Carter (David Niven) of the British Royal Air Force bail from his burning plane, forced to jump without a parachute.  When Carter hits the ground, he’s shocked to find that by some impossible means he isn’t dead – his guardian angel Conductor 71 (Marius Goring) missed him in the thick fog and is thus unable to successfully escort him to the Other World.  Carter meets a woman named June (Kim Hunter) via the radio moments before his would-be death, and the two shortly meet in person and fall in love.  When Conductor 71 catches up to Peter, he is forced to convince him to accept his death and follow him to the Other World.  Peter is not ready to move on, and decides to fight for his own existence and prove his worth in a celestial court.  As you can probably tell from the description, A Matter of Life and Death (or Stairway to Heaven in America) is incredibly unique in its presentation.  It is perhaps most comparable to the celestial scenes found in Frank Capra’s It’s a Wonderful Life, but is much more dedicated to the spiritual nature of the subject matter than that film.  Powell and Pressburger’s film is delicate and powerful in its handling of such epic subject matter, mixing humorous elements with grand visuals of the afterlife, and a truly profound story.  The film was shot by great cinematographer Jack Cardiff (mentioned previously in my write-up of The African Queen), who opted as usual for beautiful three-strip Technicolor.  This gives A Matter of Life and Death a unique look, as many of the black and white sequences (used for scenes in the Other World) appear to have a heavenly hue about them.  Cardiff’s photography perfectly compliments the film’s incredible and detailed production design, featuring scenes in a lush garden, a burning airplane, a foggy beach, and most famously on a grand, visionary stairway to the Other World.  David Niven is charming and charismatic as Peter Carter, who slowly becomes confused and progressively frustrated as he is seemingly stuck in a state of limbo and forced to fight for his mortal existence.  Kim Hunter’s June is equally charming as a hopelessly romantic young woman who will stop at nothing to help fight for the man she loves, despite it being under truly bizarre circumstances.  A Matter of Life and Death is both bleak and hopeful in its dealings with the afterlife and fate, exploring themes of life, death, faith, and love under difficult circumstances.  It’s beautiful, visionary, well-acted, and incredibly powerful – it’s a must see for fans of classic cinema.

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Top 100 Films #57 – It’s a Wonderful Life (1946)


its_a_wonderful_life_-_h_-_1946#57. It’s a Wonderful Life (1946)
Directed by: Frank Capra
Written by: Frances Goodrich, Albert Hackett, Frank Capra (based on The Greatest Gift by Philip Van Doren Stern)
Starring: James Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, Henry Travers

After re-watching It’s a Wonderful Life at Christmas time this past year, I immediately regretted not placing this film higher – it’s a masterpiece that never fails to bring a tear to my eye.  Frank Capra has a way of putting an undying smile on your face like no others, his films usually feature a  combination of broad humor, wholesome nature, and touching moments that make them infectiously wonderful.  It’s a Wonderful Life is undoubtedly one of his best, and maybe one of the great American movies in general. The film chronicles the life of George Bailey (James Stewart) as he grows up in the town of Bedford Falls.  George has aspirations to go to college and travel the world, but is forced to carry on the family business after his father dies of a stroke.  George never ends up going to college or travelling the world, but marries the love of his life in Mary Hatch (Donna Reed).  After a mounting series of unfortunate events, George’s guardian angel Clarence Odbody (Henry Travers) is sent to earth to prevent his suicide. It’s a Wonderful Life has an affect on me like few others I’ve seen – even writing about it now I’m feeling rather weepy.  It’s just such a perfect example of everything I love in the movies – great performances, fantastic characters, quick witted writing, and wholesome to its core.  Frank Capra and writers Frances Goodrich and Albert Hackett do an admirable job of bringing the town of Bedford Falls to life, and even make the overarching subplot about George’s guardian angel believable and unsentimental. Watching George grow up before our eyes is incredible – we see him fall in love, develop far-reaching aspirations and subsequently abandon them, and act selflessly on countless occasions.  Without the film’s brilliant screenplay, none of this would be nearly as effective as it is.  James Stewart’s performance as George Bailey is very good as usual, playing up his “aw, shucks” nature throughout the film, but also believably (briefly) turning into a suicidal, selfish person who pushes Clarence to come save his life.  Donna Reed’s Mary is equally as good as Stewart, acting as the counterweight to her idealistic, sometimes depressive husband.  She’s charming and sweet throughout, always showing George how much she cares about him and their life together.  It’s a Wonderful Life is an absolute classic for a reason – it’s endlessly charming, infectiously positive, and incredibly well written, structured, and acted.  If it isn’t part of your yearly Christmas regiment, you should work it in.

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Top 100 Films #70 – My Darling Clementine (1946)


MY DARLING CLEMENTINE#70. My Darling Clementine (1946)
Directed by: John Ford
Written by: Samuel G. Engel, Winston Miller, Sam Hellman (story) (based on Wyatt Earp: Frontier Marshal by Stuart N. Lake)
Starring: Henry Fonda, Victor Mature, Linda Darnell, Walter Brennan

During last December’s John Ford marathon here at Sgt. Pepper’s Lonely Hearts Film Club, I saw a handful of incredible films that had somehow alluded me up to that point.  Ford’s 1946 film My Darling Clementine was the first in the marathon that stopped me in my tracks – I instantly knew that I had a new addition to my endless list of favorite films.  My Darling Clementine tells the well-known story of Wyatt Earp (Henry Fonda) becoming marshal of the town of Tombstone, his relationship with dentist Doc Holliday (Victor Mature), their rivalry with the Clanton gang, and the subsequent Gunfight at the O.K. Corral.  Though the story of these events has been told countless times through the years, My Darling Clementine manages to stand out from the crowd of mostly good films.  It’s surprisingly grounded for essentially being a film about one of America’s most famous shootouts, and that’s one of the things that make it such a memorable experience.  Ford adds poetic touches to the film throughout, featuring some small, memorable moments that help us understand Wyatt Earp and his motivations.  These moments are aided by the film’s beautiful cinematography that communicate the hot, dry weather of Tombstone, and some gorgeous use of shadows.  While My Darling Clementine may not be the thrill ride that films like Tombstone are, it features John Ford’s subtle sense of humor and some great pacing to negate the need for constant action.  When things finally do ramp up, they feel that much more satisfying and deserved.  Henry Fonda’s performance as Wyatt Earp is terrific, as he brings a certain sense of levity and passion to the performance.  His chemistry with actors like Victor Mature and Ward Bond also can’t be understated, as it makes his various relationships far more believable and meaningful.  My Darling Clementine is one of John Ford’s many masterful westerns – his passion for the time period and settings is unmatched by most American directors, and this comes through in every minute of his films.  If you’d like to read my full review of My Darling Clementine, you can check it out here.

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Women in Film Feature #4 – To Each His Own (1946)

apv6i8xcTo Each His Own (1946)
Directed by: Mitchell Leisen
Written by: Charles Brackett, Jacques Thery, Dodie Smith
Starring: Olivia de Havilland, Mary Anderson, John Lund

The great Olivia de Havilland is perhaps one of the most under-appreciated actresses of her time, as her name is very rarely thrown around with contemporaries like Hepburn, Bergman, Davis, Stanwyck, and Bacall.  She was not somebody I was overly familiar with before selecting one of her most acclaimed roles as a feature, but I sure am glad I chose her over many of my other options.  Olivia de Havilland is a two-time Oscar winner, and currently stands as the oldest living actor to have won a prestigious Academy Award.  The younger sister of fellow actress Joan Fontaine, Olivia got her start in industry working side-by-side with Errol Flynn, one of the biggest male stars in the early days of sound films.  From there, she featured prominently in a supporting role in Gone with the Wind, being nominated for her very first Academy Award.  Though she is known best for her roles in romantic melodramas of the era, her range as an actress led her to be nominated for a total of five Oscars, as well as a host of other awards and honors. This is most evident in Anatole Litvak’s 1948 drama The Snake Pit, where de Havilland plays a woman in an insane asylum who can’t remember why and how she got there.  Her tumultuous relationship with sister Joan Fontaine would have fans debating for decades over which was the best of the siblings.  Whatever the answer may be, the talented sisters remain the only siblings in history to have both won Academy Awards for leading roles.

By the time Olivia de Havilland would star in the acclaimed To Each His Own in 1946, she was already a bonafide star in the industry and would be at the top of her game for the next decade.  Director Mitchell Leisen had worked with the stunning actress just five years before, in Hold Back the Dawn; which saw multiple Oscar nominations and would give the young de Havilland her first nod for the Leading Actress award. The prolific director had nearly fifty directing credits to his name by the end of his career, and had worked with great actresses like sister Joan Fontaine, Carole Lombard, Jean Arthur, Marlene Dietrich, and Claudette Colbert.  Despite working with some of the industry’s very best, his biggest successes seem to have come in early collaborations with Olivia de Havilland in the starring role.  Legendary screenwriter Charles Brackett (of Ninotchka, Ball of Fire, The Lost Weekend, and Sunset Boulevard fame) both wrote and produced To Each His Own, adding his impressive reputation to melodrama.  As such, the picture was nominated for Best Writing at the Oscars, and Brackett’s screenplay helped Olivia de Havilland take home her first major acting award.  Today, To Each His Own is woefully ignored and overlooked among film enthusiasts, and is mostly relevant for being one of de Havilland’s greatest roles and performances.  The film’s highly melodramatic nature mixed with a very strong female lead character and a positive message at its core shows that the film is still highly relevant (if slightly dated and on the nose) today, and is ripe for potential of being rediscovered by a whole new generations of moviegoers.


Olivia de Havilland as Judy Norris tending her father’s hometown shop in 1946’s To Each His Own.

To Each His Own begins with Judy Norris (Olivia de Havilland), an aging fire warden in World War II era London, recounting her life story to her colleague Lord Desham (Roland Culver) during a down period for the two.  Through a series of flashbacks, we see young Judy as she lives her life in her small hometown of Piersen Falls.  She is very popular among the locals because of her idealistic and kind-mannered nature, and has the eye of multiple bachelors in town.  Uninterested in any of the townspeople, Judy falls in love with a pilot named Captain Bart Cosgrove (John Lund) who flies into Piersen Falls to promote the purchase of war bonds.  The two share a single night together, and Captain Cosgrove flies off to another town.  Soon, Judy finds out that she is pregnant with Cosgrove’s child, and that she may require a life-saving operation that would result in her losing the child.  After hearing of the untimely death of Captain Cosgrove, Judy changes her mind about the operation and decides to have the baby on her own, without the knowledge of the townspeople.  In order to keep her reputation as a stand up citizen in her hometown, Judy decides to leave her baby on the doorstep of a friend with multiple, who would “find” the baby and offer it to Judy because another child would just be too much. Unfortunately for Judy, the baby is given up for adoption after a series of unfortunate events to a couple who have just lost their own young child.  Judy pledges her entire life to reuniting with her young child, now known as Gregory or “Griggsy”.  She does this by aiding Griggsy’s adoptive mother with the young child, and constantly checking in on the family.  After some tension between the women, Judy is forbidden from seeing the young boy and moves out of Piersen Falls to start anew.  Will Judy Norris ever reunite with her son, or will the boy grow up and never recognize that he in fact has two loving mothers in his life? Find out in Mitchell Leisen’s Academy Award winning To Each His Own!

Being able to discover great new films is my absolute favourite part of doing these spotlights, especially since I always make a point of only seeking out unseen films. To Each His Own might be one of my favourite discoveries yet, especially since it’s something I went into with literally no expectations at all.  Olivia de Havilland was an absolute revelation, and I can’t believe I hadn’t seen her in a starring role until this film.  She brings so much power and grace to the character of Judy Norris, who is quite possibly one of the all-time great mothers in film. Her performance never feels cheap or too melodramatic, and instead oozes hope and idealism.  She never bows down to a male character who isn’t her own son, which is another thing I absolutely loved to see in a film from this time.  The direction by Mitchell Leisen isn’t anything to phone home about, but he obviously knew how to command one hell of a performance out of Olivia de Havilland and the rest of the supporting cast, most of whom give good or at least passable performances.  The other shining light of To Each His Own is its Charles Brackett-penned screenplay, which packs tremendous emotional punches over and over again, but also isn’t afraid to insert some clever humor here and there. These comedic moments come mostly from small supporting players (often children) throughout, and helps to ease the tension the audience feels by watching a loving mother come so close to her own child, yet never manage to get the necessary words out to him.  The film moves at a great pace, not getting to Judy’s brief romance with Captain Cosgrove until more than twenty minutes in. We get a feeling for the town of Piersen Falls and the people who live within, and best of all get to spend some quality time really getting to know Judy Norris and her motivations as a character.  Things really speed up when Judy leaves her hometown for greener pastures, seeing her run her own small business empire with the help of a friend wonderfully played by Bill Goodwin.  To Each His Own never lingers for too long, yet always manages to remind you as a viewer what is really at stake with all of Judy’s successes.


Olivia de Havilland accepting her Oscar for Best Actress from presenter Ray Milland at the 1947 Academy Awards.

It’s really too bad that To Each His Own has been so overlooked for such a long time now.  While it doesn’t reinvent the wheel in any way, there’s a lot about it to really admire and fall in love with.  Its melodrama feels realistic and mostly deserved, feeling more like the more subtle work of the great Douglas Sirk than your typical Oscar fare of the time.  It features a truly incredible performance by Olivia de Havilland, who plays a strong and loving mother who never lets anybody get in the way of her relationship with her son.  It’s incredibly progressive and despite aging quite a lot in some ways, still feels pretty relevant today.  It allowed de Havilland to really show off her skills as a leading lady, and led to her taking far more interesting and successful roles in the coming years. The film features a sharp screenplay with little to no wasted time, and the two hour run-time goes by almost too quickly.  To Each His Own had me in tears when the credits rolled, something I can’t say for many of the movies I’ve reviewed here on my blog.  While it’s certainly not perfect, it managed to easily worm its way into my heart.  To Each His Own is highly recommended.  

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John Ford Feature #4 – My Darling Clementine (1946)

ClementineMy Darling Clementine (1946)
Directed by: John Ford
Written by: Samuel G. Engel, Winston Miller, Sam Hellman, Stuart Anthony, William M. Conselman (based on Wyatt Earp: The Frontier Marshal by Stuart N. Lake)
Starring: Henry Fonda, Victor Mature, Cathy Downs, Linda Darnell, Walter Brennan, Tim Holt, Ward Bond

Finally, the genre that John Ford made himself an icon with.  With World War II behind him, director John Ford could once again set his sights on the genre that made him a legend, the western.  Ford’s romantic account of the goings on in the town of Tombstone and the gunfight at the O.K. Corral is widely considered to be one of the greatest westerns of all-time.  My Darling Clementine is the great filmmaker’s first western since 1939, after briefly delving into the world of documentary filmmaking, as well as making award winning dramas such as Best Picture winning How Green Was My Valley.  The film is loosely based on a biography of the great Wyatt Earp, entitled Wyatt Earp: Frontier Marshal by Stuart Lake.  The book popularized the legend of the shootout at the O.K. Corral, and Ford’s My Darling Clementine took the ball and ran with it, making the tale as popular as we know it today.  John Ford, who during his silent filmmaking days had met the legendary Wyatt Earp, had been told firsthand about the events during the gunfight.  Ford remembered Earp’s words well, and adapted the story exactly the way that the former marshal of Tombstone had told him.  Even John Wayne, frequent collaborator with John Ford, had been on record saying the he shaped his entire persona on the legendary Earp.  My Darling Clementine stars the great Henry Fonda as Wyatt Earp, who had previously starred in Ford’s Young Mr. Lincoln, Drums Along the Mohawk, and The Grapes of Wrath, as well as Victor Mature as Doc Holliday, Cathy Downs as the titular Clementine Carter, Ward Bond as Morgan Earp, and Tim Holt as Virgil Earp.  While My Darling Clementine was somehow ignored by the awards circuit after its release, the film became an immediate hit.  It is now widely known to be one of the greatest westerns of all-time, and one of Ford’s best films – something hard to achieve in such a prolific career full of terrific films.


My Darling Clementine tells the story of the Earp Brothers, Wyatt (Henry Fonda), Virgil (Tim Holt), Morgan (Ward Bond), and James (Don Garner) as they and their cattle head to California.  After learning of nearby town Tombstone, Wyatt, Virgil, and Morgan head for the so-called “lawless” town and leave James alone to tend the cattle.  The brothers learn that Tombstone is without a marshal, and as a result has fallen into chaos because of outlaws and hooligans.  After a drunk man begins opening fire at innocent townspeople, Wyatt confronts him and boots him out of the town.  The town is quick to offer the position of marshall to the brave Earp brother, who has no interest in the position and has his sights set on Calfornia.  When the brothers return to where they left James, they find their younger brother murdered and their cattle stolen.  The Earps return to Tombstone, where Wyatt takes the position of marshal in order to avenge the death of James and track down his killers.  Along the way, Wyatt and his brothers meet the infamous Doc Holliday (Victor Mature), who would go on to become a good friend to the Earp brothers, as well as eventual deputy marshal.  Eventually, a young woman named Clementine Carter (Cathy Downs) arrives in Tombstone from Boston.  Clementine has traveled to Tombstone for Doc Holliday, who is gravely ill and trying to push the young woman out of his life.  Eventually, Wyatt Earp, his brothers, and Doc Holliday meet the Clanton gang (Walter Brennan, Grant Withers, and John Ireland), who soon become the primary suspects in the murder of young James.  Will marshall Wyatt Earp and his deputies get justice for young James Earp’s death, or will the lawless town of Tombstone get the better of them?  Find out in John Ford’s spectacular My Darling Clementine.

I’m incredibly happy to report that My Darling Clementine marks the first masterpiece of December’s John Ford marathon feature.  I had previously seen Ford’s Stagecoach, The Grapes of Wrath, Young Mr. Lincoln, The Man Who Shot Liberty Valance, and How Green is My Valley, and I would absolutely rank this film with the best of them.  My Darling Clementine is an incredibly fun and well-paced adventure into the lawless town of Tombstone, which is a terrific setting that has been revisited time and time again in film and television.  In its strongest moments, the film is heartbreaking and riddled with tension, and yet somehow manages to still be a funny film with a terrific sense of adventure.  Henry Fonda’s Wyatt Earp is easily one of my favorite western protagonists, seamlessly transforming from the handsome blue-eyed Fonda into the vengeful, law-abiding Earp.  From the moment Wyatt Earp learns of the murder of his brother, he’s dead set on justice for those responsible, no matter what it takes.  Fonda’s chemistry with both Victor Mature and Cathy Downs is terrific, and helps further the sense of camaraderie between the cast of characters.  Victor Mature’s Doc Holliday is terrific as well, coming off a great deal more subtle than Val Kilmer’s notorious performance in 1993’s Tombstone.  The sickly Holliday doesn’t quite know what he wants at any moment during the film, nor does he seem to believe in himself, and Mature’s performance perfectly captures his divisive personality and attitude.  The photography and direction perfectly catch the beauty of the Old West, using Ford’s trademark shadowy imagery, coupled with daytime scenes that perfectly capture the hot, dry temperature of Tombstone and the surrounding locations.  One of my favorite scenes came when Wyatt Earp and his deputies encounter a Shakespearean actor at the town saloon, perfectly capturing the film’s unique sense of absurd humor.  It’s a damn shame that My Darling Clementine didn’t pick up any major awards at the time, because I truly believe Ford and his film could have given William Wyler and his Best Picture winner The Best Years of Our Lives a run for their money.


John Ford’s post-war effort My Darling Clementine is an understated, incredibly well-acted and well-paced masterpiece.  The film clocks in at 103 minutes or so, and yet still feels too brief.  It’s definitely something that I could have watched unfold over more than two hours.  Ford’s movie is both devastating and triumphant in its greatest moments, and I truly believe it to be one of the great westerns of all-time.  If you’re at all interested in the films of John Ford of those of the western genre, I can guarantee you won’t be let down by this film.  My Darling Clementine gets my highest recommendation.

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Noirvember Feature #3 – The Killers (1946)

220px-ThekillersThe Killers (1946)
Directed by: Robert Siodmak
Written by: Richard Brooks, Anthony Veiller, John Huston (based on The Killers by Ernest Hemingway)
Starring: Burt Lancaster, Ava Gardner, Edmond O’Brien, Albert Dekker, Sam Levene

Ernest Hemingway’s short story provided the inspiration for three separate, all pretty acclaimed and competent film noirs in the span of less than 20 years.  Robert Siodmak’s 1946 adaptation of The Killers is the first of those three, and perhaps the most celebrated of the three.  Siodmak, a German born director who, along with countless talented artists, left the country during the rise of Nazism for greener pastures.  This would lead him to directing various thrillers and film noirs, and eventually earning a nomination for Best Director at the Academy Awards for this very film.  The Killers stars the iconic Burt Lancaster in his very first feature, and future Oscar-nominee Ava Gardner in one of the most widely acclaimed film noirs of the 1940’s.  The film, shot by cinematographer Elwood Bredell, is one of the best-looking film noirs I’ve had the pleasure of seeing, with every shot perfectly planned and composed, and best of all shrouded in dark, moody shadows.  The Killers would go on to be nominated for Best Editing, Best Director, Best Adaptation, and Best Music at that years Academy Awards, coming up empty-handed in each category, all fairly beaten out by William Wyler’s terrific anti-war film The Best Years of Our Lives.

Robert Siodmak’s adaptation of Hemingway’s The Killers immediately begins with two hitmen assassinating a former boxer Ole Anderson (the onscreen debut of the legendary Burt Lancaster) who also goes by the name of “the Swede”.  After the Swede puts up no fight against the two hitmen, the men flee the scene and we meet our lead character, a life insurance investigator by the name of Jim Reardon (played by Edmond O’Brien), who has been assigned to investigate the murder of the young boxer.  The investigation very quickly leads to the Swede’s friends, family, and associates, and through flashbacks we begin to piece together the pieces of Ole Anderson’s life, just as investigator Reardon is doing.  From there, the film switches regularly between the current day investigation by Reardon, and the lead-up to the mysterious murder of Ole Anderson.  In both timelines, we meet our femme fatale Kitty Collins (played terrifically by Ava Gardner), a former flame of Anderson’s, and the reason for so much of the mystery concerning the Swede’s death.  Another lead player is the crime boss “Bim Jim” Colfax (Albert Dekker), a man who the Swede has become business partners with.  Big Jim is a rich and powerful man who gets what he wants, and when the Swede takes the fall for a crime he didn’t commit and goes to prison, Big Jim takes his girl Kitty too.  To find out anything more about The Killers’ complex web of characters and deceit, you’ll have to watch the film yourself!


The two hitmen (played by William Conrad and Charles McGraw) in the terrific opening scene of 1946’s The Killers.

I won’t claim to have been able to follow The Killers’ plot initially, as at times it can be incredibly convoluted and probably too complex for its own good, but it’s a damn fun watch despite that. Having now seen it a second time in less than a week, I can assure you that the plot is no more difficult to follow than most convoluted noirs of the time, you just have to fully dedicate yourself to figuring out the relationships between the large cast of characters.  Despite a sometimes shaky story, Siomak’s The Killers features all the elements that I love about the genre of film noir.  The cinematography and photography of nearly every scene is incredible, again shrouded in darkness, shadows, and harsh lighting.  The opening ten minutes are probably one of the greatest starts to a film I’ve ever seen, and that’s saying a great deal.  Every movement and decision made by the two hitmen had me on the edge of my seat, and I desperately wanted to know what their involvement in the story was.  Unfortunately, the rest of the film failed to live up to the impossibly high expectations set by the opening scenes, but I think few films could live up to them.  For being in his first on-screen role, Burt Lancaster is very good at Ole Anderson, being at times slimey, and at other times incredibly sympathetic because of how conflicted his character is.  He’s backed up by terrific performances by Ava Gardner, Edmond O’Brien, and Albert Dekker, all of whom feel well-realized and with realistic motives and actions throughout.


While The Killers wasn’t the most original or well-written film noir I’ve seen, the performances throughout, the mounting tension, and the combination of the films direction and cinematography made for a very memorable experience.  I’m very eager to see the other two adaptations of Hemingway’s The Killers, and it may become something of a side project for myself if I have time this month.  If I can get around for them, look out for my thoughts in the coming weeks!  The Killers may not be absolutely perfect, but it provided me with more than enough thrills and entertainment for its brief run-time (somewhere around 100 minutes).  If you’re a fan of film noirs this is absolutely a must-see example of how a well-realized plot structure isn’t always the most important feature of a film.  It’s recommended for fans of the genre.

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