The Film Archives

"Great Flamarion" is a film noir drama from 1945 directed by Anthony Mann. The story revolves around a group of traveling vaudeville performers, with the titular character, the Great Flamarion (played by Erich von Stroheim), as the main attraction. Flamarion is a sharpshooter who performs a dangerous trick where he shoots a bullet into a small target held by his beautiful assistant Connie (played by Mary Beth Hughes). However, when Connie and her husband Al (played by Dan Duryea) hatch a plan to swindle Flamarion out of his earnings, things take a deadly turn. As jealousy and betrayal escalate, Flamarion finds himself drawn into a dangerous web of deceit and violence. With its moody, shadowy visuals and complex characters, "Great Flamarion" is a classic example of film noir. Von Stroheim delivers a haunting performance as the tortured sharpshooter, while Hughes and Duryea provide compelling support as the conniving couple. The film's suspenseful plot and dark themes of love, greed, and obsession make it a must-see for fans of classic cinema and film noir. Erich von Stroheim as The Great Flamarion Mary Beth Hughes as Connie Wallace Dan Duryea as Al Wallace Steve Barclay as Eddie Wheeler Lester Allen as Bert Esther Howard as Hazel Harold Goodwin as Detective The Great Flamarion is a 1945 film noir mystery film directed by Anthony Mann starring Erich von Stroheim and Mary Beth Hughes. The film, like many films noir, is shot in flashback narrative. The film was produced by Republic Pictures.[1] This film is now in the public domain. Plot Mary Beth Hughes as Connie Wallace The film opens following a murder at a cabaret in Mexico City in 1936; a shot is heard, but the body of the female victim (Connie) has been strangled. The police take the woman's husband into custody, assuming he is the murderer. But Flamarion, who has been shot, is the murderer and he explains to a stagehand why he killed Connie in flashback.The Great Flamarion (Erich von Stroheim) is an arrogant, friendless, and misogynous marksman who displays his trick gunshot act in the vaudeville circuit. His show features a beautiful assistant, Connie (Mary Beth Hughes) and her drunken husband Al (Dan Duryea), Flamarion's other assistant. Flamarion falls in love with Connie, the movie's femme fatale, and is soon manipulated by her into killing her no good husband during one of their acts. After Al's supposed accidental death, Connie convinces Flamarion to wait three months before the two can marry and flees back to Minnesota. Meanwhile, Connie has already begun a relationship with another performer, Eddie (Stephen Barclay). After failing to show up at an arranged meeting place three months later, Flamarion goes into a downward spiral of drinking and gambling. Flamarion eventually finds Connie who informs him that she never loved him and used him to get rid of her husband. Cast Erich von Stroheim as The Great Flamarion Mary Beth Hughes as Connie Wallace Dan Duryea as Al Wallace Stephen Barclay as Eddie Wheeler Lester Allen as Tony Esther Howard as Cleo Michael Mark as Nightwatchman See also Public domain film List of American films of 1945 List of films in the public domain in the United States References The Great Flamarion at the American Film Institute Catalog. External links Wikiquote has quotations related to The Great Flamarion. Wikimedia Commons has media related to The Great Flamarion. The Great Flamarion at the American Film Institute Catalog The Great Flamarion at IMDb The Great Flamarion at AllMovie The Great Flamarion is available for free download at the Internet Archive The Great Flamarion at Rotten Tomatoes The Great Flamarion complete film on YouTube (public domain) vte Films directed by Anthony Mann Dr. Broadway (1942) Moonlight in Havana (1942) Nobody's Darling (1943) My Best Gal (1944) Strangers in the Night (1944) The Great Flamarion (1945) Two O'Clock Courage (1945) Sing Your Way Home (1945) The Bamboo Blonde (1946) Strange Impersonation (1946) Desperate (1947) Railroaded! (1947) T-Men (1947) Raw Deal (1948) Reign of Terror (1949) Border Incident (1949) Side Street (1950) Winchester '73 (1950) The Furies (1950) Devil's Doorway (1950) The Tall Target (1951) Bend of the River (1952) The Naked Spur (1953) Thunder Bay (1953) The Glenn Miller Story (1954) The Far Country (1954) Strategic Air Command (1955) The Man from Laramie (1955) The Last Frontier (1955) Serenade (1956) Men in War (1957) The Tin Star (1957) God's Little Acre (1958) Man of the West (1958) Cimarron (1960) El Cid (1961) The Fall of the Roman Empire (1964) The Heroes of Telemark (1965) A Dandy in Aspic (1968) Categories: 1945 filmsAmerican black-and-white films1940s English-language filmsFilm noirFilms directed by Anthony MannRepublic Pictures filmsFilms set in ChicagoFilms set in Mexico CityFilms set in Los AngelesFilms set in the 1930sAmerican mystery drama films1940s mystery drama films1945 drama films1940s American films https://en.wikipedia.org/wiki/The_Great_Flamarion

Description: Casey races against the clock to track down a desperate killer who has only two days to live. As she delves deeper into the case, she realizes that there may be more to the story than meets the eye. Cast: Beverly Garland as Casey Jones Paul Burke as Lieutenant Jim Hudson Douglas Rodgers as Eddie Regan Barry Russo as Johnny Valesco Lawrence Tierney as Duke Jody Lawrance as Fran

Casey goes undercover to investigate a diamond smuggling ring, but her mission becomes personal when she meets a young girl caught up in the dangerous world of the criminals she's tracking. Cast: Beverly Garland as Casey Jones Mort Mills as Lt. Jim Barnes Ted de Corsia as Guido Bregni John Dennis as Ralph DiBrio Eugene Iglesias as Miguel

Casey investigates a murder case where an innocent man has been framed for the crime. She must find the real killer and clear the name of the wrongly accused man before it's too late. Cast: Beverly Garland as Casey Jones Frank Campanella as Capt. Gunther John Larch as George Beldon Joe Maross as Joe Cranston Albert Dekker as William Martel Harry Bellaver as Lt. Mike Thompson Helen Waters as Mrs. Cranston Sid Raymond as Louie Charles Dierkop as Young Thug

"Escape Into Danger" is an episode of the classic 1950s TV show "Decoy." In this gripping installment, police officer Casey Jones (played by Beverly Garland) goes undercover as a prison inmate to gather information on a notorious crime boss. However, her plan is complicated by a series of dangerous events, including a prison break that puts Casey's life in peril. As she races to escape from the chaos and protect her cover, Casey must navigate a dangerous web of deception and betrayal to bring the criminal to justice. With tension and suspense at every turn, "Escape Into Danger" is a thrilling episode that will keep viewers on the edge of their seats. Beverly Garland as Casey Jones Frank Campanella as Warden George E. Carey as John Talbot Tom Dillon as Dave Norris Mark Roberts as Inspector Flaherty Maria Riva as Lili Talbot Dan Resin as Eddie Harry Townes as Nicky Karros Richard Venture as Leo Karros Edith Weicker as Mrs. Talbot.

Casey goes undercover to investigate a ring of jewel thieves who specialize in making counterfeit glass jewels. Cast: Beverly Garland as Casey Jones Barry Gordon as Georgie Michael Granger as Edward West Sue Ane Langdon as Penny Frank Campanella as Capt. Gunther Joseph Sweeney as J.B. Bender Roy Poole as Lt. Meara Larry Kerr as Uniformed Policeman

In the Decoy TV episode "Savage Payoff," police officer Casey Jones (played by Beverly Garland) goes undercover to investigate a string of robberies targeting wealthy women. As she delves deeper into the case, Casey finds herself in the midst of a dangerous criminal operation, led by a notorious gangster named Frank Pedretti (played by Martin Balsam). With the help of her fellow officers and some clever detective work, Casey sets out to catch the criminals and put an end to their reign of terror. But as the investigation heats up, the stakes get higher, and Casey finds herself in mortal danger. "Savage Payoff" is an action-packed episode of Decoy, featuring Garland's powerful performance as a determined police officer on a mission to take down a dangerous gang of thieves. Beverly Garland as Casey Jones Frank Campanella as Detective Sgt. Eddie Vincent Martin Balsam as Frank Pedretti Rusty Lane as Joe Marno Joe De Santis as Tony DeAngelo Dan Frazer as Detective Lombardi Horace McMahon as Lieutenant Jim Foster Ellen Madison as Dottie Benton Jack Warden as Jerry Benton Judith Evelyn as Louise Benson Gloria Marlowe as Margie Davis

In the Decoy TV episode "Deadly Corridor," Casey Jones (played by Beverly Garland) is called in to investigate a violent stabbing at a high school. As Casey and her team dig deeper into the case, they discover a web of corruption and deceit that leads all the way to the top of the school administration. With the help of an undercover police officer posing as a student, Casey goes undercover as a teacher to uncover the truth and bring those responsible to justice. But as she gets closer to the truth, Casey finds herself in grave danger. Cast list: Beverly Garland as Casey Jones Frank Campanella as Detective Sgt. Eddie Vincent Richard Jaeckel as Officer Jim Miller William Hickey as Mr. Rogers Constance Ford as Mrs. Haskins Beverly Lunsford as Linda Coleman Bernard Fein as Principal Harold Mary James as Mrs. Rogers Ralph Stantley as Eddie Caldwell

In the Decoy TV episode "To Trap a Thief," police officer Casey Jones (played by Beverly Garland) is tasked with setting a trap for a notorious jewelry thief. The thief has been using a unique technique to steal jewels from high-end stores, and Casey must devise a plan to catch him in the act. With the help of her fellow officers and a clever ruse, Casey sets out to catch the thief and recover the stolen jewels. As the plan unfolds, however, it becomes clear that the thief is not working alone, and Casey must use all of her skills to bring the entire criminal operation to justice. "To Trap a Thief" is a thrilling and fast-paced episode of Decoy, showcasing Beverly Garland's talent for portraying a tough and determined police officer. The episode also features a number of exciting action sequences, making it a must-see for fans of the crime drama genre. Beverly Garland as Casey Jones Steve Brodie as Detective Lt. Jim Shannon Frank Campanella as Detective Sgt. Eddie Vincent Mark Roberts as Sergeant Bill Brenner Robert Emhardt as Nathan Danby Joseph Wiseman as Leo Lasker Michael Strong as Raymond Decker Anna Minot as Lydia Danby Jeanne Evans as Betty Simon Oakland as Joe Lavery

In this gripping episode, police officer Casey Jones (played by Beverly Garland) goes undercover as a nurse in a sanatorium to track down the source of a series of illegal narcotics. With the help of her fellow officers and some clever detective work, Casey must navigate the dangerous world of drug dealers and addicts to uncover the truth behind the drug ring. As she gets closer to the source of the drugs, however, Casey finds herself in grave danger, and she must use all of her skills to stay one step ahead of the criminals and bring them to justice. "Casey: Nurse in Sanatorium" is a thrilling episode of Decoy, featuring Beverly Garland's commanding performance as a tough and dedicated police officer. Beverly Garland as Casey Jones Frank Campanella as Detective Sgt. Eddie Vincent Robert H. Harris as Dr. Steven Manton Martin Balsam as Marty Farley Lawrence Dobkin as Dr. Jack Logan Edward Binns as Dr. Frank Ferguson Madge Blake as Mrs. Logan Michael Higgins as Dr. John Taggert John Duke as Tom Devlin John Goddard as Dr. Walter Glass Jack Orrison as Pete Morris Carnovsky as Mr. Gerschel

In the debut episode of Decoy, titled "Stranglehold", viewers are taken on a thrilling journey into the high-stakes world of undercover operations. The episode follows a team of elite law enforcement officers as they work to take down a notorious drug lord who has evaded capture for years. The team includes seasoned agents and fresh recruits, who must work together to gather intelligence and build a case against the drug lord. As they delve deeper into the criminal underworld, they discover that the drug lord has a stranglehold on the community and will stop at nothing to protect his empire. The episode is filled with heart-pumping action and suspense, as the team navigates dangerous situations and risks their lives to bring the drug lord to justice. Along the way, they must also contend with their own personal demons and the toll that undercover work can take on their mental and emotional health. "Stranglehold" offers a glimpse into the complex and often murky world of law enforcement, where the line between right and wrong can be blurred and the stakes are always high. It is a gripping and thought-provoking episode that will keep viewers on the edge of their seats from start to finish.

The Stranger is a film noir directed by Orson Welles and released in 1946. The film stars Welles himself, along with Edward G. Robinson and Loretta Young, and tells the story of a man named Franz Kindler, a former Nazi war criminal who is hiding in the United States under a new identity. The film begins with a group of Nazi hunters who are on the trail of Kindler, believing that he is still alive and hiding in the United States. One of the hunters, Mr. Wilson (Robinson), tracks down Kindler's new identity as Professor Charles Rankin, a respected academic who has recently arrived in a small Connecticut town to take up a teaching position. As Wilson investigates Rankin's past, he becomes convinced that Rankin is actually Kindler, and sets out to bring him to justice. However, Rankin is aware of Wilson's suspicions, and begins to take drastic measures to cover up his past, including plotting to murder his new wife (Young). The Stranger is notable for its exploration of the theme of guilt and redemption in the aftermath of World War II, and for its portrayal of the post-war United States as a place of hidden dangers and hidden agendas. The film also features Welles' signature use of shadow and light, creating a moody and atmospheric visual style that is characteristic of the film noir genre. Overall, The Stranger is a gripping and thought-provoking film that explores the moral complexities of war and its aftermath, and raises important questions about the nature of justice, guilt, and redemption in the face of atrocities. The Stranger is a 1946 American thriller film noir directed and co-written by Orson Welles, starring Edward G. Robinson, Loretta Young and Orson Welles. Welles's third completed feature film as director and his first film noir,[4] it centers on a war crimes investigator tracking a high-ranking Nazi fugitive to a Connecticut town. It is the first Hollywood film to present documentary footage of the Holocaust. The film was nominated for the Golden Lion (then-called the ‘Grand International Prize’) at the 8th Venice International Film Festival. Screenwriter Victor Trivas received an Oscar nomination for Best Story. The film entered the public domain when its copyright was not renewed. Plot 1:34:59CC The Stranger Mr. Wilson is an agent of the United Nations War Crimes Commission who is hunting for Nazi fugitive Franz Kindler, a war criminal who has erased all evidence which might identify him. He has left no clue to his identity except "a hobby that almost amounts to a mania—clocks." Wilson releases Kindler's former associate Meinike, hoping the man will lead him to Kindler. Wilson follows Meinike to a small town in Connecticut, but loses him before he meets with Kindler. Kindler has assumed a new identity as "Charles Rankin", and has become a teacher at a local prep school. He is about to marry Mary Longstreet, daughter of Supreme Court Justice Adam Longstreet, and is involved in repairing the town's 400-year-old Habrecht-style clock mechanism with religious automata that crowns the belfry of a church in the town square. Meinike attacks Wilson, leaving him for dead, and meets Kindler. Meinike is repentant and has become a Christian, and begs Kindler to confess his own crimes. Instead, Kindler strangles Meinike, who might expose him. Wilson begins investigating newcomers to the small town. Due to Rankin and Mary's marriage, he does not suspect Rankin—until Rankin says conversationally that since Karl Marx was a Jew, he was not a German. Even so, not having witnessed the meeting with Meinike, he still has no proof. Only Mary knows that Meinike came to meet her husband. To get her to admit this, Wilson must convince her that her husband is a criminal—before Kindler decides to eliminate the threat to him by killing her. Kindler's facade begins to unravel when Red, the family dog, discovers Meinike's body. To further protect his secret, Kindler poisons Red. Meanwhile, Mary begins to suspect her husband is not being honest with her. He admits to killing Meinike and Red, but claims Meinike was in town to blackmail her and her father. Mary still loves him and wants to protect him in any way she can; she helps by lying about Meinike. Then Wilson shows her graphic footage of Nazi concentration camps and explains how Kindler developed the idea of genocide. She is torn between her love and her desire to learn the truth. Meanwhile, Kindler tries to arrange a fatal "accident" for Mary, but she discovers the plot. Finally accepting the truth, she dares her husband to kill her face to face. Kindler tries, but is prevented by the arrival of Wilson and Mary's brother, and escapes from the house. Kindler flees into the church belfry, followed by Mary and then Wilson. Meanwhile most of the town, hearing the repaired clock bell, has arrived outside the building. At the top of the tower, Kindler pulls a gun and a struggle ensues. Mary ends up with the gun and fires. The clock is damaged and begins running away; Kindler is shot. He staggers outside to the belfry's clock face, and is impaled by the sword of one of the moving clock figures. Weakened by his injuries, he falls to his death. Cast Orson Welles as Franz Kindler/Professor Charles Rankin Edward G. Robinson as Mr. Wilson Loretta Young as Mary Longstreet Rankin Philip Merivale as Judge Adam Longstreet Richard Long as Noah Longstreet Konstantin Shayne as Konrad Meinike Byron Keith as Dr. Jeffrey Lawrence Billy House as Mr. Potter Martha Wentworth as Sara Isabel O'Madigan as Mrs. Lawrence Pietro Sosso as Mr. Peabody Erskine Sanford as Party Guest[5]: 197  Theodore Gottlieb as Farbright (not in released version)[5]: 197  Contemporary news items about the production add uncredited and unconfirmed cast members Neal Dodd, Nancy Evans, Fred Godoy, Joseph Granby, Ruth Lee, Lillian Molieri, Gabriel Peralta, Gerald Pierce, Robert Raison, Rebel Randall, Johnny Sands, and Josephine Victor.[1] Production Left to right: Edward G. Robinson, Richard Long, Loretta Young, Martha Wentworth, Orson Welles, Philip Merivale, Byron Keith, and an unidentified actress in The Stranger (1946) Produced by Sam Spiegel (who then billed himself as S. P. Eagle), The Stranger was the last International Pictures Production distributed by RKO Pictures.[6]: 212  Filming took place from late September to November 21, 1945,[7]: 392  at Samuel Goldwyn Studios and Universal Studios. The film's musical score is by Bronisław Kaper.[1] Spiegel initially planned to hire John Huston to direct The Stranger. When Huston entered the military, Welles was given the chance to direct the film and prove himself able to make a film on schedule and under budget[5]—something he was so eager to do that he accepted a disadvantageous contract. In September 1945 Welles and his wife Rita Hayworth signed a guarantee that Welles would owe International Pictures any of his earnings, from any source, above $50,000 a year if he did not meet his contractual obligations. He also agreed to defer to the studio in any creative dispute.[8]: 309–310  The Stranger was Welles's first job as a film director in four years.[7]: 391  Editor Ernest J. Nims was given the power to cut any material he considered extraneous from the script before shooting began. "He was the great supercutter," Welles said, "who believed that nothing should be in a movie that did not advance the story. And since most of the good stuff in my movies doesn't advance the story at all, you can imagine what a nemesis he was to me."[8]: 311–312  For directing and acting in The Stranger, Welles was to receive $2,000 a week[8]: 309–310  plus $50,000 when the film was completed, and a chance to sign a four-picture deal with International Pictures, making films of his own choosing.[9]: 379  Welles was given some degree of creative control.[5]: 19  He worked on the general rewrite of the script, wrote all of the scenes in the drugstore, and wrote scenes at the beginning of the picture that were shot but subsequently cut by Spiegel and executive producer William Goetz.[7]: 186 [10]: 268  Welles had endeavored to personalize the film and develop a nightmarish tone.[11]: 2:30  There is uncertainty about how much of this material was actually shot and how much was removed. Some scenes elaborated on Meinike's flight through Latin America, shadowed by an agent named Marvales and his wife, a woman in distinctive gold earrings who is murdered by savage dogs kept by the Nazis-in-exile. A brief vestige of the sequence remains in the final release version.[5]: 199–200  In a 1982 interview, Nims said 32 pages of the script were eliminated at his suggestion, including the first 16 pages.[5]: 199  An early scene showing a meeting of Mary and Rankin was filmed but removed. She finds him in the woods, looking at the incongruous 16th-century Gothic clock in the town square, and tells him it was "brought by sailing ship from the shores of the Mediterranean" by one of her ancestors. Rankin is familiar with the clock and her family's history, and as they walk through the cemetery he notes the many Longstreets who are buried there and their patriotic service.[5]: 199  "Character development suffers from the loss of these scenes," wrote film historian Bret Wood, who also observes that inclusion of the Latin American pursuit would have increased the sense of foreboding before the story enters the idyllic town of Harper.[5]: 200–201  A sense of mystery would also have been set up by an imaginative but unrealized pre-title sequence in the Welles version; instead, the titles are simply superimposed over the image of the clock.[5]: 198  Welles wanted Agnes Moorehead to portray the investigator. "I thought it would be much more interesting to have a spinster lady on the heels of this Nazi," Welles said. Edward G. Robinson was cast instead.[7]: 187  Welles planned to use the campus of his alma mater, the Todd School for Boys in Woodstock, Illinois, as the setting for The Stranger. The idea was ruled out by budget restrictions, but a few artifacts are seen in the film. A sign in the gymnasium reads "Harper vs. Todd"[5]: 197  and refers to Clover Hall, a building on the Todd campus, and "Mrs. Collins"—Annetta Collins, teacher, housemother, and director of kitchen services.[12][13] It was Collins who had recruited Welles for Todd in 1926, after meeting the boy at his father's hotel in Grand Detour.[14]: 22  A note on a blackboard, in Welles's handwriting, refers to Wallingford Hall,[11]: 9:03  another building at Todd. A notice on the wall is signed "Coach Roskie"—Anthony C. Roskie, Todd's longtime athletic director.[12] Perry Ferguson, production designer for Citizen Kane, was borrowed from Samuel Goldwyn Productions.[1] For Welles, Ferguson created a complete town square, an interlocking series of sets in related proximity to each other.[11]: 23:20  Scenes could be filmed that provided deep views of adjacent buildings through windows or reflected in their glass, adding richness and dimension.[11]: 8:21  "When we're filming inside the drug store, we get a sense of depth that is extremely rare in a Hollywood movie," said film historian Bret Wood: In the shot where Wilson plays checkers with Potter, you can look behind Potter and see a mirror behind him, and through the mirror see Potter and Wilson again, and then see the window behind the camera, and see through that window to cars, buildings and natural sunlight. It's truly radical. If it were deep focus the way Gregg Toland had shot Citizen Kane, maybe it would have been noticed or written about in the last 70-odd years.[11]: 12:32  The set facilitated long takes in which conversations begin indoors, move outside to actual storefronts, and continue across the town square. Welles used long takes as a way to protect the integrity of his film, giving "the great supercutter" nothing to cut away to.[11]: 15:45  The long takes are so subtle that they go unnoticed. At a time when a one-minute take was a rarity,[11]: 12:33  Welles presents one unbroken scene between Kindler and Meinike in the woods that is four minutes long—longer than the bravura opening of Touch of Evil (1958).[11]: 13:21  Welles and Billy House in The Stranger The character of Potter—a comic druggist who plays checkers—was played by actor Billy House, a burlesque star who became a particular favorite of Welles. The character was not initially a major part of the film, but Welles expanded the role as filming progressed. Feeling that these revisions came at his expense, Edward G. Robinson complained ineffectually to studio executives.[7]: 187–188  Welles recalled Loretta Young's support in a dispute with Spiegel, when the producer ordered a closeup of Young during a medium-full shot of Mary's fight with Kindler. "It would have been fatal," Welles said. "I told that to Loretta, and she said, 'Well then, we're not going to make it.'" When Spiegel continued to insist on the closeup, Young brought in her agent. "Imagine getting a star's agent in to ensure that she wouldn't get a closeup!" Welles said. "She was wonderful."[7]: 188  "No one who worked on the film can remember any special anecdotes or problems concerning it," wrote biographer Frank Brady. "Welles has said, since the making of The Stranger—which he completed one day before schedule and under budget—that nothing in the film was his, this despite the fact that the unmistakable Wellesian moods, shadows, acute angles, and depth-of-focus shots are pervasive. Within the film is a second film, another Wellesian touch, consisting of snatches of documentary footage showing Nazi atrocities."[9]: 379–380  The Stranger was the first commercial film to use documentary footage from the Nazi concentration camps.[7]: 189 [15] Wilson (Edward G. Robinson) steps into the projected image of the Holocaust footage in The Stranger "What we tend to forget today is that in the 1940s a large percentage of the population could not believe that the Nazi death camps were real," said Bret Wood.[11]: 100:50  Welles had seen the footage in early May 1945[11]: 102:03  in San Francisco,[16]: 56  as a correspondent and discussion moderator at the United Nations Conference on International Organization.[8]: 304 [17] Welles wrote of the Holocaust footage in his syndicated column for the New York Post (May 7, 1945).[16]: 56–57  No, you must not miss the newsreels. They make a point this week no man can miss: The war has strewn the world with corpses, none of them very nice to look at. The thought of death is never pretty but the newsreels testify to the fact of quite another sort of death, quite another level of decay. This is a putrefaction of the soul, a perfect spiritual garbage. For some years now we have been calling it Fascism. The stench is unendurable.[16]: 56–57 [18] "It is clear that the visual power of the newsreels had struck him deeply, and it is no surprise that clips from them would be included only a few months later in The Stranger," wrote film scholar Jennifer L. Barker.[16]: 57  Three of the four post-liberation scenes included in The Stranger are from Nazi Concentration Camps (1945), a film assembled by George Stevens, James B. Donovan and Ray Kellogg and used as evidence in the Nuremberg Trials.[11]: 59:55 [16]: 58  Within weeks of the completion of The Stranger, International Pictures backed out of its promised four-picture deal with Welles. No reason was given, but the impression was left that The Stranger would not make money.[9]: 381  Reception Contemporary response featured on a poster for The Stranger The Stranger was the only film made by Welles to have been a bona fide box office success upon its release. Its cost was $1.034 million;[2] it earned $2.25 million in U.S. rentals in its first six months,[19] and 15 months after its release it had grossed $3.216 million.[2] "The Stranger exists as an answer to the critics who complained that Welles could not make a 'program' picture," wrote film noir scholar Carl Macek. "He did, and it has found a niche in the canon of the film noir."[10]: 269  At the 19th Academy Awards, Victor Trivas received an Oscar nomination for Writing (Original Motion Picture Story). The award went to Clemence Dane, for Vacation from Marriage.[1][20] The Stranger holds a 97% rating at Rotten Tomatoes based on 29 critic reviews, including two contemporaneous reviews.[21] The sole negative review is that of New York Times critic Bosley Crowther, published in July 1946. Crowther called the film a "bloodless, manufactured show" in which Welles "gave no illusion of the sort of depraved and heartless creatures that the Nazi mass-murderers were. He is just Mr. Welles, a young actor, doing a boyishly bad acting job in a role which is highly incredible—another weak feature of the film. As a matter of fact, the writing of The Stranger, by Anthony Veiller, is the weakest thing about it—and that estimation includes another silly performance by Loretta Young as the killer's wife. For the premise is not only farfetched, but the whole construction of the tale relieves very soon all the mystery and suspense that such a story should have."[22] More favorable coverage was found in Variety, which called the film "a socko melodrama, spinning an intriguing web of thrills and chills. Director Orson Welles gives the production a fast, suspenseful development, drawing every advantage from the hard-hitting script from the Victor Trivas story. … A uniformly excellent cast gives reality to events that transpire. The three stars, Robinson, Young and Welles, turn in some of their best work, the actress being particularly effective as the misled bride."[23] Life magazine featured The Stranger as Movie of the Week in its issue dated June 3, 1946.[24] The film was screened in competition at the 1947 Venice Film Festival. On its release, The Stranger was unfavorably compared to Alfred Hitchcock's Shadow of a Doubt (1943). "One reason for the similarities is the recutting, supervised by Ernest Nims," wrote film historian Bret Wood. "By removing the Latin American sequence and many of the political elements (such as the clock/fascist analogy),The Stranger is transformed from a socially relevant drama to a small town murder story, with the villain more a psychopath than a political fugitive. Nims cut the film to play like a conventional thriller with little regard to Welles's subtextual purposes."[5]: 19  In his audio commentary for the 2013 Blu-ray release of The Stranger, Wood calls it "an undervalued film" due to the absence of the "stylistic swagger" of Citizen Kane and The Magnificent Ambersons. He regards Welles's third completed film as "deceptive and much more complex stylistically and thematically" than has so far been appreciated.[11]: 1:00  Adaptations The premiere issue of Movie Mystery Magazine (July–August 1946) featured a novelization of The Stranger The debut issue (July–August 1946) of the short-lived pulp digest Movie Mystery Magazine presented a novelized condensation of the screenplay for The Stranger.[25] A half-hour adaptation of The Stranger aired on CBS Radio's This Is Hollywood on December 7, 1946. Robinson re-created his role from the film, performing with Ruth Hussey, Roland Morris, and Gerald Mohr.[26][27] Copyright The copyright on the film originally belonged to The Haig Corporation, but the film is in the public domain because the producers did not renew the copyright in 1973.[28][29] Home media After the film fell into the public domain, a number of poor-quality versions of The Stranger were released by various sources. Some versions were duplicated from second- or third-generation releases, and were severely and badly edited, until MGM Home Entertainment (the owners of most of the International Pictures catalog) edited the film in DVD in 2004.[30] An archival restoration was released on DVD and Blu-ray Disc by Kino Classics in October 2013. Kino's release was mastered from a 35mm print at the Library of Congress. The release includes audio commentary by Bret Wood. The DVD includes excerpts of Death Mills (1945), a U.S. War Department documentary on the Nazi death camps directed by Billy Wilder. Other extras include four of Welles's World War II radio broadcasts: "Alameda" (Nazi Eyes on Canada, 1942), "War Workers" (Ceiling Unlimited, 1942), "Brazil" (Hello Americans, 1942), and "Bikini Atomic Test" (Orson Welles Commentaries, 1946).[31] The disc is not captioned for the hearing impaired.[32] Olive Films also put out a Blu-Ray of the film sanctioned from MGM in 2017. The film is also available on the Netflix and Amazon Prime streaming services, and the Daily Motion and Youtube video-sharing platforms. https://en.wikipedia.org/wiki/The_Stranger_(1946_film)

"Suddenly" is a 1954 thriller film directed by Lewis Allen and starring Frank Sinatra, Sterling Hayden, and James Gleason. The film takes place in the small town of Suddenly, where the President of the United States is expected to pass through during a train ride. However, a group of assassins led by John Baron (Frank Sinatra) take over a family's home overlooking the train station, with the intent of assassinating the President. The film builds suspense as the assassins hold the family hostage and wait for the President's arrival. The tension rises as local law enforcement, led by Sheriff Tod Shaw (Sterling Hayden), become aware of the situation and work to prevent the assassination. The film is notable for its dark themes and intense suspense, as well as for Frank Sinatra's performance as the villainous John Baron. The film also touches on themes of post-World War II paranoia and the perceived threats of communist infiltration. Overall, "Suddenly" is a gripping thriller that remains a classic example of the film noir genre, with a memorable performance by Frank Sinatra and a suspenseful storyline that keeps audiences on the edge of their seats. "A masterpiece of film noir and a genuine suspense thriller." - Film Threat "A taught little thriller that keeps you on the edge of your seat" - TV Guide "Suddenly is a small masterpiece of its kind, a film of terror that is as relentless as it is chilling" - The Guardian "Tightly scripted and directed, Suddenly is one of the few films that successfully taps into the paranoia of the early Cold War period" - Time Out "A gem of a thriller with one of the most memorable villains of all time" - Classic Film Freak. Suddenly is a 1954 black and white American noir[4] crime film directed by Lewis Allen with a screenplay written by Richard Sale.[5] The drama stars Frank Sinatra and Sterling Hayden, and features James Gleason and Nancy Gates. The story concerns a small California town whose tranquility is shattered when the train of the president of the United States is scheduled to make a stop in the town, and a hired assassin and his henchmen take over a home that provides a perfect vantage point from which to assassinate the president. Plot In post-war America, a train carrying the president of the United States is scheduled to make a stop in the small town of Suddenly, California. Claiming to be FBI agents checking up on security before the president’s arrival, three men arrive at the home of the Bensons: Ellen, a widow, her young son “Pidge,” and her father-in-law, “Pop” Benson. The house is on top of a hill that looks down on the station where the presidential train is scheduled to stop, making it a perfect perch from which to shoot the president when his train stops. However, it soon becomes clear that the men are not Government agents but assassins, led by the ruthless John Baron, who take over the house and hold the family hostage, planning to shoot the president from a window in the home which has a good view of the railway station. Sheriff Tod Shaw arrives with Dan Carney, the Secret Service agent in charge of the president's security detail. When he does, Baron and his gangsters shoot Carney dead and a bullet fractures Shaw's left arm. Baron straightens his arm and lets him go to the bedroom. Mrs Benson puts his arm in a sling and they all return to watch the events unfold. Baron boasts about the Silver Star he won in the war for killing 16 Japs. (He later changes the story to killing 27 Jerries.) They set up a G/K.43 service rifle at the window, secured to a metal table. Baron explains he has nothing against the president but he is being paid $500,000 to kill him and money is his only motive. He has been paid half up front. Pop broke the TV earlier and the TV repair man arrives amid the scene. All are threatened that the kid will be shot if they do not obey. Baron sends Benny, one of his two henchmen, to check on the president's schedule, but shortly after confirming to Baron that the train is scheduled to stop in Suddenly at 5 p.m., Benny is killed in a shootout with the police. Meanwhile, Jud, a television repairman, has shown up at the house and also becomes a hostage. Pidge goes to his grandfather's dresser to get some medication and notices a fully loaded revolver which he replaces with his toy cap gun. 1:16:44CC Suddenly When the hostages try to appeal to Baron’s patriotism, it becomes clear that he has none: he has been hired to kill the president for money. But when Baron is confronted by the sheriff on the risks of killing the president, including whether he will ever see (let alone live to enjoy) his money, Baron's remaining henchman begins to show some reluctance to go through with the assassination. For Baron, however, these are the very least of his concerns, and it soon becomes clear that he is a psychopath whose pleasure comes from killing – who he kills and for what reason being of little importance to him. In the meantime, the assassins have mounted a WWII German sniper rifle onto a metal table by the window overlooking the train station. Jud, under the guise of fixing the TV, discreetly hooks the table up to the 5000-volt plate output of the family television. Pop Benson then intentionally spills a cup of water on the floor beneath the table. Although the hope is that Baron will be shocked and killed in this way, it is his remaining henchman who touches the table first and is electrocuted, reflexively firing the rifle repeatedly and attracting the attention of police at the train station. Baron shoots and mortally wounds Jud, disconnects the electrical hook-up and aims the rifle as the president's train arrives at the station, only to see the train pass straight through. As an utterly surprised Baron says “[i]t didn’t stop,” Ellen Benson shoots Baron in the abdomen, and Shaw picks up a gun and shoots him a second time. Baron, having dropped to the floor, begs for mercy —— "No, don't...no, please...no, no, no" —— and dies. In the aftermath of the harrowing incident, outside the local hospital Shaw confirms to Ellen that Jud “didn’t make it.” Telling Ellen that he needs to go back to his office, Shaw then makes plans to meet Ellen after church the next day, and they kiss. After she leaves, a driver stops to ask for directions and then asks for the name of the town. When Shaw says it is “Suddenly,” the driver notes that “that’s a funny name for a town.” After the driver pulls away, Shaw says to himself, "Oh, I don't know. I don't know about that." Cast Frank Sinatra as John Baron Sterling Hayden as Sheriff Tod Shaw James Gleason as Peter "Pop" Benson Nancy Gates as Ellen Benson Kim Charney as Peter "Pidge" Benson III Willis Bouchey as Dan Carney, Chief Secret Service Agent Paul Frees as Benny Conklin (also voice of TV announcer) Christopher Dark as Bart Wheeler James O'Hara as Jud Hobson (credited as James Lilburn) Ken Dibbs as Wilson Clark Howat as Haggerty Charles Smith as Bebop Paul Wexler as Deputy Sheriff Slim Adams Dan White as Burg Richard Collier as Ed Hawkins Roy Engel as first driver Ted Stanhope as second driver Charles Wagenheim as Kaplan John Berardino as trooper Cast notes Frank Sinatra's role in Suddenly was the first occasion on which he was cast as a "heavy" in a dramatic film.[6] Actor Paul Frees, who plays one of Sinatra's henchmen, is best known for his voiceover work, such as for the character Boris Badenov in the Rocky and Bullwinkle cartoons. Production Writer Richard Sale got his idea for the short story that was the basis of the film from articles in the newspaper about President Dwight D. Eisenhower's visits to Palm Springs, California, by train.[6] There were differences between the story and the film, the most thematically important being that the mother in the story was not bitter about her husband's death in World War II, and in fact, was not present during the assassination attempt,[1] so never had to make the choice the mother in the film has to make: whether to shoot and kill the assassin when the opportunity arises. The exterior scenes for Suddenly were filmed in Saugus, California, which is now part of the city of Santa Clarita.[1] Saugus Railway Station, which features prominently, still exists, though not in its original location. At the time of filming Saugus was served by a spur line that branched off from the main Southern Pacific coast line, terminating at Ventura. The spur line operated for almost a century but was decommissioned and torn up during the 1970s. Saugus station closed permanently in 1978, but local residents saved the historic building (opened in 1888) and had it moved to a new location, where it now serves as a museum. The building was subsequently also used as a location in the 1990 film The Grifters, starring Angelica Huston and John Cusack. The production company, Libra Productions, was producer Robert Brassler's company, and Suddenly was his first independent film. Previously, Brassler had worked for Twentieth Century Fox.[1] Sterling Hayden as Sheriff Tod Shaw Reception Frank Sinatra as John Baron, berating a hostage. When the film was released, Bosley Crowther, film critic for The New York Times, liked the direction of the film and the acting, and writing "Yet such is the role that Mr. Sinatra plays in Suddenly!, a taut little melodrama that... [it] shapes up as one of the slickest recent items in the minor movie league... we have several people to thank—particularly Richard Sale for a good script, which tells a straight story credibly, Mr. Allen for direction that makes both excitement and sense, Mr. Bassler for a production that gets the feel of a small town and the cast which includes Sterling Hayden, James Gleason and Nancy Gates." Crowther especially liked Sinatra's performance. He wrote, "Mr. Sinatra deserves a special chunk of praise...In Suddenly! he proves it in a melodramatic tour de force."[7] The staff reviewer at Variety gave the film a good review and praised the acting. He wrote "[Sinatra] inserts plenty of menace into a psycho character, never too heavily done, and gets good backing from his costar, Sterling Hayden, as sheriff, in a less showy role but just as authoritatively handled. Lewis Allen's direction manages a smart piece where static treatment easily could have prevailed."[8] The reviewer for Newsweek wrote about Sinatra's performance that he "superbly refutes the idea that the straight-role potentialities which earned an Academy Award for him in From Here to Eternity were one-shot stuff. In Suddenly, the happy-go-lucky soldier of Eternity becomes one of the most repellent killers in American screen history."[6] Film critic Carl Mazek in Film Noir: An Encyclopedic Reference to the American Style (1982) makes the case that the "Machiavellian attitude" of John Baron links the picture with the brutal films noir of the 1950s like The Big Night (1951) and Kiss Me Deadly (1955).[9] Moreover, he continued: The sense of claustrophobia and despair unleashed by the assassins in Suddenly is completely amoral, and totally opposite of the style of harassment found in such non-noir, socially redemptive films as The Desperate Hours [1955]...There are no reasons given, or asked for, regarding the assassination — the entire incident functions as a nightmare, a very real nightmare that invades the serenity of a small town. At the end of the film, it is apparent that the Benson family will never be the same, suddenly scarred by people out of nowhere who irrevocably disrupt their middle-class tranquility.[6][9] On review aggregator website Rotten Tomatoes, the film holds a contemporary approval rating of 100% based on nine reviews, with an average rating of 6.78/10.[10] History Influence In 1959, five years after the release of Suddenly, The Manchurian Candidate, a novel written by Richard Condon, a former Hollywood press agent, was published. As with Suddenly, Condon's book features a mentally troubled former war hero who, at the climax of the story, uses a rifle with a scope to shoot at a politician, in the case of the novel, a presidential candidate. The Manchurian Candidate was released as a film in 1962, starring Sinatra, but this time he was trying to prevent an assassination being committed by Laurence Harvey.[6] Paul Frees, who plays Benny Conklin in Suddenly, served as the narrator of The Manchurian Candidate (1962). Sinatra asked United Artists to withdraw Suddenly from circulation because he heard the rumor that Lee Harvey Oswald had seen it before shooting President Kennedy.[11][6] According to Hollywood legend, Sinatra bought up all remaining copies of Suddenly and had them destroyed, but this was not true.[12] Sinatra also supposedly wanted The Manchurian Candidate – of which he was a producer – withdrawn after the assassination, but its disappearance was caused by its having completed a normal film release schedule.[1][12] A remake of Suddenly, starring Dominic Purcell and directed by Uwe Boll, was released in 2013.[13] Loss of copyright The film's copyright was not renewed and it entered the public domain; it can be downloaded and viewed for free online.[14] Prior to it entering the public domain, the film was widely available from a number of discount/public domain distributors. Suddenly was colorized for home video by Hal Roach Studios in 1986, rendering Sinatra's blue eyes brown.[15] A remastered colorized version by Legend Films was released to DVD on June 16, 2009, which also includes a newly restored print of the original black and white film.[16] Serge Bromberg, a film preservationist based in Paris, completely restored the film from a camera negative for Lobster Films, which released it in 2018. https://en.wikipedia.org/wiki/Suddenly_(1954_film)

The Hitch-Hiker is a classic film noir released in 1953, directed by Ida Lupino and starring Edmond O'Brien, Frank Lovejoy, and William Talman. The movie is based on the true story of convicted serial killer Billy Cook, who killed six people during a spree in 1950. The film follows two friends, Roy Collins and Gil Bowen, who embark on a fishing trip in Mexico. Along the way, they pick up a hitchhiker named Emmett Myers, who quickly reveals himself to be a dangerous and sadistic criminal. Myers takes the two men hostage and forces them to drive him across the country, evading the police and committing additional crimes along the way. The Hitch-Hiker is notable for its strong performances and tense, claustrophobic atmosphere. The film is shot in a stark, black-and-white style, with tight close-ups and low-angle shots that emphasize the characters' sense of confinement and fear. The dialogue is spare and impactful, and the story is driven by the intense psychological tension between the three main characters. The Hitch-Hiker is also notable for being one of the few film noirs directed by a woman, Ida Lupino, who was a pioneering filmmaker in a male-dominated industry. Lupino's direction brings a nuanced perspective to the film's exploration of masculinity, violence, and power dynamics. Overall, The Hitch-Hiker is a tense and compelling film that remains a classic of the film noir genre. Its exploration of the dark underbelly of American society and the psychology of violence continues to resonate with audiences today. The Hitch-Hiker is a 1953 American film noir thriller co-written and directed by Ida Lupino, starring Edmond O'Brien, William Talman and Frank Lovejoy, about two friends taken hostage by a hitchhiker during an automobile trip to Mexico.[2] The Hitch-Hiker was the first American mainstream film noir directed by a woman. It was selected in 1998 for preservation in the United States National Film Registry as being "culturally, historically or aesthetically significant."[3][4][5] The film was a fictionalized version of the Billy Cook murder spree. Plot In the early 1950’s, a hitchhiker robs and kills a succession of people who offer him rides. A suspect, Emmett Myers (Talman), is publicized in newspaper headlines. Two friends, Roy Collins (O'Brien) and Gilbert Bowen (Lovejoy) are driving in southern California toward a planned fishing trip in the Mexican town of San Felipe on the Gulf of California. Just south of Mexicali, they pick up Myers, who pulls a gun and takes them hostage. Myers forces them to journey over dirt roads into the Baja California Peninsula toward Santa Rosalía, where he plans to take a ferry across the Gulf of California to Guaymas. Myers terrorizes and humiliates the two men, at one point forcing Bowen, standing a long distance away, to shoot a tin can out of Collins' hand. One night during their one attempt to escape, Collins hurts his ankle. When the car is damaged, Myers forces them to continue on foot despite Collins' injury. Myers ridicules the two men for missing opportunities to escape for fear the other might be killed. He boasts, "You can get anything at the end of a gun."[6] Police in the U.S. and Mexico are hunting Myers, and authorities know that he has abducted the two men, who hear this on the radio. They understand that their lives are in danger. To mislead Myers, the police purposely alter information to suggest they think he is still in the United States. Arriving at Santa Rosalía, Myers tries to conceal his identity by forcing Collins to wear his clothes. Discovering the regular ferry to Guaymas has burned, he hires a fishing boat. A local resident discovers his identity and contacts authorities, who are waiting at the pier. After a shootout and scuffle, Myers is arrested and Collins and Bowen are freed unharmed. Cast Edmond O'Brien as Roy Collins Frank Lovejoy as Gilbert Bowen William Talman as Emmett Myers José Torvay as Captain Alvarado Wendell Niles as Himself (Radio Announcer). Jean Del Val as Inspector General Clark Howat as Government Agent Natividad Vacío as Jose Rodney Bell as William Johnson Background Ida Lupino (left) directing The Hitch-Hiker The film was based on the murder spree of Billy Cook, who in 1950, murdered a family of five and a traveling salesman, then kidnapped Deputy Sheriff Homer Waldrip from Blythe, California. Cook ordered his captive to drive into the desert, where he tied him up with blanket strips and took his police cruiser, leaving Waldrip to die. Waldrip got loose, however, walked to the main road, and got a ride back to Blythe. Cook also took hostage two men who were on a hunting trip. Cook was tried, convicted, and received the death penalty. On December 12, 1952, Cook was executed in the gas chamber at San Quentin State Prison in California.[7] Production The film was written by Lupino and her former husband Collier Young, based on a story by Daniel Mainwaring which was adapted by Robert L. Joseph. Mainwaring did not receive a screen credit due to his then being on the Hollywood blacklist. The Hitch-Hiker went into production on June 24, 1952, and wrapped in late July.[8] The director of photography was RKO Pictures regular Nicholas Musuraca.[9] Location shooting took place in the Alabama Hills near Lone Pine[10] and Big Pine, California.[11] Working titles for the film were "The Difference" and "The Persuader".[8] Lupino was a noted actress who began directing when Elmer Clifton got sick and couldn't finish the film he was directing for Filmakers Inc., the production company founded by Lupino and her husband Collier Young to make low-budget, issue-oriented movies. Lupino stepped in to finish the film and went on to direct her own projects. The Hitch-Hiker was her first hard-paced, fast-moving picture after four "women's" films about social issues.[12] Lupino interviewed the two prospectors whom Billy Cook had held hostage, and got releases from them and from Cook as well, so that she could integrate parts of Cook's life into the script. To appease the censors at the Hays Office, however, she reduced the number of deaths to three.[7] The Hitch-Hiker premiered in Boston on March 20, 1953, to little fanfare[13] and immediately went into general release.[8] The film was marketed with the tagline: "When was the last time you invited death into your car?" The film is in the public domain.[14] Reception Frank Lovejoy, William Talman and Edmond O'Brien The Philadelphia Inquirer said that "with nothing more than three able actors, a lot of rugged scenery and their own impressive talents as producers, authors and director, Collier Young and Ida Lupino have brewed a grim little chiller." The Inquirer critic praised the performances and said the film was "directed with masculine strength by the amazing Miss Lupino."[15] The New York Daily News gave the film three and a half of four stars, saying Lupino made "good and exciting use" of the real-life incident.[16] The New York Times called the film an "unrelenting but superficial study of abnormal psychology coupled with standard chase melodrama." Critic A.H. Weller complimented the performances and Lupino's "brisk direction," but criticized the plot as excessively predictable.[6] The Detroit Free Press said that the film performed a public service, by warning motorists about the dangers of picking up hitchhikers.[17] Legacy The film has been widely praised in the years since its release, and holds a 93% approval rating on Rotten Tomatoes, based on 43 reviews.[18] Critic John Krewson lauded the work of Ida Lupino, and wrote, As a screenwriter and director, Lupino had an eye for the emotional truth hidden within the taboo or mundane, making a series of B-styled pictures which featured sympathetic, honest portrayals of such controversial subjects as unmarried mothers, bigamy, and rape ... in The Hitch-Hiker, arguably Lupino's best film and the only true noir directed by a woman, two utterly average middle-class American men are held at gunpoint and slowly psychologically broken by a serial killer. In addition to her critical but compassionate sensibility, Lupino had a great filmmaker's eye, using the starkly beautiful street scenes in Not Wanted and the gorgeous, ever-present loneliness of empty highways in The Hitch-Hiker to set her characters apart.[19] Time Out Film Guide wrote of the film, Absolutely assured in her creation of the bleak, noir atmosphere – whether in the claustrophobic confines of the car, or lost in the arid expanses of the desert – Lupino never relaxes the tension for one moment. Yet her emotional sensitivity is also upfront: charting the changes in the menaced men's relationship as they bicker about how to deal with their captor, stressing that only through friendship can they survive. Taut, tough, and entirely without macho-glorification, it's a gem, with first-class performances from its three protagonists, deftly characterised without resort to cliché.[20] In January 2014, a restored 35mm print was premiered by the Film Noir Foundation at Noir City 12 at the Castro Theatre in San Francisco. On April 6, 2014 The Hitch-Hiker was shown again at the Egyptian Theatre in Hollywood. Mary Ann Anderson author of The Making of The Hitch-Hiker appeared at this event. While most films noir were filmed in claustrophobic cities, The Hitch-Hiker was filmed in the desert southwestern United States (territory similar to that of Baja California, where most of the story takes place), mostly in wilderness and small villages. Critics Bob Porfiero and Alain Silver, in a review and analysis of the film, praised Lupino's use of shooting locations. They wrote, "The Hitch-Hiker's desert locale, although not so graphically dark as a cityscape at night, isolates the protagonists in a milieu as uninviting and potentially deadly as any in film noir."[21] https://en.wikipedia.org/wiki/The_Hitch-Hiker

Detour is a film noir classic released in 1945, directed by Edgar G. Ulmer and starring Tom Neal and Ann Savage. The movie follows the story of Al Roberts, a New York City pianist who hitchhikes his way to California to reunite with his girlfriend Sue. Along the way, he meets a man named Charles Haskell Jr., who offers him a ride. When Haskell suddenly dies during the trip, Roberts takes on his identity and assumes his role as a traveling salesman, hoping to avoid the police. As Roberts continues his journey, he picks up a hitchhiking woman named Vera, who knows his true identity and threatens to turn him in to the police unless he agrees to a scheme to defraud an elderly wealthy man in Los Angeles. As the two embark on a dangerous journey to carry out the plan, Roberts finds himself in increasingly dire circumstances and becomes increasingly paranoid. Detour is renowned for its low budget production, bleak atmosphere, and nihilistic themes. The film is shot in a distinctive style, using low-angle shots and deep shadows to create a sense of claustrophobia and paranoia. The dialogue is filled with cynicism and fatalism, and the story is driven by the characters' desperation and lack of moral compass. The film was not initially well received by critics or audiences, but has since gained a cult following and is now considered a classic of film noir. Detour is often cited as an example of the power of low budget filmmaking and the ability of a talented director and cast to create a memorable and impactful film with limited resources. Detour is a 1945 American independent film noir directed by Edgar G. Ulmer starring Tom Neal and Ann Savage. The screenplay was adapted by Martin Goldsmith and Martin Mooney (uncredited) from Goldsmith's 1939 novel of the same title, and released by the Producers Releasing Corporation, one of the so-called Poverty Row film studios in mid-20th-century Hollywood.[3] In 1992, Detour was selected for the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[4][5] The film, which today is in the public domain and freely available for viewing at various online sources, was restored by the Academy Film Archive in 2018.[6] In April that year, the 4K restoration premiered in Los Angeles at the TCM Festival.[7] A Blu-Ray and DVD was released in March 2019 from the Criterion Collection.[8] Plot Al Roberts, an unemployed piano player, is hitchhiking. After getting a ride, he arrives at a roadside diner in Reno, Nevada. Another customer in the diner plays a song on the jukebox, one that disturbs Al, for it reminds him of his former life in New York City. He remembers a time there when he was bitter about squandering his musical talent working in a cheap nightclub. After his girlfriend Sue Harvey, the nightclub's lead singer, quit her job and left to seek fame in Hollywood, he became depressed. After some anguish, Al decided to travel to California to see Sue and marry her. With little money, though, he was forced to hitchhike his way across the country. 1:08:00 Play full film; runtime 01:07:57. In Arizona, bookie Charles Haskell Jr. gives Al a ride in his convertible and tells him that he is in luck; he is driving to Los Angeles to place a bet on a horse. During the drive, he has Al pass him pills on several occasions, which he swallows as he drives. That night, Al drives while Haskell sleeps. When a rainstorm forces Al to pull over to put up the convertible's top, he is unable to rouse Haskell. Al opens the passenger-side door and Haskell tumbles out, falling to the ground and striking his head on a rock. Al then realizes the bookie is dead. It is likely that Haskell died earlier from a heart attack, but Al is certain that if he calls the police, they will arrest him for killing Haskell. Al hides the body in the brush. He takes the dead man's money, clothes, and identification, and drives away, intent on abandoning the car near Los Angeles. Al crosses into California and spends a night in a motel. The next day, as he leaves a gas station near Desert Center Airport, he picks up a hitchhiker, who gives her name as Vera. At first, she travels silently with Al, who has identified himself as Haskell, but suddenly challenges his identity and ownership of the car, revealing that she had been picked up by Haskell earlier in Louisiana, but got out in Arizona after he tried to force himself on her. Al tells her how Haskell died, but she blackmails him by threatening to turn him over to the police. She takes the money that Al retrieved from Haskell's wallet and demands whatever money they get by selling the car. In Hollywood, they rent an apartment, posing as Mr. and Mrs. Haskell, to provide an address when they sell the car. When they are about to make the sale, Vera learns from a newspaper that Haskell's wealthy father is near death and a search is under way for his long-estranged son. Vera demands that Al impersonate Haskell and position himself to inherit the estate. Al refuses, arguing that the impersonation would require detailed knowledge he lacks. Back at the apartment, Vera gets drunk and they begin arguing intensely. In a drunken rage, she threatens to call the police and runs into the bedroom with the telephone. She locks the door then falls on the bed and begins to fall asleep, the telephone cord tangled around her neck. From the other side of door, Al pulls on the cord to try to disconnect the phone. When he breaks down the door, he discovers he has inadvertently strangled Vera. Al gives up the idea of contacting Sue again and returns to hitchhiking. He later finds out that Haskell is wanted in connection with the murder of Vera, "his wife." Back in the diner in Reno where the film opened, he imagines his inevitable arrest. Cast Ann Savage and Tom Neal Tom Neal as Al Roberts Ann Savage as Vera Claudia Drake as Sue Harvey Edmund MacDonald as Charles Haskell Jr. Tim Ryan as the Nevada Diner Proprietor Esther Howard as Holly, Diner Waitress Don Brodie as the Used Car Salesman Pat Gleason as Joe, truck driver Production In 1972, Ulmer said in an interview that the film was shot in six days. However, in a 2004 documentary, Ulmer's daughter Arianne presented a shooting script title page which noted, "June 14, 1945-June 29. Camera days 14."[9] Moreover, Ann Savage was contracted to Producers Releasing Corporation (PRC) for the production of Detour for three six-day weeks, and she later said the film was shot in four six-day weeks, with an additional four days of location work in the desert at Lancaster, California.[10] While popular belief long held that Detour was shot for about $20,000,[11] Noah Isenberg, in conducting research for his book on the film, discovered that the production's final cost was closer to $100,000.[12] Even so, it still had one of the highest profit margins, if not the highest, of any film noir listed in the National Film Registry. Billy Halop was tested for the role of Al Roberts, was selected for the part, but was replaced by Tom Neal just three days before filming began.[13] Editing Savage in publicity still for the film As detailed in Savage Detours: The Life and Work of Ann Savage, great care was taken during the postproduction of Detour.[10] The final picture was tightly cut down from a much longer-shooting script, which had been shot with more extended dialogue sequences than appear in the released print. The soundtrack is also fully realized, with ambient backgrounds, motivated sound effects, and a carefully scored original musical soundtrack by Leo Erdody, who had previously worked with Ulmer on Strange Illusion (1945). Erdody took extra pains to underscore Vera's introduction with a sympathetic theme, giving the character a light musical shading in contrast to her razor-sharp dialogue and its ferocious delivery by Savage. The film was completed, negative cut, and printed throughout the late summer and fall of 1945, and was released in November of that year. The total period of preproduction through postproduction at PRC ran from March through November 1945. In contrast, during the period Detour was in post-production, PRC shot, posted, and released Apology for Murder (1945), also starring Savage. Apology was given a shorter production period and a quick sound job, and used library music for the soundtrack. Clearly, Detour was a higher priority to PRC, and the release was well promoted in theaters with a full array of color print support, including six-sheet posters, standees, hand drawn portraits of the actors, and a jukebox tie-in record with Bing Crosby singing "I Can't Believe That You're in Love with Me" (1926).[10] With reshoots out of the question for such a low-budget movie, director Ulmer put storytelling above continuity. For example, he flipped the negative for some of the hitchhiking scenes. This showed the westbound New York City to Los Angeles travel of the character with a right-to-left flow across the screen, though it also made cars seem to be driving on the "wrong" side of the road, with the hitchhiker getting into the car on the driver's side. Charlie Haskell's car The 1941 Lincoln Continental driven by Haskell and Roberts The car owned by the character Charlie Haskell and later driven by Al Roberts is itself an integral part of the film's plot and is certainly the most memorable prop item in the production. The automobile is a customized 1941 Lincoln Continental V-12 convertible, a base model of a "Cabriolet" but one that features bolted-on rear wheel-well covers and some exterior components added later from Lincoln's limited 1942 version of the same model.[14] Reportedly, the production budget for Detour was so tight that director Ulmer decided to use this car, his "personal car", for the cross-country crime drama.[14] Censorship The Motion Picture Production Code did not allow murderers to get away with their crimes, so Ulmer satisfied the censors by having Al picked up by a police car at the very end of the film after foreseeing his arrest in the earlier narration. Reception and legacy Detour was generally well received on its initial release, with positive reviews in the Los Angeles Times, The Hollywood Reporter, Variety in other major newspapers and trade publications. Contemporary screenings of Detour were also not confined to grindhouse theaters; they were presented at top "movie houses". For example, in downtown Los Angeles in May 1946, it played at the 2,200-seat Orpheum in combination with a live stage show featuring the hit Slim Gaillard Trio and the Buddy Rich Orchestra. Business was reported to be excellent despite a transit strike.[15] Shortly after the film's release in November 1945, Mandel Herbstman, the reviewer for the trade journal Motion Picture Herald, rated the production as only "fair". Herbstman was impressed, however, with the film's overall structure. "Venturing far from the familiar melodramatic pattern", he wrote, "director Edgar G. Ulmer has turned out an adroit, albeit unpretentious production about a man who stumbles into a series of circumstances which seals his doom."[16] He especially liked its conclusion and noted, "Making no compromise with the 'happy ending' formula, the film has a number of ironic and suspenseful moments."[16] The film was released to television in the early 1950s, and it was broadcast in syndicated TV markets until the advent of mass cable systems. TV reviewers casually recommended it in the 1960s and 1970s as a worthwhile "B" movie. Then, by the 1980s, critics began citing Detour increasingly as a prime example of film noir, and revival houses, universities and film festivals began presenting the crime drama in tributes to Edgar G. Ulmer and his work. The director died in 1972, unfortunately before the full revival of Detour and the critical re-evaluation of his career occurred. Tom Neal died the same year as Ulmer, but Ann Savage lived long enough to experience the newfound acclaim. From 1985 until just two years before her death in 2008, she made a series of live appearances at public screenings of the film. Critical response to the film decades after its release is almost universally positive.[17] More current reviewers contrast the technical shoddiness of the film with its successful atmospherics as film critic Roger Ebert wrote in his essay for The Great Movies, "This movie from Hollywood's poverty row, shot in six days, filled with technical errors and ham-handed narrative, starring a man who can only pout and a woman who can only sneer, should have faded from sight soon after it was released in 1945. And yet it lives on, haunting and creepy, an embodiment of the guilty soul of film noir. No one who has seen it has easily forgotten it."[18] Sight and Sound reviewer Philip Kemp later wrote, "Using unknown actors and filming with no more than three minimal sets, a sole exterior (a used-car lot) to represent Los Angeles, a few stock shots and some shaky back-projection, Ulmer conjures up a black, paranoid vision, totally untainted by glamour, of shabby characters trapped in a spiral of irrational guilt."[19] Novelists Edward Gorman and Dow Mossman wrote, "Detour remains a masterpiece of its kind. There have been hundreds of better movies, but none with the feel for doom portrayed by ... Ulmer. The random universe Stephen Crane warned us about—the berserk cosmic impulse that causes earthquakes and famine and AIDS—is nowhere better depicted than in the scene where Tom Neal stands by the roadside, soaking in the midnight rain, feeling for the first time the noose drawing tighter and tighter around his neck."[20] In 2007, Richard Corliss, the former editor-in-chief of Film Comment and a notable film critic for Time magazine, ranked Savage's portrayal of Vera number 6 on his list of the "Top 25 Greatest Villains" in cinema history, placing her just behind Barbara Stanwyck's character Phyllis Dietrichson in Double Indemnity (1944).[21] As part of his assessment of Vera, Corliss describes her effects on not only her traveling companion Al Roberts but on viewers of the film as well: ...Hell truly is other people—if the person is Vera. Picked up on a trip out west by a man (Tom Neal) fleeing from a death scene, she instantly and spectacularly gets on his and the audience's nerves. When she's not playing the domestic harridan ("Stop makin’ noises like a husband"), she's threatening to send him to the gas chamber ("sniffin' that perfume Arizona hands out free to murderers"). With a final fatal phone call, Vera leads her poor prey to his motel-room doom. Even in death, she makes the survivor the sucker.[21] Remake A remake of Detour was produced in 1992, starring Neal's son, Tom Neal Jr., and Lea Lavish, along with Susanna Foster making her first acting appearance in 43 years and her final appearance on film. Produced, written, and directed by Wade Williams and released by his distribution company, Englewood Entertainment, it was released on VHS and in 1998 on DVD.[22] https://en.wikipedia.org/wiki/Detour_(1945_film)

"The Man with the Golden Arm" is a classic drama film released in 1955, directed by Otto Preminger and based on the novel of the same name by Nelson Algren. The movie revolves around the character of Frankie Machine, played by Frank Sinatra, a former heroin addict and a card dealer who returns to his old neighborhood in Chicago after serving time in prison. Frankie is determined to stay clean and start a new life, but he struggles to resist the temptation of drugs and gambling. His attempts to break free from his addiction are complicated by his troubled relationship with his wife, played by Eleanor Parker, and his friend and dealer, played by Darren McGavin. As the story unfolds, the audience is taken on a gripping and emotional journey through the highs and lows of Frankie's life, as he battles his inner demons and tries to find a way out of his addiction. Along the way, the movie explores themes such as redemption, friendship, and the destructive power of addiction. "The Man with the Golden Arm" was a groundbreaking movie for its time, as it tackled the taboo subject of drug addiction in a realistic and unflinching manner. The movie was praised for its powerful performances, especially by Frank Sinatra, who received an Oscar nomination for his portrayal of Frankie. Overall, "The Man with the Golden Arm" is a must-watch movie for anyone interested in classic cinema or stories of human struggle and redemption. The Man with the Golden Arm is a 1955 American drama film with elements of film noir directed by Otto Preminger, based on the novel of the same name by Nelson Algren. Starring Frank Sinatra, Eleanor Parker, Kim Novak, Arnold Stang and Darren McGavin, It recounts the story of a drug addict who gets clean while in prison, but struggles to stay that way in the outside world. Although the addictive drug is never identified in the film, according to the American Film Institute "most contemporary and modern sources assume that it is heroin", although in Algren's book it is morphine.[3] The film's initial release was controversial for its treatment of the then-taboo subject of drug addiction.[3][4] It was nominated for three Academy Awards: Sinatra for Best Actor in a Leading Role, Joseph C. Wright and Darrell Silvera for Best Art Direction-Set Decoration, Black-and-White and Elmer Bernstein for Best Music, Scoring of a Dramatic or Comedy Picture. Sinatra was also nominated for best actor awards by the BAFTAs and The New York Film Critics.[5] The film is in the public domain, and in 2020 was added into the National Film Registry.[6][7] Plot 1:58:41CC The full film Frankie Machine is released from the federal Narcotic Farm in Lexington, Kentucky, with a set of drums and a new outlook on life, and returns to his run-down neighborhood on the North Side of Chicago. A drug addict (the drug is never named, but heroin is strongly implied), Frankie became clean in prison. On the outside, he greets friends and acquaintances. Sparrow, who runs a con selling homeless dogs, clings to him like a young brother, but Schwiefka, whom Frankie used to deal for in his illegal card game, has more sinister reasons for welcoming him back, as does Louie, Machine's former drug dealer. Frankie returns home to his wife Zosh, who supposedly needs to use a wheelchair after a car crash some years earlier that was caused by Frankie driving drunk. Zosh is secretly fully recovered, but pretends to be unable to walk to keep making Frankie feel guilty so he will stay with her. Frankie comments on the whistle she wears around her neck, a device she used in Frankie's absence to summon a neighbor, Vi, when needed. With Frankie home, Zosh smothers her husband in their small tenement apartment and hinders his attempt to make something of himself. He thinks he has what it takes to play drums for a big band. While calling to make an appointment, he bumps into an old flame, Molly, who works in a local strip joint as a hostess and lives in the apartment below Frankie's. Unlike Zosh, Molly encourages his dream of becoming a drummer. Frankie soon gets himself a tryout and asks Sparrow to get him a new suit, but the suit is a stolen one and he ends up back in a cell at a local Chicago police precinct. Schwiefka offers to pay the bail. Frankie refuses, but soon changes his mind when the sight of a drug addict on the edge becomes too much for him. Now, to repay the debt, he must deal cards for Schwiefka again. Louie is trying to hook him on drugs again, and with no job and Zosh to please, pressure is building from all directions. Soon Frankie succumbs and is back on drugs and dealing marathon all-night card games for Schwiefka. Molly sees he is using drugs again and runs away from him. He gets a tryout as a drummer but spends 24 hours straight dealing a poker game, during which he is discovered cheating and beaten up. Desperately needing a fix, Frankie follows Louie home, attacks him, and ransacks his house, but cannot find his drug stash. At the audition, with withdrawal coming on, Frankie can't keep the beat and ruins his chance of landing the drumming job. When Louie goes to see Zosh to try to find Frankie, Louie discovers that Zosh has been faking her paralysis and can walk. Zosh, scared of being found out, pushes Louie over the railing of the stairwell to his death, but things backfire when Frankie is sought for Louie's murder. Initially not realizing he is a suspect in Louie's death, Frankie goes to Molly hoping to get money for a fix. After learning that Captain Bednar and the police are looking for him, Molly convinces Frankie that he must go cold turkey if he is to stand a chance with the police. Frankie agrees and is locked in Molly's apartment where he goes through a grueling withdrawal to clear the drugs from his body. Finally clean again, he tells Zosh he is going to leave her, start anew and stand trial. In her desperation to keep Frankie from leaving her, Zosh once again gives herself away, standing up in front of Frankie and the police. She runs, but can get no farther than the outside balcony. Trapped, she blows the whistle and throws herself off the balcony to her death. A police ambulance then arrives to remove Zosh's lifeless body and drives away, while Frankie watches in dismay. He then walks away, with Molly following as Sparrow can be seen walking away in the opposite direction. Cast Frank Sinatra as Frankie "Dealer" Machine Eleanor Parker as Sophia "Zosh" Machine Kim Novak as Molly Novotny Arnold Stang as Sparrow Darren McGavin as "Nifty Louie" Fomorowski Robert Strauss as Zero Schwiefka John Conte as Drunkie John Doro Merande as Vi George E. Stone as Sam Markette George Mathews as Williams Leonid Kinskey as Dominowski Emile Meyer as Captain Bednar Shorty Rogers as himself (bandleader at audition) Ralph Peña as himself (bassist at audition) Shelly Manne as himself (drummer at audition)[3] Production Screen rights to Algren's novel were first acquired in 1949 on behalf of John Garfield, who planned to star in the film version. However, production was delayed because the Production Code Authority (PCA) refused to approve the script, with Joseph Breen stating that the basic story was "unacceptable" because of the Code's prohibition on showing illegal drug trafficking and drug addiction. The ability to obtain PCA approval was critical because at that time, many movie theaters would not show films that had not received approval. The PCA further predicted that the subject would also be unacceptable to the National Legion of Decency (a Catholic film censor board), Federal authorities, and state and local censor boards in the United States and abroad. Garfield died in 1952 and the film rights were acquired by Otto Preminger from his estate.[3] Preminger had previously released The Moon Is Blue (1953), which succeeded at the box office despite being denied the Production Code seal of approval due to its sexual subject matter.[4] He told Peter Bogdanovich why he was attracted to Algren's novel: "I think there's a great tragedy in any human being who gets hooked on something, whether it's heroin or love or a woman or whatever."[8] Although United Artists (UA) had a distribution contract with Preminger, a clause in the contract allowed them to withdraw if a film failed to get Code approval. Preminger stated that in that event, he would set up his own company to handle distribution of The Man with the Golden Arm. Preminger continued to have problems with the PCA during the making of the film.[3] Although the novel's author, Nelson Algren, was initially brought to Hollywood to work on the screenplay, he and Preminger were incompatible from the start and the situation did not improve.[9] Algren was quickly replaced by Walter Newman.[10][11] Preminger and Newman made significant changes to Algren's original story,[12] Frank Sinatra jumped at a chance to star in the film before reading the entire script. The script was given to Marlon Brando around the same time as Sinatra, who still harbored some anger at Brando for beating out Sinatra for the lead role in On the Waterfront.[13] To prepare for his role, Sinatra spent time at drug rehabilitation clinics observing addicts going cold turkey.[14] He also learned to play drums from drummer Shelly Manne.[3] The picture was shot in six weeks at RKO Studios in Hollywood from September 26 through November 4, 1955.[15] Saul Bass designed the crooked arm symbol used in the film's advertising campaign, which Preminger liked so much that he threatened to pull the picture if an exhibitor changed the advertisements. Bass also created the animated title sequence for the film, the first of many such sequences that he created for films by Preminger, Alfred Hitchcock, and others.[16] Controversy over release Preminger decided to release the finished film prior to submitting it for a Code seal of approval.[3] He contended that his film would not entice any viewers to take drugs, since drug use was depicted as having severely negative consequences.[4] United Artists, which had invested $1 million in the film's production, opted to distribute the film, even though doing so could result in the company being fined $25,000 by the Motion Picture Association of America (MPAA).[3] The president of United Artists, Arthur Krim, expressed the company's hope that the PCA would make an exception to its usual rules and grant the film approval because of the film's "immense potential for public service." The film received several advance bookings in November and early December 1955, before the PCA had made a decision on whether to grant a Code seal.[3] However, in early December 1955, the PCA denied the film a Code seal, and the decision was upheld upon appeal to the MPAA. As a result, United Artists resigned from the MPAA that same month (although the company re-joined a few years later).[17] The National Legion of Decency also showed disagreement with the PCA ruling by rating the film as a "B" meaning "morally objectionable in part for all", instead of a "C" meaning "condemned", which was the rating normally given to films that were denied a Code seal. Large theater circuits including Loews also refused to ban the film and instead showed it despite the lack of a Code seal. As a result of the controversy, the MPAA investigated and revised production codes, allowing later movies more freedom to deeply explore hitherto taboo subjects such as drug abuse, kidnapping, miscegenation, abortion, and prostitution.[3][4][18] In the end, The Man with the Golden Arm finally received the Production Code seal number 20011 in June 1961, which permitted the film to be reissued and sold for television broadcast.[3] Reception [icon] This section needs expansion. You can help by adding to it. (November 2016) The Man with the Golden Arm earned $4,100,000 at the North American box office and the critical reception was just as strong; Variety magazine stated: "Otto Preminger's The Man with the Golden Arm is a feature that focuses on addiction to narcotics. Clinical in its probing of the agonies, this is a gripping, fascinating film, expertly produced and directed and performed with marked conviction by Frank Sinatra as the drug slave."[19][20] On Rotten Tomatoes, the film holds an approval rating of 81% from 58 reviews.[21] Differences from the novel This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message) After replacing novel author and original screenwriter Nelson Algren with Walter Newman, Preminger proceeded to change the plot and characters extensively from the original novel, which led to feelings of bitterness from Algren. When photographer and friend Art Shay asked Algren to pose below the film's marquee, he is reported to have said, "What does that movie have to do with me?"[10][22] Even though the first draft of the novel did not even deal with drug addiction (it was only added later),[23] this became the singular focus of the film. In the novel, Frankie served in World War II and became addicted to morphine following treatment for a war injury. There is little mention of Frankie's film counterpart serving in the war, and he tells Molly that he started drugs "for kicks." In Algren's novel, Frankie is a blond-haired man in his late 20s, and as a poor veteran he often wears a torn Army jacket and brogans. Played by Sinatra (who was nearly 40 years old at the time), the film's protagonist has dark hair and normally wears slacks and a dress shirt. In the film he is given a drum set and almost lands a job as a big band drummer, but in the novel he only has a practice pad, and his dream of being a drummer is only a fleeting aspiration. The novel implies that Zosh's paralysis is a psychosomatic symptom of her mental illness, but in the film she is deliberately deceiving Frankie and is fully able to walk. The novel's version of Violet ("Vi") is an attractive young woman and Sparrow's love interest. In the film, she is played by Doro Merande, who was in her 60s at the time. The movie combines the character of her spouse, "Old Husband" Koskozka, with that of the landlord, "Jailer" Schwabatski. Frankie's employer, Schwiefka, is a relatively neutral character in the novel, but in the film he is a villain and Nifty Louie's partner. In the novel, Frankie inadvertently kills Nifty Louie during a fight, while in the film, a walking Zosh pushes Louie to his death. Algren's novel ends with a cornered and hopeless Frankie committing suicide, but in the film Zosh is the one who dies, while Sinatra's Frankie and Novak's Molly survive the end of the film together. In April 1956, Preminger and others were sued by Algren, who was seeking an injunction to keep him from claiming ownership of the property as "An Otto Preminger Film". Algren's suit said the original agreement in 1949 for the film rights had promised him a percentage of the gross for the screen rights. However, he had to drop the suit because he could not afford the legal fees.[3][11][24] Preservation The Academy Film Archive preserved The Man with the Golden Arm in 2005.[25] In 2020, the film was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[7] Musical score and soundtrack The Man with the Golden Arm Soundtrack album by Elmer Bernstein Released Mid February 1956[26] Recorded September & December, 1955 Hollywood, CA Genre Film score Length 45:22 Label Decca DL 8257 Elmer Bernstein chronology The Eternal Sea (1955) The Man with the Golden Arm (1956) The Ten Commandments (1956) Professional ratingsReview scores Source Rating Allmusic [27] The film score was composed, arranged and conducted by Elmer Bernstein, and the soundtrack album was released on the Decca label in February 1956.[28] Allmusic's Bradley Torreano called it "one of the finest jazz soundtracks to come out of the '50s" and said that "on its own it still shines as an excellent example of how good film music can get. Bernstein's control over the smallest details of the music is what gives it the energy it contains; his blustery horns and deep percussion are only the front while some gorgeous orchestration happens almost unnoticed behind the music."[27] The title theme was recorded by many other musicians including Billy May & His Orchestra who had a #9 hit in the UK in May 1956; Jet Harris, who released it as a single in 1963,[29] Glam rockers Sweet covered the theme on their album Desolation Boulevard (Europe LP only), and Barry Adamson, who released a version on his album Moss Side Story (1988). A vocal version of the theme called "Delilah Jones", with lyrics by Sylvia Fine unrelated to the subject matter of the film, was released by the McGuire Sisters on Coral Records in 1956.[3][30] A vocal version of Bernstein's composition "Molly" with lyrics by Fine, entitled "Molly-O", was also recorded by a number of artists, including The Gaylords, Dick Jacobs and his orchestra, and others.[3][31][32] An alternate theme song, "The Man With the Golden Arm", was composed by Sammy Cahn and Jimmy Van Heusen, and recorded by Sinatra backed by Nelson Riddle's orchestra. However, the song was ultimately not used in the film and did not appear on the soundtrack album. Although Sinatra's recording appeared on some bootleg albums, it remained officially unreleased until 2002, when it was included in the box set Frank Sinatra in Hollywood 1940–1964. Sammy Davis Jr. also recorded a version of the Cahn/ Van Heusen theme, which was released on Decca in 1955.[3][33][34] Track listing All compositions by Elmer Bernstein "Clark Street: (a) The Top; (b) Homecoming; (c) Antek's" - 4:58 "Zosh" - 4:28 "Frankie Machine" - 4:57 "The Fix" - 3:30 "Molly" - 4:53 "Breakup: (a) Flight; (b) Louie's; (c) Burlesque" - 3:42 "Sunday Morning" - 2:49 "Desperation" - 2:47 "Audition" - 2:42 "The Cure: (a) Withdraw; (b) Cold; (c) Morning" - 5:57 "Finale" - 4:13 Personnel Orchestra conducted by Elmer Bernstein featuring: Shorty Rogers - flugelhorn Conte Candoli, Pete Candoli, Buddy Childers, Bob Fleming, Ray Linn, Cecil Read, Maynard Ferguson, - trumpet Albert Anderson, Harry Betts, Milt Bernhart, Jimmy Henderson, George Roberts, Frank Rosolino, Ray Sims - trombone Joe Eger, Arthur Frantz, Dick Perissi- French horn Martin Ruderman, Sylvia Ruderman - flute Nick Fera, Mitchell Lurie - clarinet Jerome Kasper, Bud Shank - alto saxophone Bob Cooper, Bill Holman, Jack Montrose - tenor saxophone Jimmy Giuffre - baritone saxophone Arnold Koblenz - oboe Fowler Friedlander, Jack Marsh - bassoon Sam Rice - tuba Israel Baker, Anatol Kaminsky - violin Philip Goldberg, Milton Thomas - viola Armand Kaproff – cello Chauncey Haines - novachord Pete Jolly, Lou Levy, Ray Turner - piano Abe Luboff, Ralph Peña - bass Shelly Manne - drums Milt Holland, Lee Previn - percussion Fred Steiner - orchestration https://en.wikipedia.org/wiki/The_Man_with_the_Golden_Arm

Scarlet Street is a 1945 film noir directed by Fritz Lang and starring Edward G. Robinson, Joan Bennett, and Dan Duryea. The film tells the story of Christopher Cross (Robinson), a middle-aged cashier and amateur painter who falls in love with Kitty March (Bennett), a young woman he meets on the streets of New York City. However, Kitty is not interested in Christopher romantically and instead manipulates him into giving her money and presents. As Christopher becomes more and more obsessed with Kitty, he begins embezzling money from his employer in order to fund her lavish lifestyle. Meanwhile, Kitty is secretly having an affair with Johnny (Duryea), a con artist who sees Christopher as an easy target. When Christopher finds out about the affair, he becomes enraged and confronts Johnny, leading to a violent confrontation. Throughout the film, Lang employs a variety of film noir techniques, including moody lighting, shadowy cinematography, and a sense of impending doom. The film explores themes of love, obsession, and betrayal, as well as the corrupting influence of greed and desire. Scarlet Street is widely regarded as one of Fritz Lang's best films and is considered a classic of the film noir genre. Scarlet Street is a 1945 American film noir directed by Fritz Lang. The screenplay concerns two criminals who take advantage of a middle-aged painter in order to steal his artwork. The film is based on the French novel La Chienne (literally The Bitch) by Georges de La Fouchardière, which had been previously dramatized on stage by André Mouëzy-Éon, and cinematically as La Chienne (1931) by director Jean Renoir.[2] The principal actors Edward G. Robinson, Joan Bennett and Dan Duryea had earlier appeared together in The Woman in the Window (1944), also directed by Lang. Local authorities in New York, Milwaukee, and Atlanta banned Scarlet Street early in 1946 because of its dark plot and themes.[3] The film is in the public domain.[4][5] Plot New York, 1934 – Christopher "Chris" Cross, a meek amateur painter and cashier for a clothing retailer, is fêted by his employer for 25 years of service. After presenting Chris with a gold watch and kind words, company head J.J. Hogarth leaves the party and gets into a car with a beautiful blonde. Chris muses to a colleague about his desire to be loved by a young woman like that. Walking home through Greenwich Village, Chris sees a young woman, Katherine "Kitty" March, being attacked, and knocks her assailant unconscious with his umbrella. After Chris dashes off to summon a policeman, the assailant, who is actually Kitty's boyfriend Johnny, flees. Chris walks Kitty to her apartment. His wistful remarks about art suggest to her that Chris must be a wealthy painter. Enamored of Kitty and thinking she feels affection for him, Chris tells her about his loveless marriage. His shrewish wife Adele idolizes her previous husband, a policeman believed drowned while trying to rescue a suicidal woman. Needing funds for a shady business deal, Johnny believes that Kitty should play on Chris's naivete and feign romantic interest in the supposed rich artist to swindle money from him. Kitty persuades Chris to rent her an apartment, suggesting that he could use it as his art studio. To finance the apartment, Chris steals $500 in insurance bonds from his wife and later $1,000 cash from his employer. Unknown to Chris, Johnny tries selling some of his paintings, leaving them with a street vendor who thinks them worth no more than $25. The paintings attract the interest of art critic David Janeway, who declares the work as exceptional. After Johnny persuades Kitty to pretend that she painted them, she charms Janeway with Chris's own views about art. Captivated by the paintings and by Kitty, Janeway promises to represent her. However, Adele sees her husband's paintings, signed "Katherine March", in the window of a commercial art gallery and accuses Chris of copying March's work. Chris confronts Kitty, who claims that she had sold them because she needed the money. Delighted that his creations are appreciated, he lets her become the public face of his art. She becomes a huge commercial success, although Chris never receives any of the money. Adele's supposedly dead first husband Higgins appears at Chris's office to extort money from him. Higgins did not drown but disappeared after stealing $2,700 from the purse of the woman whom he had tried to save. Already suspected of taking bribes from speakeasies, he faked his death to escape his crimes and his wife. Chris steals another $200 from the safe at work for Higgins. Chris plots for Adele to see Higgins, hoping that his marriage will be invalidated when Adele realizes that Higgins is still alive. Chris goes to see Kitty, believing that he is now free and that she will marry him. He finds Johnny and Kitty in an embrace, confirming his suspicions that they are romantically involved. However, Chris asks Kitty to marry him, but she spurns him for being old and ugly and laughs in his face. Enraged, he stabs her to death with an ice pick. The police visit Chris's office. Higgins has told them that Chris embezzled money from Hogarth, who refuses to press charges, but fires Chris. Johnny is arrested for Kitty's murder. At the trial, Johnny's past works against him. Chris denies painting the pictures, claiming to be an untalented artist. Several witnesses confirm Chris's testimony and attest to Johnny's misdeeds and bad character. Johnny is convicted and put to death for Kitty's murder, Chris goes unpunished and Kitty is erroneously immortalized as a great artist. Haunted by the murder, Chris attempts to hang himself on the night of Johnny's execution, but is rescued. Five years later, Chris is homeless and destitute, with no way of claiming credit for his own paintings. He witnesses his portrait of Kitty sell for $10,000. Tormented by thoughts of Kitty and Johnny loving each other eternally, Chris wanders New York, constantly hearing their voices in his mind. Cast Edward G. Robinson as Christopher Cross Joan Bennett as Katherine 'Kitty' March Dan Duryea as Johnny Prince Margaret Lindsay as Millie Ray Rosalind Ivan as Adele Cross Jess Barker as David Janeway Charles Kemper as Patch-eye Higgins Anita Sharp-Bolster as Mrs. Michaels (as Anita Bolster) Samuel S. Hinds as Charles Pringle Vladimir Sokoloff as Pop LeJon Arthur Loft as Delarowe Russell Hicks as J.J. Hogarth Production 1:42:04 Scarlet Street Scarlet Street reunited director Fritz Lang with actors Edward G. Robinson, Joan Bennett and Dan Duryea, who had worked with him in The Woman in the Window (1944). The film was based on the French novel La Chienne (literally The Bitch) by Georges de La Fouchardière, which had been dramatized on stage by André Mouëzy-Éon, and cinematically as La Chienne (1931) by director Jean Renoir. Lang's film Human Desire (1954) was based on another Renoir film, La Bête humaine (1938), which was based on Émile Zola's novel on the same name. Renoir was said to have disliked both of Lang's films. Scarlet Street is similar to The Woman in the Window in its themes, cast, crew and characters. Robinson again plays a lonely middle-aged man, and Bennett and Duryea once more play the criminal elements. Both films were photographed by Milton R. Krasner. Walter Wanger, who produced the film, had earlier produced Lang's 1937 film You Only Live Once. Though Scarlet Street is considered a film noir classic along with Lang's earlier film The Woman in the Window, Robinson, who noticed the thematic similarities between the two, found the production of Scarlet Street monotonous and was eager to finish it and move on to other projects. Robinson had also disliked making The Woman in the Window. Twelve paintings created for the film by John Decker were sent to the Museum of Modern Art in New York City for exhibition in March 1946. Reception Box office According to Variety, the film earned rentals of $2.5 million in the U.S.[6] Reception Joan Bennett as Kitty March New York Times film critic Bosley Crowther gave the film a mixed review. He wrote: But for those who are looking for drama of a firm and incisive sort, Scarlet Street is not likely to furnish a particularly rare experience. Dudley Nichols wrote the story from a French original, in which it might well have had a stinging and grisly vitality. In this presentation, however, it seems a sluggish and manufactured tale, emerging much more from sheer contrivance than from the passions of the characters involved. And the slight twist of tension which tightens around the principal character is lost in the middle of the picture when he is shelved for a dull stretch of plot. In the role of the love-blighted cashier Edward G. Robinson performs monotonously and with little illumination of an adventurous spirit seeking air. And, as the girl whom he loves, Joan Bennett is static and colorless, completely lacking the malevolence that should flash in her evil role. Only Dan Duryea as her boy friend hits a proper and credible stride, making a vicious and serpentine creature out of a cheap, chiseling tinhorn off the streets.[7] A review in Variety magazine stated: "Fritz Lang's production and direction ably project the sordid tale of the romance between a milquetoast character and a gold-digging blonde ... Edward G. Robinson is the mild cashier and amateur painter whose love for Joan Bennett leads him to embezzlement, murder and disgrace. Two stars turn in top work to keep the interest high, and Dan Duryea's portrayal of the crafty and crooked opportunist whom Bennett loves is a standout in furthering the melodrama."[8] Time magazine gave Scarlet Street a negative review, describing the plot as clichéd and with dimwitted, unethical, stock characters.[9] Critic Dennis Schwartz wrote in 2003: Scarlet Street is a bleak psychological film noir that has the same leading actors as his 1944 film The Woman in the Window. It sets a long-standing trend of a criminal not punished for his crime; this is the first Hollywood film where that happened ... The Edward G. Robinson character is viewed as an ordinary man who is influenced by an evil couple who take advantage of his vulnerability and lead him down an amoral road where he eventually in a passionate moment loses his head and commits murder. Chris's imagination can no longer save him from his dreadful existence, and his complete downfall comes about as the talented artist loses track of reality and his dignity.[10] Joan Bennett and Edward G. Robinson In 1995, Matthew Bernstein wrote in Cinema Journal: "The film is a dense, well-structured film noir and has been analyzed and interpreted numerous times. Some of the earliest interpretations came from censors in three different cities," adding: On January 4, 1946, the New York State Censor Board banned Scarlet Street entirely, relying on the statute that gave it power to censor films that were "obscene, indecent, immoral, inhuman, sacrilegious" or whose exhibition "would tend to corrupt morals or incite to crime." As if in a chain reaction, one week later the Motion Picture Commission for the city of Milwaukee also banned the film as part of a new policy encouraged by police for "stricter regulation of undesirable films." On February 3 Christina Smith, the city censor of Atlanta, argued that because of "the sordid life it portrayed, the treatment of illicit love, the failure of the characters to receive orthodox punishment from the police, and because the picture would tend to weaken a respect for the law," Scarlet Street was "licentious, profane, obscure and contrary to the good order of the community."... Universal was discouraged from challenging the constitutionality of the censors by the protests of the national religious groups that arose as the Atlanta case went to court.[11] In 1998, Jonathan Rosenbaum of the Chicago Reader included the film in his unranked list of the best American films not included on the AFI Top 100.[12] https://en.wikipedia.org/wiki/Scarlet_Street "A stunning masterpiece of film noir, Scarlet Street is a haunting, atmospheric thriller that features mesmerizing performances from its talented cast and an intricate, gripping plot." - Rotten Tomatoes "Lang's direction is top-notch, creating a sense of foreboding that permeates every scene. Robinson delivers one of his finest performances as the tragic Christopher, while Bennett and Duryea are both excellent as the deceitful Kitty and Johnny." - Roger Ebert "Scarlet Street is a work of art. The film is full of suspense and intrigue, and the characters are complex and fascinating. It's a dark, brooding masterpiece that keeps you on the edge of your seat until the very end." - The Guardian "Fritz Lang's Scarlet Street is a gripping, harrowing tale of love, lust, and betrayal that will keep you hooked from start to finish. The film is a testament to Lang's mastery of the film noir genre and remains a classic to this day." - Empire "Edward G. Robinson's performance is nothing short of extraordinary. He imbues Christopher with a sense of tragic pathos that is both heartbreaking and unforgettable." - New York Times Scarlet Street is a 1945 American film noir directed by Fritz Lang. The screenplay concerns two criminals who take advantage of a middle-aged painter in order to steal his artwork. The film is based on the French novel La Chienne (literally The Bitch) by Georges de La Fouchardière, which had been previously dramatized on stage by André Mouëzy-Éon, and cinematically as La Chienne (1931) by director Jean Renoir.[2] The principal actors Edward G. Robinson, Joan Bennett and Dan Duryea had earlier appeared together in The Woman in the Window (1944), also directed by Lang. Local authorities in New York, Milwaukee, and Atlanta banned Scarlet Street early in 1946 because of its dark plot and themes.[3] The film is in the public domain.[4][5] Plot New York, 1934 – Christopher "Chris" Cross, a meek amateur painter and cashier for a clothing retailer, is fêted by his employer for 25 years of service. After presenting Chris with a gold watch and kind words, company head J.J. Hogarth leaves the party and gets into a car with a beautiful blonde. Chris muses to a colleague about his desire to be loved by a young woman like that. Walking home through Greenwich Village, Chris sees a young woman, Katherine "Kitty" March, being attacked, and knocks her assailant unconscious with his umbrella. After Chris dashes off to summon a policeman, the assailant, who is actually Kitty's boyfriend Johnny, flees. Chris walks Kitty to her apartment. His wistful remarks about art suggest to her that Chris must be a wealthy painter. Enamored of Kitty and thinking she feels affection for him, Chris tells her about his loveless marriage. His shrewish wife Adele idolizes her previous husband, a policeman believed drowned while trying to rescue a suicidal woman. Needing funds for a shady business deal, Johnny believes that Kitty should play on Chris's naivete and feign romantic interest in the supposed rich artist to swindle money from him. Kitty persuades Chris to rent her an apartment, suggesting that he could use it as his art studio. To finance the apartment, Chris steals $500 in insurance bonds from his wife and later $1,000 cash from his employer. Unknown to Chris, Johnny tries selling some of his paintings, leaving them with a street vendor who thinks them worth no more than $25. The paintings attract the interest of art critic Damon Janeway, who declares the work as exceptional. After Johnny persuades Kitty to pretend that she painted them, she charms Janeway with Chris's own views about art. Captivated by the paintings and by Kitty, Janeway promises to represent her. However, Adele sees her husband's paintings, signed "Katherine March", in the window of a commercial art gallery and accuses Chris of copying March's work. Chris confronts Kitty, who claims that she had sold them because she needed the money. Delighted that his creations are appreciated, he lets her become the public face of his art. She becomes a huge commercial success, although Chris never receives any of the money. Adele's supposedly dead first husband Higgins appears at Chris's office to extort money from him. Higgins did not drown but disappeared after stealing $2,700 from the purse of the woman whom he had tried to save. Already suspected of taking bribes from speakeasies, he faked his death to escape his crimes and his wife. Chris steals another $200 from the safe at work for Higgins. Chris plots for Adele to see Higgins, hoping that his marriage will be invalidated when Adele realizes that Higgins is still alive. Chris goes to see Kitty, believing that he is now free and that she will marry him. He finds Johnny and Kitty in an embrace, confirming his suspicions that they are romantically involved. However, Chris asks Kitty to marry him, but she spurns him for being old and ugly and laughs in his face. Enraged, he stabs her to death with an ice pick. The police visit Chris's office. Higgins has told them that Chris embezzled money from Hogarth, who refuses to press charges, but fires Chris. Johnny is arrested for Kitty's murder. At the trial, Johnny's past works against him. Chris denies painting the pictures, claiming to be an untalented artist. Several witnesses confirm Chris's testimony and attest to Johnny's misdeeds and bad character. Johnny is convicted and put to death for Kitty's murder, Chris goes unpunished and Kitty is erroneously immortalized as a great artist. Haunted by the murder, Chris attempts to hang himself on the night of Johnny's execution, but is rescued. Five years later, Chris is homeless and destitute, with no way of claiming credit for his own paintings. He witnesses his portrait of Kitty sell for $10,000. Tormented by thoughts of Kitty and Johnny loving each other eternally, Chris wanders New York, constantly hearing their voices in his mind. Cast Edward G. Robinson as Christopher "Chris" Cross Joan Bennett as Katherine "Kitty" March Dan Duryea as Johnny Prince Margaret Lindsay as Millie Ray Rosalind Ivan as Adele Cross Jess Barker as Damon Janeway Charles Kemper as Patch-eye Higgins Anita Sharp-Bolster as Mrs. Michaels (as Anita Bolster) Samuel S. Hinds as Charles Pringle Vladimir Sokoloff as Pop LeJon Arthur Loft as Delarowe Russell Hicks as J.J. Hogarth Production 1:42:04 Scarlet Street Scarlet Street reunited director Fritz Lang with actors Edward G. Robinson, Joan Bennett and Dan Duryea, who had worked with him in The Woman in the Window (1944). The film was based on the French novel La Chienne (literally The Bitch) by Georges de La Fouchardière, which had been dramatized on stage by André Mouëzy-Éon, and cinematically as La Chienne (1931) by director Jean Renoir. Lang's film Human Desire (1954) was based on another Renoir film, La Bête humaine (1938), which was based on Émile Zola's novel on the same name. Renoir was said to have disliked both of Lang's films. Scarlet Street is similar to The Woman in the Window in its themes, cast, crew and characters. Robinson again plays a lonely middle-aged man, and Bennett and Duryea once more play the criminal elements. Both films were photographed by Milton R. Krasner. Walter Wanger, who produced the film, had earlier produced Lang's 1937 film You Only Live Once. Though Scarlet Street is considered a film noir classic along with Lang's earlier film The Woman in the Window, Robinson, who noticed the thematic similarities between the two, found the production of Scarlet Street monotonous and was eager to finish it and move on to other projects. Robinson had also disliked making The Woman in the Window. Twelve paintings created for the film by John Decker were sent to the Museum of Modern Art in New York City for exhibition in March 1946. Reception Box office According to Variety, the film earned rentals of $2.5 million in the U.S.[6] Reception Joan Bennett as Kitty March New York Times film critic Bosley Crowther gave the film a mixed review. He wrote: But for those who are looking for drama of a firm and incisive sort, Scarlet Street is not likely to furnish a particularly rare experience. Dudley Nichols wrote the story from a French original, in which it might well have had a stinging and grisly vitality. In this presentation, however, it seems a sluggish and manufactured tale, emerging much more from sheer contrivance than from the passions of the characters involved. And the slight twist of tension which tightens around the principal character is lost in the middle of the picture when he is shelved for a dull stretch of plot. In the role of the love-blighted cashier Edward G. Robinson performs monotonously and with little illumination of an adventurous spirit seeking air. And, as the girl whom he loves, Joan Bennett is static and colorless, completely lacking the malevolence that should flash in her evil role. Only Dan Duryea as her boy friend hits a proper and credible stride, making a vicious and serpentine creature out of a cheap, chiseling tinhorn off the streets.[7] A review in Variety magazine stated: "Fritz Lang's production and direction ably project the sordid tale of the romance between a milquetoast character and a gold-digging blonde ... Edward G. Robinson is the mild cashier and amateur painter whose love for Joan Bennett leads him to embezzlement, murder and disgrace. Two stars turn in top work to keep the interest high, and Dan Duryea's portrayal of the crafty and crooked opportunist whom Bennett loves is a standout in furthering the melodrama."[8] Time magazine gave Scarlet Street a negative review, describing the plot as clichéd and with dimwitted, unethical, stock characters.[9] Critic Dennis Schwartz wrote in 2003: Scarlet Street is a bleak psychological film noir that has the same leading actors as his 1944 film The Woman in the Window. It sets a long-standing trend of a criminal not punished for his crime; this is the first Hollywood film where that happened ... The Edward G. Robinson character is viewed as an ordinary man who is influenced by an evil couple who take advantage of his vulnerability and lead him down an amoral road where he eventually in a passionate moment loses his head and commits murder. Chris's imagination can no longer save him from his dreadful existence, and his complete downfall comes about as the talented artist loses track of reality and his dignity.[10] Joan Bennett and Edward G. Robinson In 1995, Matthew Bernstein wrote in Cinema Journal: "The film is a dense, well-structured film noir and has been analyzed and interpreted numerous times. Some of the earliest interpretations came from censors in three different cities," adding: On January 4, 1946, the New York State Censor Board banned Scarlet Street entirely, relying on the statute that gave it power to censor films that were "obscene, indecent, immoral, inhuman, sacrilegious" or whose exhibition "would tend to corrupt morals or incite to crime." As if in a chain reaction, one week later the Motion Picture Commission for the city of Milwaukee also banned the film as part of a new policy encouraged by police for "stricter regulation of undesirable films." On February 3 Christina Smith, the city censor of Atlanta, argued that because of "the sordid life it portrayed, the treatment of illicit love, the failure of the characters to receive orthodox punishment from the police, and because the picture would tend to weaken a respect for the law," Scarlet Street was "licentious, profane, obscure and contrary to the good order of the community."... Universal was discouraged from challenging the constitutionality of the censors by the protests of the national religious groups that arose as the Atlanta case went to court.[11] In 1998, Jonathan Rosenbaum of the Chicago Reader included the film in his unranked list of the best American films not included on the AFI Top 100.[12] See also Public domain film List of American films of 1945 List of films in the public domain in the United States References Matthew Bernstein, Walter Wagner: Hollywood Independent, Minnesota Press, 2000 p443 Scarlet Street at IMDb Matthew Bernstein, "A Tale of Three Cities: The Banning of Scarlet Street". Cinema Journal (Autumn 1995), 27-52. Rapold, Nicolas (14 February 2014). "Even Good Films May Go to Purgatory: Old Films Fall Into Public Domain Under Copyright Law". The New York Times. Retrieved 10 March 2018. Murray, Noel (23 November 2005). "Scarlet Street & House By The River". The A.V. Club. Retrieved 10 March 2018. "60 Top Grossers of 1946", Variety 8 January 1947 p8 Crowther, Bosley. The New York Times, film review, February 15, 1946. Last accessed: April 11, 2008. Variety. Film review, 1945. Last accessed: April 11, 2008. Cinema: The New Pictures, Jan. 21, 1946 Schwartz, Dennis "An uncompromising subversive remake of Jean Renoir's La Chienne (1931)". Film review at Ozus' World Movie Reviews, February 13, 2003. Accessed: June 20, 2013. Bernstein, Matthew (Autumn 1995). "A Tale of Three Cities: The Banning of Scarlet Street". Cinema Journal. 35 (1): 27–52. doi:10.2307/1225806. JSTOR 1225806., pp. 27-52. Rosenbaum, Jonathan (June 25, 1998). "List-o-Mania: Or, How I Stopped Worrying and Learned to Love American Movies". Chicago Reader. Archived from the original on April 13, 2020. External links Wikiquote has quotations related to Scarlet Street. Wikimedia Commons has media related to Scarlet Street. Scarlet Street at IMDb Scarlet Street at AllMovie Scarlet Street at the TCM Movie Database Scarlet Street at the American Film Institute Catalog Scarlet Street is available for free download at the Internet Archive Scarlet Street, Full Movie on YouTube vte Films directed by Fritz Lang vte Films produced by Walter Wanger vte Films by Dudley Nichols Categories: 1945 films1945 crime drama filmsAmerican black-and-white filmsAmerican crime drama filmsAmerican films based on playsAmerican remakes of French films1940s English-language filmsFilm noirFilms about fictional paintersFilms based on adaptationsFilms based on French novelsFilms directed by Fritz LangFilms produced by Walter WangerFilms scored by Hans J. SalterFilms set in 1934Films set in New York CityFilms with screenplays by Dudley NicholsUniversal Pictures filmsCensored films1940s American films https://en.wikipedia.org/wiki/Scarlet_Street