Directed
by Joseph Losey
Screenplay
by Dalton Trumbo, Hugo Butler
Based on
a story by Robert Thoeren, Hans Wilhelm
Music by
Lyn Murray
Edited by
Paul Weatherwax
Cinematography
by Arthur C. Miller
Van Heflin as Webb Garwood
Evelyn Keyes as Susan Gilvray
John Maxwell as Bud Crocker
Katherine Warren as Grace Crocker
Emerson Treacy as William Gilvray
Madge Blake as Martha Gilvray
Wheaton Chambers as Dr. William
James
Robert Osterloh as the coroner
Louise Lorimer as the motel manager
Sherry Hall as John Gilvray
Dalton Trumbo as the radio voice of
John Gilvray (uncredited)
Produced
by Horizon Pictures
Distributed
by United Artists
I wrote about The Prowler in November 2018 for the
Classic Movie Blog Association (CMBA) 2018 Fall Blogathon: Outlaws. I said then
that The Prowler is a very unsettling
film, and I find it even more so after a second and a third viewing. The main
character, Patrol Officer Webb Garwood, is creepy, and that very creepiness is
just one factor that makes the film thoroughly noir.
Click here
for my first blog post about The Prowler.
The DVD that I
borrowed came with features that I’m sure fans of film noir and classic films in
general would enjoy. I can recommend three out of four of them; the fourth had
what I think of as a technical difficulty. The three features that I am
recommending are so thorough that they deserve a blog post devoted to them.
Here are short summaries of all four:
◊ “The Cost of Living: Creating The Prowler,” with Eddie Muller, James Ellroy, Christopher Trumbo,
Denise Hamilton, Alan K. Rode:
This
feature had lots of interesting details about the film and its production. Here
are just a few examples.
1. The film was originally called “The Cost of Living.”
2. The work of the House Un-American Activities Committee
(HUAC) affected the lives of many working on the film, but especially Dalton
Trumbo, who was already blacklisted by the time the film was released. The
producers allowed Trumbo to fill in for the voice of John Gilvray, Susan’s
husband, on the radio program that the Gilvray character hosts.
3. The Prowler was one of the most successful
feature films of 1951. It was double-billed with another film noir, The Hoodlum, starring Lawrence Tierney.
It was really
difficult to hear what Tavernier was saying. I tried to use the English
subtitles for this featurette, but they didn’t work for anything but the film
itself. I can’t recommend this feature, but maybe others will have an easier
time hearing Tavernier.
◊ “On the Prowl: Restoring
The Prowler”:
This feature talks about
finding usable prints, including a print of The
Prowler, and restoring them for screening quality. If you are interested in
learning about the process, this feature is definitely worth the time.
Muller packed
a lot of information into this commentary. He had a lot to say about the
effects that the House Un-American Activities Committee (HUAC) had on so many
of the artists involved in the original film production. The screenwriter
Dalton Trumbo was blacklisted by HUAC by the time this film was in production,
but he put his stamp on the film by playing the radio voice of John Gilvray,
Susan’s husband, on Gilvray’s radio program, which is featured in the film’s plot.
I loved how Muller alludes to this in the last line of his commentary, “I’ll be
seeing you, Susan,” which is the last line from John Gilvray’s radio show in
the film.
Muller
maintains that The Prowler is one of
the first stalker films, but I disagree with this assertion: Raymond Burr played a stalker (MacDonald, aka Mac) in Pitfall, which was released in 1948. In
that film, Burr played a private investigator who impersonates an ex-cop and
uses his influence as an ex-cop to harass and stalk Lizabeth Scott’s character,
Mona Stevens.
I wrote about Pitfall in September 2015. Click here for
my blog post.
I recommend Muller’s
commentary with two caveats: (1) his comments about Evelyn Keyes’s favorite
word and (2) his belief that James Ellroy would know the location of the
Gilvrays’ house (the setting of a lot of the film) because he probably broke
into it as a teenager. Muller goes into more detail than I am providing here,
but I thought his observations on these two particular points were unnecessary
and unflattering to two people he calls friends.
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