Black Angel (1946)

The main character in Black Angel, Martin (Marty) Blair, has quite a problem with alcohol, and he isn’t the best judge of women. He is played by Dan Duryea, one of my all-time favorite noir actors. Duryea’s portrayal of a man tormented by his addiction is remarkable, and he is one of the best at playing drunk and disheveled. Marty Blair is a deeply flawed man who comes through in the end, but the road getting there is tortured. He is the black angel of the title and a perfect character for a film noir.

Mavis Marlowe, Marty Blair’s wife, receives a heart-shaped brooch delivered by messenger. She’s not happy about receiving the gift. She calls the doorman and instructs him not to allow Marty Blair into the apartment building. Blair tries to get into the building anyway, but the doorman stops him. Right after Blair leaves, Peter Lorre’s character Marko shows up. Marko is the owner of a nightclub called Rio’s and he is said to have mob connections, but that kind of detail isn’t really necessary where Peter Lorre is concerned. It’s easy for viewers to suspect him of almost anything from the outset, no matter what character he is playing.

Mavis is killed, and Kirk Bennett, the man who finds her body, sees the same heart-shaped brooch in the apartment that was sent to her earlier. Bennett is tried for Mavis Marlowe’s murder and is found guilty. His wife, Cathy Bennett, insists that her husband is innocent, and she tries to convince Captain Flood in the police department to continue investigating. But with a verdict, the case is closed, and there is nothing more that he can do. Cathy Bennett decides to try some investigating of her own.

(This blog post about Black Angel contains all the spoilers.)

Marty Blair plays piano at a popular nightspot. He lives at a much seedier location: the Palace Hotel. Marty’s friend Joe appreciates his piano playing, and he looks after Marty when he drinks too much, something he does when Marty drinks while working, too. The night that Marty is rejected by his wife Mavis is a particularly tough night for Marty, and he is drunk before his act is finished.

Cathy finds Marty in his room at the Palace Hotel and talks to him about the case. He insists that he knows nothing about it. Kirk Bennett had a matchbook with “Crestview 2111” written inside it, and Marty knows that the number was written in Mavis’s handwriting. Marty recognizes it when he and Cathy go through her husband’s possessions. Marty tries the phone number: It’s for Rio’s, Marko’s nightclub on Sunset Strip. Cathy is a singer, and she and Marty decide to audition for an act at Rio’s. They suspect Marko of being the murderer, and they plan to use their nightclub act to investigate Marko.

Marty now has free rein at the Bennett home. He finds a liquor bottle in Cathy’s kitchen cabinets, but she comes home in time, and he replaces the bottle instead of taking a drink. The reason that he has such willpower is because he is falling in love with Cathy. He even writes a love song for Cathy as part of their new nightclub act at Rio’s. As long Marty he feels that he has a chance with Cathy, his willpower remains strong.

Cathy has agreed to spend so much time with Marty and to form a nightclub act, however, because she wants to find out what he knows about Mavis Marlowe’s murder. She doesn’t really love Marty and never did. Cathy might sound like she is playing the role of a femme fatale, but she doesn’t reveal this bit of information right away, and I didn’t suspect that she was leading Marty on. Even when she admits that she still loves her husband, it is easy to believe that she cares about Marty.

But Marty is inconsolable when Cathy admits to him that she probably never loved him. Marty does well when his feelings are requited; when he is rejected, he throws all caution to the wind. He was rejected by Mavis and went on a bender; he goes on a bender again because of Cathy’s rejection. He gets so drunk that he blacks out and gets into a barroom brawl.

His subsequent arrest and detoxification under professional care leads to an episode of delirium for Marty. During his hallucinations, he remembers what happened the night of Mavis’s murder. Marty Blair’s memory sequence is one of the best in classic film. It is shot differently, with a wavy, liquid type of filter that is perfect for someone like Blair who is in the habit of drowning himself in alcohol.

I found myself thinking about Black Angel long after the movie ended. It depicts alcoholism at its worst. Marty Blair is prone to alcoholic blackouts, and he is capable of violence during these episodes. Some details in the film sent me to the computer for an online search. For example, Doctor Courtney explains that Marty suffered from Korsakoff’s psychosis (which I found online at a site called ScienceDirect), a kind of alcoholic amnesia, and that’s why he doesn’t remember killing his wife. And he doesn’t remember what he did until he drinks himself into another stupor and hallucinates, with some of the details of his crime falling into place during his hallucinations.

Marty is a murderer, although he committed his crime while he was under the influence of alcohol, which makes him less culpable in the eyes of the law and explains why he doesn’t remember. Once Marty realizes what he has done, he also realizes that he has to save Kirk Bennett, who was found guilty of the murder and is scheduled to be put to death for the crime. Marty’s hospitalization for his drunkenness and combative behavior almost prevents him from calling Captain Flood and saving Kirk Bennett’s life, but he is good at breaking rules, and he breaks more rules once more for a very good cause.

In spite of Marty’s good intentions (and, for me, in spite of the fact that he is portrayed by one of my favorite noir actors), it’s a bit hard to describe him as a likable character. But this is also the reason that he is such a good film noir character. He is deeply flawed and makes so many poor decisions, but he manages to surmount all his personal obstacles to do the right thing for a woman who does care about what happens to him and is gentle and honest with him in the end.

Peter Lorre as Marko is a very successful distraction in the story. Cathy and Marty suspect him, which leads them (and thus viewers) on a wild goose chase. But it’s a realistic and ultimately entertaining distraction. And it helps to keep the real killer a surprise until almost the end, when Marty’s hallucinatory episode reveals the murderer’s identity. Without the distraction of Marko, Marty and Cathy wouldn’t have spent enough time together, and viewers would never know the good side to Marty, the one capable of falling in love and saving another man’s life.

August 2, 1946, release date  •  Directed by Roy William Neill  •  Screenplay by Roy Chanslor  •  Based on the novel The Black Angel by Cornell Woolrich  •  Music by Frank Skinner  •  Edited by Saul A. Goodkind  •  Cinematography by Paul Ivano

Dan Duryea as Martin (aka Marty) Blair  •  June Vincent as Catherine (aka Cathy) Bennett  •  Peter Lorre as Marko  •  Broderick Crawford as Captain Flood  •  Constance Dowling as Mavis Marlowe  •  John Phillips as Kirk Bennett  •  Wallace Ford as Joe  •  Hobart Cavanaugh as the Palace Hotel caretaker  •  Freddie Steele as Lucky, the bouncer  •  Ben Bard as Freddie, the bartender  •  Marion Martin as Millie  •  Archie Twitchell (credited as Michael Branden) as George Mitchell  •  Robert Williams as the second detective  •  Junius Matthews as Dr. Courtney  •  Eddy Chandler as Sergeant Baker  •  Dick Wessel as Mavis’s doorman

Distributed by Universal Pictures  •  Produced by Universal Pictures

Deadline at Dawn (1946)

I really enjoyed this film. Deadline at Dawn is the film adaptation of the novel by Cornell Woolrich, which I also enjoyed. The film makes so many changes to the plot in the novel that I can’t even say it’s helpful to read the novel before seeing the film!

Click here to read my article about the novel, which has the same title as the film, by Cornell Woolrich.

Deadline at Dawn opens with a hallway and the stairs leading up to it. The credits start quickly while the camera stays on this shot. A blind man taps his way up the stairs toward the camera, turns, walks down the hall away from the camera, and knocks on the door farthest from the camera: a great introduction that could be missed if viewers are paying more attention to the credits than to the action. The blind man could be a metaphor for the film’s viewers, who will be following the plot blindly, without knowing where it will lead. I didn't know what to expect the first time that I saw it.

As soon as the credits finish, the camera is close to the blind man knocking. He awakens a woman, Edna Bartelli, who opens the door and lets him into her apartment. She calls the man Sleepy Parsons. He’s her ex-husband, and he wants the $1,400 that she owes him. But she says that she doesn’t have it, that the sailor she met earlier must have stolen it. Sleepy Parsons doesn’t believe her and sits down on her bed.

After the sequence between the blind man and a woman named Edna, the camera dissolves from Sleepy Parson’s boutonniere to a sailor’s hat. What’s missing in between? Viewers have no idea, and they won’t find out until all the plot details are woven together at the end.

Alex Winkler, a sailor, is recovering from a drinking bout in a newspaper kiosk on a city street. Ray, the newspaper vendor, is allowing him to stay until he can get back on his feet. When Alex gets up and decides to leave, he accidentally drops a wad of bills, and Ray returns it to him. The sailor doesn’t recognize it, but he takes it because he thinks getting so drunk made him forgetful. Ray also reminds Alex to take his radio; it is part of his military gear because he is a radio technician. Alex does remember that he has seven hours before his bus leaves for Norfolk, Virginia, where he must report for duty.

Alex is planning on getting some fresh air, but the crowds on the New York City sidewalks surround and sweep him along until he decides to enter a dance hall, where he meets June Goffe. She is comfortable enough with him to invite him up to her apartment for sandwiches (and nothing else, she tells him). Alex tells June about the money he has and how he got it now that his memory is much clearer. He got drunk at a restaurant where he met Edna Bartelli. Edna’s brother cheated Alex when they started gambling together. Edna wanted Alex to come to her apartment and fix her radio, but she refused to pay him for this work, and he passed out from drinking too much. When he came to, he took the money because he felt that Edna and her brother owed it to him.

June convinces Alex to return the money. Alex in turn convinces June to accompany him. They arrive together at Edna Bartelli’s apartment building, and Alex goes upstairs to the apartment while June plays lookout. She promises to turn on Alex’s radio as a warning if anyone enters the apartment building. When Alex returns, he tells June that he found the woman dead. June goes up to see for herself, with Alex racing up behind her.

Alex and June decide that they must find Edna Bartelli’s killer. They must do it before dawn, when her body will probably be discovered, and they must do it before Alex must board his bus and report for duty in Virginia. They will follow different leads, each on their own to make better use of the time remaining to them. They leave Edna’s apartment with two different missions and a common goal.

(This article about Deadline at Dawn contains spoilers for both the film and the novel.)

Neither one of them is successful with their slim clues, and both return to Edna’s apartment. A cab driver, Gus Hoffman, who drove Alex and takes him back to where they started, waits behind and sees that Alex is returning to Edna Bartelli’s apartment; he waits long enough to see June return to the same place. He comes up after Alex and June and knocks on Edna Bartelli’s front door. June answers and says that she is Edna Bartelli, but Gus knows this isn’t true. He doesn’t explain how he knows this, and June and Alex are too nervous to ask him questions.

Gus inserts himself into the investigation and finds letters that Edna had written to blackmail several men, including her own brother. He helps June and Alex out of the kindness of his heart. He sees that they are falling in love and wants them to stay together. From this point onward, three people—June, Alex, and Gus—are looking for clues and following up leads, which is a departure from the novel, in which only two people are involved. The cab driver Gus has a very important role in the film adaptation. There are several cab drivers in the novel, but none of them are even given a name and none of them do any investigating to help the main characters.

In the novel, Alex Winkler is Quinn Williams, an out-of-work electrician’s assistant who is desperate for cash. The story still takes place in New York City, but the year is 1939, when the United States is still in the grip of the Great Depression and has not yet become involved in World War II. The addition of Gus Hoffman as a main character and the name and occupation changes aren’t the only differences between the novel and the film. Stephen Graves is the murder victim in the novel, and the murderer is a different character altogether in the film.

At one point, June becomes frustrated about the lack of progress in the investigation because she wants to see Alex cleared of any wrongdoing. She and Gus, the cab driver, are on one part of the search for clues in the murder investigation, and Gus can see what June doesn’t realize quite yet: that she is falling in love with Alex. Gus tells her, “The logic you are looking for, the logic is that there is no logic. The horror and terror you feel, my dear, come from being alive. Die, and there is no trouble. Live, and you struggle . . .” Gus’s speech to June about the meaning of life, love, and logic seems to explain existential angst in general (the underlying premise for almost all film noir) and the human condition. His words don’t come from the novel, of course, because his character doesn’t exist in it, but they seem to replace the views expressed by Bricky Coleman, the name of the main female character in the novel: that the city, New York City, is an evil place that defies logic, and if you stay in it too long, it is almost impossible to escape.

By the end of Deadline at Dawn, viewers see the logic to the film’s plot. They (and the characters) are given a very satisfying ending that may not appeal to fans of Woolrich’s novel, but it explains everything. The novel does the same, but its conclusion and many of the details leading up to it are so different. Both the film and the novel are wonderful on their own merits. I am finding this true more and more often about film noir adaptations. I usually enjoy a novel so much more, but the film noir genre seems to have made adaptations a real art form. I enjoyed the changes in the film version of Deadline at Dawn as much as the plot in the novel.

Release dates: March 18, 1946 (Sweden), April 3, 1946 (United States)  •  Directed by Harold Clurman  •  Screenplay by Clifford Odets  •  Based on the novel Deadline at Dawn by Cornell Woolrich  •  Music by Hanns Eisler, C. Bakaleinikoff  •  Edited by Roland Gross  •  Cinematography by Nicholas Musuraca

Susan Hayward as June Goffe  •  Paul Lukas as Gus Hoffman  •  Bill Williams as Alex Winkler  •  Joseph Calleia as Val Bartelli  •  Osa Massen as Helen Robinson  •  Phil Warren as Jerry Robinson  •  Lola Lane as Edna Bartelli  •  Jerome Cowan as Lester Brady  •  Marvin Miller as Sleepy Parsons  •  Roman Bohnen as the man with the injured cat  •  Steven Geray as Edward Honig  •  Joe Sawyer as Babe Dooley  •  Constance Worth as Nan Raymond  •  Joseph Crehan as Lieutenant Kane  •  Byron Foulger as the night attendant  •  Eugene Pallette as a man in the crowd  •  Jason Robards Sr. as a police officer

Distributed by RKO Radio Pictures  •  Produced by RKO Radio Pictures