Four Favorite Noirs: Born to Kill (1947), The Dark Corner (1946), Marlowe (1969), and Too Late for Tears (1949)

To celebrate National Classic Movie Day on May 16, Rick at Classic Film & TV Café is hosting the Four Favorite Noirs Blogathon. What a great idea! My only qualm: How am I going to pick only four!

I managed to whittle my list down, as requested, but it was tough. And I cheated a little by including a neo-noir. I decided to write about four little-known noirs because I think they deserve to be seen at least once. If you want to see them again and again, like I do, so much the better!

◊ Born to Kill (1947), starring Claire Trevor and Lawrence Tierney

Born to Kill is a gritty look at two people who are a match made in hell. Sam Wild (Lawrence Tierney) and Helen Brent (Claire Trevor) are attracted to one another for all the wrong reasons. Both of them are turned on by violence and death, and their story doesn’t end well for either one of them (but you already know that because this is film noir). Born to Kill is a perfect example of a noir that shows you what you shouldn’t be doing if you want to avoid the dreadful consequences of a life of crime—that is, in case you are toying with the idea of a life of crime! Tierney and Trevor are fantastic in their lead roles. And many of the supporting actors, some of the great character actors of film noir—Walter Slezak, Elisha Cook Jr., Esther Howard—are, too.

I watched Born to Kill on DVD, with commentary by noir expert Eddie Muller. Muller’s commentary is packed with information about the film, the director, and the actors. In fact, the commentary includes some recorded material from director Robert Wise, and Muller recounts some of his personal experiences meeting Lawrence Tierney, which adds to the fun. RKO produced Born to Kill as an A picture, a vehicle to make Tierney a leading man and star. But Tierney’s own proclivities toward violence off-screen helped sabotage that plan. If you watch Born to Kill on DVD, I highly recommend Muller’s commentary, too.

◊ The Dark Corner (1946), starring Mark Stevens and Lucille Ball

• Brad Galt: “There goes my last lead. I feel all dead inside. I’m backed up in a dark corner, and I don’t know who’s hitting me.”

The Dark Corner is one of those films I can watch again and again and never tire of it. The witty dialogue is one of the things I like best about the film. The repartee between Kathleen Stuart (Lucille Ball) and Brad Galt (Mark Stevens) is so much fun. And their on-screen chemistry works, too, which is amazing when you consider that Lucille Ball was going through a rough patch in her marriage to Desi Arnaz and that she hated working on this film. Somehow Lucille Ball and her costars make it work, and I found myself rooting for Kathleen and Brad to succeed every step of the way.

Lucille Ball is given top billing, but her costar, Mark Stevens is fourth in the list. Two great noir actors come second and third: Clifton Webb (who plays Hardy Cathcart) and William Bendix (who plays White Suit). Their performances add so much to a great film. Clifton Webb has some dry lines and observations that add an appropriately cynical touch, and he can exude menace when he needs to. William Bendix is the hired thug who knows what he’s doing—until he is outwitted, that is, by . . . well, no spoilers this time because this is a good one.

◊ Marlowe (1969), starring James Garner and Rita Moreno

Forget about Humphrey Bogart! Forget about Dick Powell! Don’t get me wrong: I happen to like both of them as Philip Marlowe, but Marlowe has James Garner. And he gives one of the best portrayals of Philip Marlowe. Yes, he is that Philip Marlowe, Raymond Chandler’s famous detective. Another huge plus is Rita Moreno, who costars as Dolores Gonzáles. Moreno, in addition to having a well-deserved “moment” in 2022, is fantastic in Marlowe. Is Gonzáles really a good friend to Mavis Wald, or is she the femme fatale in this story? She keeps everyone, including Marlowe, guessing.

The film is adapted by Stirling Sillphant from Chandler’s novel The Little Sister. The film takes place in 1969, but the story is updated to fit the times while managing to stay true to the novel. For instance, the film opens with Marlowe driving up to a ramshackle beach hotel called The Infinite Pad. People in hippie-style clothing lounge about on the front stairs and porch. And Marlowe shows up in his suit jacket and tie, trying to find the lost brother of his client, one Orfamay Quest. Philip Marlowe is a throwback to the past, a relic of pulp novels from the 1930s and 1940s, but Silliphant’s screenplay and James Garner’s portrayal make Philip Marlowe relevant still in 1969 and so much fun to watch in 2022.

◊ Too Late for Tears (1949), starring Lizabeth Scott and Dan Duryea

In France, Too Late for Tears is called La tigresse, the perfect name for Lizabeth Scott’s character Jane Palmer. It’s the French translation of Danny Fuller’s (Dan Duryea) nickname for Jane. The minute Jane gets behind the wheel of the car at the start of the film, orders her husband Alan to get in, and drives off with a bag of stolen money thrown into their backseat, you know you are in the noir universe. Jane wants her slice of the American dream, and she doesn’t care who she has to cut out of the picture to get it. Only one man can match her scheme for scheme.

Too Late for Tears holds a special place in my heart because I could swear that I saw it as a child on television. It was Don DeFore who made me wonder. If you are used to seeing him in the television sitcom Hazel or other film comedies, you’re in for a real treat. His performance as Don Blake is certainly memorable. And that’s quite an achievement in a film with two noir greats in Lizabeth Scott and Dan Duryea.

This article about Born to Kill, The Dark Corner, Marlowe, and Too Late for Tears is my entry for the Four Favorite Noirs Blogathon, which is presented by Rick at Classic Film & TV Café to celebrate National Classic Movie Day on May 16. Click here for the complete list of blogathon participants and links to their blogs. The list will be updated throughout the day.

Marlowe (1969)

September 19, 1969 (Germany), October 22, 1969 (United States), release dates

Directed by Paul Bogart

Screenplay by Stirling Silliphant

Based on the novel The Little Sister, by Raymond Chandler

Music by Peter Matz

Edited by Gene Ruggiero

Cinematography by William H. Daniels

James Garner as Philip Marlowe

Gayle Hunnicutt as Mavis Wald

Carroll O’Connor as Lt. Christy French

Rita Moreno as Dolores Gonzáles

Sharon Farrell as Orfamay Quest

William Daniels as Mr. Crowell

H. M. Wynant as Sonny Steelgrave

Jackie Coogan as Grant W. Hicks

Kenneth Tobey as Sgt. Fred Beifus

Bruce Lee as Winslow Wong

Christopher Cary as Chuck

George Tyne as Oliver J. Hady

Corinne Camacho as Julie

Paul Stevens as Dr. Vincent Lagardie

Roger Newman as Orrin Quest

Anna Lee Carroll as Mona

Read Morgan as Gumpshaw

Warren Finnerty as Haven Clausen

Distributed by Metro-Goldwyn-Mayer

Produced by Katzka-Berne Productions, Cherokee Productions

I wanted to see Marlowe for many reasons. I am a big fan of Stirling Silliphant’s writing. He wrote many of the episodes of two wonderful classic television shows: Route 66 and Naked City. And he adapted the screenplay for Marlowe from Raymond Chandler’s novel The Little Sister. I haven’t finished Chandler’s novel—yet—but I’m more than halfway through. Seeing the film inspired me. I have read that many of the snappy lines of dialogue in the film are taken almost word-for-word from the novel, which is true so far and makes for fun reading.

Another reason to see the film was James Garner. I have always been a fan of his, and I thought it would be interesting to see him in the role of Philip Marlowe. Humphrey Bogart made Philip Marlowe, the detective in the rumpled trench coat, his own in The Big Sleep. I wondered how Garner would fare in the role (just great, by the way). And then there’s Rita Moreno and Carroll O’Connor in supporting roles. I had high hopes—and I wasn’t disappointed. In fact, I watched the film twice, two days in a row, because it was so much fun the first time. (It was fun the second time, too.)

And films from the 1960s and early 1970s are fun in their own right. The clothes, the hairstyles for women, the décor: all of it makes these films seem even more dated than films noir from the 1940s and 1950s. But in Marlowe, they also serve a purpose: The film opens with Marlowe driving up to a ramshackle hotel call “The Infinite Pad.” The hotel’s façade is covered with peace signs and flower-power symbols. People in hippie-style clothing lounge about on the front stairs and porch. And Marlowe shows up in his suit jacket and tie, trying to find the lost brother of his client, one Ofamay Quest. The juxtaposition of the traditional with the new reinforces the idea that Marlowe, the character, is a throwback to the past, a relic of pulp novels from the 1930s and 1940s. But Silliphant’s screenplay and James Garner’s acting make him relevant still in 1969.

I have always said that viewers have to pay attention to the details in many films noir, and the same can be said of Marlowe. Even the opening sequence, with its pop theme song and neon colors, is important, and not just because of the opening credits. The stills and film shots are included for a reason. It’s easy to be distracted by the clever design and the eye-popping colors. I was! The bright colors, constant movement, and catchy theme song meant I had to restart the film so I could catch the credits, too. But the opening sequence should be considered part of the exposition of the upcoming narrative. The photographer taking the pictures in the opening sequence is the person in the photo stuck between the metal parts of the dashboard in Marlowe’s convertible, and it is the person Marlowe is looking for in the rundown hotel.

The manager of the hotel, Haven Clausen, is sleeping soundly. Marlowe tries nudging him awake, and when that doesn’t work, he stuffs a towel in his mouth and pinches his nose. In another juxtaposition between Marlowe and the counterculture of the 1960s, Clausen reaches for a joint, not a cigarette, and Marlowe lights it for him. (A lot of people were still smoking tobacco in 1969, by the way.) Marlowe needs a passkey from Clausen to get into Orrin Quest’s room. When he gets into the room, he learns that it is now occupied by Grant W. Hicks and that Quest left ten days earlier.

Before Marlowe leaves the hotel, he checks for the register, but it’s been tossed in the wastebasket and the page registering Quest has been ripped out. He also checks a telephone directory for Dr. Vincent Lagardie because Clausen called him earlier, when Marlowe first questioned him. He suddenly realizes that Clausen has been awfully quiet, and when he checks on him, he finds Clausen has been killed with an ice pick to the neck. Marlowe’s missing person case now includes murder.

Marlowe returns to his rented office in a large building that reminded me of an old high school. Next door is Woodbridge College of Cosmetology, Hair Styling. The proprietor is Chuck, who informs Marlowe that the client from Kansas is back. And so she is: Orfamay Quest. She has hired Marlowe to find her brother, but she is not very happy with his work so far.

Marlowe’s office and office building (above) also remind me of Harper’s (below) in Harper. Click here for my blog post about Harper, starring Paul Newman.

While Orfamay Quest complains about Marlowe’s lack of results finding her brother, he calls Dr. Vincent Lagardie, who denies knowing Orrin Quest. (Ofamay is more interested in complaining than in giving Marlowe a chance to explain why he is calling the doctor.) He also gets a phone call from Grant W. Hicks, who will pay him to come to the Alvarado Hotel and get some information (Hicks wants Marlowe to save him from Orrin Quest, but he doesn’t tell Marlow that). When Marlowe arrives at the Alvarado Hotel, he finds Hicks, who is now dead with an ice pick to his neck, and a well-dressed woman, who threatens him with a gun. She injures Marlowe enough to keep him from following her, but the hotel’s security cop, Oliver (Ollie) J. Hady, follows her, learns that she is driving a pale yellow Jaguar, and writes down her license plate number.

Marlowe concentrates on Hicks. He now has one missing person and two murders, both by ice pick, and an alarming trend to consider. In Hicks’s toupee, Marlowe finds a claim ticket for Benson’s Camera Shop. Suspecting that a claim ticket hidden in a toupee has to be important (why else would it be hidden in a toupee?), Marlowe mails it to himself from a mailbox in the lobby of the Alvarado Hotel. He counts Hicks’s cash, a substantial sum, and leaves everything else as is.

The film cuts to the police investigation of the Hicks murder scene. Marlowe called the homicide detectives, and among them are Lieutenant Christy French and Sergeant Fred Beifus. They are well acquainted with Marlowe, and Christy grills him about what he knows, but they decide finally to let Marlowe and Hady go. Marlowe catches up with Hady because he wants to know what happened to Hicks’s money; the sum noted by the police detectives didn’t match Marlowe’s count. Hady pocketed over $100, but he refuses to give it up until Marlowe threatens to turn him in. But Marlowe gives it back, bill by bill, when Hady provides one piece of information after another that he has on the woman who escaped: what she was wearing, the car she drove, the license plate number, and so on.

Marlowe uses the information from Hady to find Mavis Wald, a very popular television actress, and her address. When Marlowe gets to Mavis’s penthouse apartment, he finds Dolores Gonzáles, a friend of Mavis’s. Mavis refuses to talk, and when Marlowe leaves the apartment building, Sonny Steelgrave is waiting outside. Three of Steelgrave’s henchmen beat Marlowe and rip his favorite suit jacket when he refuses to hand over the photos.

When Marlowe returns to his office, Winslow Wong (played by Bruce Lee in his first role in an American film) pays him a visit. The first thing Wong does is kick a hole in the wall between Marlowe’s office and the Woodbridge College of Cosmetology, Hair Styling next door. Then he kicks the glass lighting fixture into shards. Chuck and his students rush in to Marlowe’s office to complain, but they leave when Marlowe says that he is just “redecorating.” Wong has a proposition (a bribe) for Marlowe, courtesy of his boss Steelgrave, but Marlowe refuses.

At this point in the film, viewers have met most of the main characters, but several plot twists and turns are still to come. As you can already guess, Marlowe is as complicated as any film noir, with several interconnecting characters and a detailed plot and subplots. I enjoyed following the story, and I enjoyed the subtle humor even more. Garner, as Marlowe, has a good sense of timing and delivers all his lines perfectly. The film lived up to all my expectations.

I had one complaint about the film, and it might be more a function of the DVD presentation than the film itself. The music on the soundtrack was great, but it was extraordinarily loud. I missed some lines of dialogue because they seemed to be overwhelmed by the music, and even when there wasn’t any music, they just weren’t loud enough. If the DVD had come with closed captioning or subtitles, I might not have noticed, but without either option, the lack of clarity for some the actors’ lines became obvious.

Reviewers writing about Marlowe when it was released in 1969 apparently weren’t very kind toward the film. I tried to read some reviews, starting with Roger Ebert’s, but Ebert got it all wrong so I stopped there. Everybody wants Marlowe to be Humphrey Bogart (or is it the other way around?), and I couldn’t disagree more. I agree that Humphrey Bogart was good in the role of Marlowe in The Big Sleep, but others can play Marlowe, too. I don’t want to see an actor playing Marlowe imitating Humphrey Bogart. The comparison between Bogart and every other actor who portrays Marlowe, perhaps inevitable, is unfair in so many ways.

Another complaint about the film’s contemporary reviewers is the tendency to reinforce the myth that the plots of Raymond Chandler’s novels and the films based on them do not make much sense. Supposedly no one can follow the plot of Chandler’s novels, and film viewers shouldn’t try either. Nothing could be further from the truth! Yes, there are a lot of characters to keep track of; yes, there are plots within plots within plots. But what’s the fun of solving a mystery if the answer is given to you at the outset? Isn’t it realistic to present a detective story, one that is told from the point of view of the detective, the way he or she experiences it: with a puzzle that is missing a lot of pieces because someone, maybe more than one person, doesn’t want anyone knowing the details?

Click here for my blog post about The Big Sleep, which includes some discussion about the plot of that film. The Big Sleep is based on Raymond Chandler’s novel of the same name.

Please don’t let comparisons between leading actors and disparaging comments about Chandler’s plots prevent you from seeing Marlowe. Forget about Humphrey Bogart. Forget about Raymond Chandler. Enjoy Marlowe on its own terms. I enjoyed Marlowe enough to see it twice.