Obscure wide-screen systems! I *LIVE* for obscure wide-screen systems.
Lurid titling is good also.
They are sisters! Rhonda Fleming is comforting Arlene Dahl. Nothing funny going on.
The film is lit by John Alton, who had an amazing track record in film noir. His work is often even more distinct than that of his directors, even when it’s somebody like Anthony Mann. Alton also lit the ballet in AN AMERICAN IN PARIS, but otherwise he didn’t get as much work as he should have because the unions disliked him for using so few lights.
I feel I should have liked this more — it combines fine noir credentials, with Alton lensing and a source novel by James M. Cain, with a women’s picture melodrama vibe. Should’ve been fabulous, but felt only intermittently so. Maybe it’s the John Payne factor, a terrible burden for any film, although I found him slightly more effective here than in THE DARK CORNER, a better film which he almost sinks. His amoral anti-hero character in this film would have been rather interesting had anyone else played it. Well, maybe not John Hodiak or John Lund or Jon Hall. Or Kent Smith. But anybody else.
Allan Dwan directs — it was something like his 370th film, a feat he could only accomplish by being literally immune to death. Victor Fleming once tried to hammer a stake through his heart, but it didn’t take. You know how your nose and ears continue to enlarge throughout your life? That’s what finally got him.
But watching the film and finding the two redheads pretty appealing, I did some cyber-spadework and found Rhonda Fleming’s website, where she welcomes emails, although she’s very busy what with charity work and being a Christian and stuff. But I thought it would be cool to say “hi”, having communicated with very few Hollywood legends, really. I came up with a question to justify barging in:
“A question occurred to me about one of my favourite films — OUT OF THE PAST. I saw Jane Greer interviewed in a documentary called THE RKO STORY, where she talked about director Jacques Tourneur not speaking very good English. But Tourneur was born in America, and made all his films there, despite his father being French, so this didn’t seem right. I wondered what your memories of Tourneur are — I think he was a marvellous director and both Jane Greer and yourself were marvellously alluring and chillingly wicked in that film. Anything you can tell me would be gratefully received.”
It was actually Fiona who spotted that Greer’s recollections seemed inconsistent with the fact. A couple of days later I got a reply:
“I don’t recall too much about Director, Jacques Tourneur; it was so long ago. However he just let me do it ‘my way’ and I don’t really remember any problem in understanding his English, but he obviously has been proven to be outstanding in directing us in roles that were diverse and full of mystery and excitement. It was an honor to be a part of a great noir film.”
Which was very nice. It doesn’t clear up the question at all, but I can hardly blame Rhonda F. for not remembering a co-worker from sixty years ago. I can’t remember where I put my slippers.