The Last Cigarette — Cinema’s most seductive prop — By David Lehman
Every cigarette is the last cigarette.
In the black-and-white world of noir, cigarettes are everywhere. But then, they are ubiquitous in all movies, as in life, in the first half of the 20th century. Among great smokers I think of FDR with his holder tilted rakishly upward, as if to reinforce his smile, and Ike, who smoked four packs of unfiltered smokes a day before and after D-Day in 1944. Gregory Peck smokes fiercely as he types up his exposé of anti-Semitism in Gentleman’s Agreement, as if to say that smoking is an aspect of the writer’s job, a sine qua non, and that an ashtray full of butts is evidence that a writer has done his work. When New York replaced Paris as the world’s art capital, the art critics fell into two rival camps: Pall Malls for Harold Rosenberg, Camels for Clement Greenberg. Audrey Hepburn smokes stylishly in Charade. Marlene Dietrich smoked brilliantly, sometimes with a cigarette holder and furs. Bette Davis is in the smoker’s hall of fame, and not solely because of the end of Now, Voyager, when Paul Henreid lights two cigarettes, one for her and one for him, sealing their intimacy, and Bette has her famous line about settling for the stars if you can’t have the moon.
She’s got a cigarette between her fingers in All About Eve when she says “Fasten your seat belts, it’s going to be a bumpy night.”
Chesterfield ads of the 1940s and ’50s featured Claudette Colbert, Joan Crawford, and Rita Hayworth. Camels were advocated by Teresa Wright, Alan Ladd, John Wayne, Maureen O’Hara, and a neon sign in Times Square that blew out smoke.
Some of the great jingles of the 1960s advertised mediocre cigarettes. Winston “tastes good like [sic] a cigarette should” (which gets spoofed by the scary Chinese villain of the original Manchurian Candidate), L & M has got the filter that unlocks the flavor. You can take Salem out of the country, but. To a smoker, it’s a Kent. The most famous of all Marlboro commercials used Elmer Bernstein’s music from The Magnificent Seven, and Yul Brynner, who played the leader of the pack, was a dedicated smoker (and made a public service announcement after he learned he didn’t have long to live). Nat King Cole credited the quality of his singing voice to cigarettes. Leonard Bernstein couldn’t live without them.
Addictive? A hardened criminal would rat on his best friend for a cigarette, even a bad one (Lark, Parliament, Viceroy) if he needed it. Reason not the need. Hell, the guy in solitary would smoke the butts off the floor if he needed a smoke.]. Read the opening chapter of Italo Svevo’s Confessions of Zeno. It is titled “The Last Cigarette” and narrates the hero’s efforts to give up cigarettes and the lengths the addict will go to satisfy his or her craving. In Dead Again (1991), Kenneth Branagh’s ode to the noirs of the 1940s, the intrepid reporter played by Andy Garcia smokes and smokes, and when we see him as an old man, decades in the future, he has a tracheotomy tube in his neck. What does he ask for—what does he crave—in return for sharing information with the detective played by Branagh? A cigarette.
There is the cigarette of combat: According to Roger Ebert, Out of the Past (1947) is “the greatest cigarette-smoking movie of all time.” Robert Mitchum and Kirk Douglas wage war by cigarette proxy. “The trick, as demonstrated by [director] Jacques Tourneur and his cameraman, Nicholas Musuraca,” Ebert writes, “is to throw a lot of light into the empty space where the characters are going to exhale. When they do, they produce great white clouds of smoke, which express their moods, their personalities, and their energy levels. There were guns in Out of the Past, but the real hostility came when Robert Mitchum and Kirk Douglas smoked at each other.”
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