“Mod” London takes center stage in Michelangelo Antonioni’s mind-blowing Blow-Up
By David Lehman | for The American Scholar August 25, 2022
David Hemmings, Gillian Hills, and Jane Birkin in Blow-Up, 1966 (Everett Collection)
When it was released in 1966, Michelangelo Antonioni’s Blow-Up blew the minds of student cineastes and literary intellectuals at Columbia University—including me. Having just entered the college as a freshman, I sat at the feet of the elders at TheColumbia Review and King’s Crown Essays and took a crash course in cinema as an art form.
In avant-garde circles in general, there was a cult around such European directors as Antonioni, Ingmar Bergman, Luis Buñuel, Federico Fellini, Jean-Luc Godard, François Truffaut, and Agnès Varda. Antonioni’s Italian-language movies—L’Avventura (1960), La Notte (1961), and L’Eclisse (1962)— offered an attractive blend of enigma, ennui, eros, existential fatigue, and Monica Vitti.
L’Avventura has a beginning and middle, but no true end. The character played by Lea Massari disappears; her disaffected lover (Gabriele Ferzetti) and best friend (Vitti) try to find her, and the film arrives at no resolution. It would be as if, having done away with his heroine 45 minutes into Psycho, Hitchcock failed to provide an explanation and a compensatory story to make up for her absence. The ambiguity in L’Avventura goes up a notch in Blow Up.
Antonioni based Blow-Up, his first English-language feature, on a story by the Argentine novelist Julio Cortázar. He set the film in London, “mod” headquarters in the heyday of the Beatles, Carnaby Street, and psychedelic nightclubs. David Hemmings plays Thomas, a nervy fashion photographer with artistic instincts. Besides taking pictures of professional models who resemble heavily made-up mannequins, he spends his time fending off wannabe models, visiting an antiques dealer, and going to pubs and clubs.
There’s a very hot scene featuring Jane Birkin and Gillian Hills trying on clothes and playing sex games with the photographer. In an American movie, such scenes would have a bearing on the plot. Here they are all red herrings, though they do contribute to the movie’s powerful atmospheric effects.
When Thomas ducks out on a photo session, he takes his camera with him to a park. There, in an otherwise unpeopled patch of meadow, he clicks away at a man and a woman in a clandestine embrace. When Jane (Vanessa Redgrave), the woman in the scene, becomes aware of what he is doing, she hurries over to confront him. She demands the roll of film. She even follows him back to his studio, evidently prepared to go to any length to recover the photos. After shaking Jane off by giving her a false roll, Thomas develops the film, makes enlargements, and lo, there is a gun in the bushes.
Is there also a corpse? Has Thomas inadvertently photographed a murder? What should he do about it? Hemmings hems and haws, which the soundtrack anticipates: The Lovin’ Spoonful’s “Did You Ever Have to Make Up Your Mind?” plays in the background earlier in the film.
There are elements of the classic murder mystery in Blow-Up. A dead body is there, and then it isn’t. The incriminating photos are there, and then, because the photographer’s studio with the incriminating enlargements has been ransacked, they’re gone. The effect is less a matter of suspense than of paranoia and perplexity. If the film has an allegorical dimension, it is that great shibboleth of the ’60s: “Nothing is real”—or, more exactly, nothing can stand the test of empirical existence unless it is recorded. To an extent, then, the movie is about movies, what we see versus what we think we see.
Besides the cunning ambiguity of the plot, I would single out two other elements that distinguish this major movie: Blow-Up offers a beguiling snapshot of the Zeitgeist, and it ends marvelously, with an unforgettable final sequence.
The spirit of London’s Swinging Sixties pervades the movie. It is as if everyone is high. In a club, the Yardbirds—a popular band, with Jeff Beck on guitar—perform their song “Stroll On.” When Beck smashes his guitar on stage and throws the neck of the instrument into the crowd, a frenzied fight for the souvenir ensues. Thomas gets into the thick of it and emerges triumphant. Leaving the club with his trophy, he soon throws it away. And when a passerby picks it up, looks it over, and discards it, the parable on what constitutes value is complete.
At a party for which jazz pianist Herbie Hancock provides the score, Thomas encounters the beautiful German model Verushka. “I thought you were supposed to be in Paris,” he says. “I am in Paris,” she replies, puffing on a joint. Before the evening is over, Thomas will take LSD with his agent, Ron. At dawn he returns to the park, expecting to find the corpse he saw earlier, only it is no longer there.
Going home, Thomas comes across mimes at a tennis court, playing with invisible balls and rackets. They gesture to show that their ball is lost and ask Thomas to retrieve it. He does as instructed, miming the action, and then the camera pulls back, Thomas vanishes, and the inevitable murmur from the audience tells us that we have seen something extraordinary, the allure of the enigmatic.
The most dramatic moment in The Big Heat, a memorable Fritz Lang noir for the early 1950s, is when Gloria Grahame turns the tables on her tormentor, Lee Marvin, by emptying a pot of boiling coffee on his face.
For The American Scholar, I've posted short essays on the movies I've listed here. Here are links to, and brief excerpts from, the articles. To this post, which first appeared on March 27, 2020, I have since added my piece on The Manchurian Candidate from January 22, 2022. Click here to see other Talking Picturesfeatures.
<<< Horror is what we feel witnessing the aftermath of a fatal car wreck. Terror is what we feel in anticipation of something terrible that has not yet happened.
What Cape Fear (1962) offers is a pure example of a third kind of sensation, one that attracts even as it repels: menace. Menace is Robert Mitchum as Max Cady, newly released from an eight-year prison sentence, a cigar in his mouth and a Panama hat on his head, into the heat of summer in a small, southern town. Cady embodies evil and Mitchum embodies Cady, a character who is as cunning as he is vicious.
Although he plays an unreformed sex offender who beats up women and has no business gaining control of the viewer’s attention, Cape Fear is Mitchum’s picture from the moment he appears on the scene, confronting the attorney who put him behind bars. “Hello, Counselor. Remember me?” Cady is back with a vengeance. >>
<<< In each movie, Holden says something that communicates his capacity for irony and irreverence, as well as his distaste for the boyish conception of war as a “game.” In The Bridge on the River Kwai, Shears says to Warden: “You and Colonel Nicholson, you’re two of a kind, crazy with courage. For what? How to die like a gentleman, how to die by the rules—when the only important thing is how to live like a human being.” In Stalag 17, he offers this wonderful parting shot: “If I ever run into any of you bums on a street corner, just let’s pretend we’ve never met before.”
The slam-bang conclusion of The Bridge on the River Kwai is magnificent, and I shall say nothing more about it here except to reveal that the movie’s last word is “madness!” At the end of Stalag 17, Sefton takes wire-cutters to cut through the barbed wire, rescue a lieutenant the Germans want to kill, and guide the two of them to freedom. Duke: “The crud did it.” Harry Shapiro: “I’d like to know what made him do it.” Animal: “Maybe he just wanted to steal our wire cutters. Ever think of that?” >>>
-- The Best Years of Our Lives with Fredric March, Myrna Loy, Teresa Wright, Dana Andrews
<<< A great scene: lovesick Peggy confronts her parents, saying they can’t understand her because they “never had any trouble.” To which Milly responds, turning to Al: “We never had any trouble. How many times have I told you I hated you, and believed it in my heart? How many times have you said you were sick and tired of me, that we were all washed up? How many times have we had to fall in love all over again?”
I am always moved by a scene in which Fred climbs aboard a discarded bomber, his “office” during the war, which is now rusting in an aircraft boneyard. The scene has no words, just music, as Fred sits and stares into his turbulent past and blank future. This may be my favorite moment in the film, but there are others very nearly as affecting, including the one in which, at a formal dinner of bank officers and trustees, Al gulps down too many highballs but manages not to hiccup when he makes a speech that begins unsteadily but ends with eloquence. >>>
<<< Gentleman’s Agreement is one of two late 1940’s pictures that wrestle with the ugliness of anti-Semitism. The other is Edward Dmytryk’s Crossfire, also from 1947, a noir featuring three Roberts: Robert Young as an investigator, Robert Mitchum as a friend of a suspect, and Robert Ryan as a demobilized soldier who brutally murders the hospitable Jewish man whom he and his army buddies meet in a bar. But while Crossfire centers on a homicide for which the only motive is drunken anti-Semitism, Gentleman’s Agreement deals with the sort of suburban, exclusionary anti-Semitism practiced by those who claim that “some of my best friends are Jews.” >>>
The Killing (directed by Stanley Kubrick; with Sterling Hayden, Marie Windsor, Elisha Cook, Jr., Vince Edwards, etc)
<<< The Killing ends with the greatest money shot in the movies, its nearest competition being the shower of love bestowed on James Stewart on Christmas Eve at the end of It’s A Wonderful Life. Johnny (Sterling Hayden) and Fay (Coleen Gray) are at the airport about to board a flight to Boston and freedom. He doesn’t want to let go of the suitcase, but it is too big for the overhead compartment, so he reluctantly yields it. He and Fay watch the suitcase totter atop the checked luggage in the cart taking it from terminal to plane. When a spectator’s dog runs into the cart’s path, the driver swerves, and the suitcase falls off. It pops opens, and the money flies around like snow in a swirling wind.
The set-up has been executed perfectly and yet, because of a stray event, a tiny happenstance, all is for naught—all the blood spilled, all the careful calculation. >>>
The Manchurian Candidate January 22, 2022 Political scientists used to define politics as the art of the possible. If it has morphed into the craft of manipulative paranoia, the change dates back to the assassination of President Kennedy. The Warren Commission’s report satisfied few skeptics, journalists, or serious historians, and the credibility of politicians (who used to be called “statesmen”) keeps ebbing.
The Manchurian Candidate, which presaged the change, presents a plot to assassinate a presidential candidate by long-range rifle during his party’s nominating convention in Madison Square Garden. The movie’s conceit was so scary that studio executives at United Artists felt the project had to be cleared with the White House. Frank Sinatra dutifully called JFK, who greenlit the film, which Sinatra believed in so strongly that he volunteered the use of his private plane for an early scene in the movie.
Talk about serendipity: On October 22, 1962, only two days before the picture’s release, President Kennedy announced to the nation that he had ordered a naval blockade to repulse Russian ships, equipped with missiles, heading to the Caribbean. The Cuban Missile Crisis has been seen ever since as the tensest moment in the 45-year Cold War between the Soviet Union and the United States, and here was a movie advancing the thesis that a Communist assassination plan was in the works.
The Manchurian Candidate is wickedly satirical. Senator John Yerkes Iselin (James Gregory), a demagogue in the manner of Joe McCarthy, is revealed to be an imbecile under the thumb of his ambitious, intellectually superior wife, Eleanor Shaw Iselin (Angela Lansbury at her best). What happened to her first husband? The movie, mum on the point, offers an Oedipal triangle in which Mrs. Iselin controls her war hero son, Raymond Shaw (Laurence Harvey), and gets him to eliminate her rival, his bride (Leslie Parrish), the daughter of Senator Iselin’s fiercest, most principled opponent (John McGiver). Lansbury was less than three years older than Harvey. In the novel, she seduces him; in the film, just a kiss on the lips, but it’s enough.
What most distinguishes The Manchurian Candidate is its opening. If you miss the first five minutes of Hamlet, you can catch up (at the cost of some excellent verse), because the ghost does not appear to Hamlet until act I, scene 4 and doesn’t speak to him until scene 5. But, as the movie’s theatrical release poster accurately proclaimed, “If you come in five minutes after this picture begins, you won’t know what it’s all about.” The film begins in Korea, 1952. Betrayed by a guide, an American army unit is ambushed. After Saul Bass’s marvelous title credits, featuring the queen of diamonds on an oversize political campaign button, we go to an American airport, where Sergeant Shaw, survivor of the ambush, is honored with hoopla for the valor he is said to have displayed under fire.
In the following scene, the camera slowly approaches Shaw’s commanding officer, Major Bennett Marco (Sinatra), asleep beside an insomniac’s paradise of books, among them The Trial, For Whom the Bell Tolls, and Ulysses. Marco, who nominated Shaw for his medal, slides into a recurring nightmare of what really happened in Korea.
The brainwashing sequence begins with the captive GIs in their army fatigues on a stage. The audience appears to the men, in their trance, to consist of dowagers in sunhats who have gathered to talk about hydrangeas at a suburban garden party in New Jersey. In fact, the ladies in the audience are Russian and Chinese bigwigs, and Frankenheimer switches us back and forth between alternating versions, the harmless old women and the malevolent Communists in suits or uniforms. Then we watch in horror as, under orders, Shaw kills two of his fellow POWs while the other soldiers look on, affectless.
Like Major Marco, Corporal Al Melvin (James Edwards) has recurrent nightmares culminating in a public murder committed by Shaw. And, like Major Marco, he is programmed to say, when asked, that “‘Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life.” Everyone says so, and it’s odd, because Raymond is a singularly cold, humorless fellow whom the men dislike..
The buried truth—that the recipient of a Congressional Medal of Honor, feted with fanfare, is a secret, trigger-ready weapon concocted by the enemy—created a mental shock to anyone who saw The Manchurian Candidate in 1962. (I was 14 years old, and amazed.) The plot: to engineer the nomination of the clownish Senator Iselin for the position of vice president, then to kill the man at the head of the ticket, paving the way for Iselin’s rise to that position. The paranoid paradox: the extreme right-wing John Iselin is really a clueless Communist placeholder. The brains of the operation: Eleanor Iselin, as icily ruthless as Lady MacBeth.
Marco, the veteran suffering from PTSD who tries to save Shaw from his predestined fate, looks like a man having a nervous breakdown, but he must have something going for him, because the glamorous and beautiful Rosie Cheyney (Janet Leigh) is willing to break her engagement to her fiancé on the basis of a shared cigarette with Marco on the train between Washington, D. C. and New York City. Although Leigh is extraneous to the plot, I have published a poem contending that the only justification needed for Janet Leigh’s presence in the movie is that she is Janet Leigh. More creatively, Roger Ebert argues that in the paranoid universe of The Manchurian Candidate, Leigh may secretly be Sinatra’s controller.
I will not give away other surprises and speculations except to say that the guises assumed by the queen of diamonds will endow that particular card with a rare significance if you are a part-time poker player. An amusing scene takes place in Jilly’s, Sinatra’s favorite New York hangout. When the bartender, telling a story, says, “Go up to Central Park and go jump in the lake,” Raymond—a solitaire addict who has just encountered the trigger card—does as told. Marco has to fish him out.
The Manchurian Candidate has altered political discourse, and the very word brainwashing has acquired a stink. The evil mesmerist-in-chief, Dr. Yen Lo (Khigh Dhiegh), crows that Raymond Shaw’s “brain has not only been washed, as they say; it’s been dry-cleaned.” In 1967, George Romney shot his presidential candidacy in the foot when he said he had supported the Vietnam War because US generals had “brainwashed” him. Recently, Donald Trump has been depicted as a “Manchurian candidate,” allegedly willing to favor the Russians in exchange for lucrative real-estate deals.
But The Manchurian Candidate offers more than a linguistic afterlife, thrilling paranoia, and the cunning of Eleanor Iselin. It succeeds as well as it does because of the strong sense of the uncanny that informs it, as if we were watching our own history rendered as a spooky hallucination, delivered with the plausibility of a newsreel.
For more of John Harbourne's pioctures, visit this site: johnharbourneartist.com copyright (c) 2022 by John Harbourne
Epitaph for a Genre: On Kubrick's "The Killing" [by David Lehman]
Adapted by Stanley Kubrick and Jim Thompson from the pulp novel by Lionel White, The Killing is classic noir. The plot is about an expertly planned racetrack heist that goes spectacularly wrong because the weak link in the chain of confederates is married to a two-timing frail. A cast of noir stalwarts under Kubrick’s direction brings this story to life. Later Kubrick movies such as 2001 and A Clockwork Orange are more ambitious undertakings, but many of us with noir in our bones have a special affection for The Killing, a taut, black-and-white depiction of futility and failure.
Just out of prison, Johnny Clay is tall, tough, taciturn, and as decent a guy as you could want in a thief—a role Sterling Hayden was born to play. He has planned the robbery with a chess player’s precision. An inside job, it requires the contributions of a pay-window cashier named George (Elisha Cook Jr.) and a track bartender. Johnny has also recruited Randy (Ted de Corsia), a crooked cop, who drives solo in his prowl car; Nikki, a sharpshooter (played with great nastiness by Timothy Carey); and Maurice, a muscle man (Kola Kwariani, a Georgian wrestler with whom Kubrick played chess).
Nikki must shoot Black Lightning, the favorite in the high-stakes race of the day, just before the colt reaches the backstretch of the track. At the same time, Maurice will pick a fight at the bar. You need 10 men to hold Maurice down, and so, amid the chaos, no one notices the cashier when he unlocks the door marked “NO ADMITTANCE,” behind which men count and stash the day’s take. The diversions give Johnny time enough to walk in, don a mask, brandish a submachine gun, and collect the dough in a duffel bag, which he then tosses out the window … for Randy to pick up and drive away in his cop car. A perfect crime.
Kubrick starts and restarts the story, shifting points of view, reverting each time to the track announcer’s call of the $100,000-added Lansdowne Stakes. The marksman’s story features a chilling scene between Nikki and a black racetrack employee played by James Edwards. The narrative throughout is advanced by voiceover, a matter-of-fact male voice of authority, accentuating the suspense.
The criteria of masculinity are presented and questioned in the movie. Elisha Cook, Jr., so memorable as the humiliated gunsel in The Maltese Falcon and as brave, lovesick Harry Jones in The Big Sleep, is outstanding as George the cashier, a man who, in Lionel White’s novel, is said to be “crazy about his wife” but “not completely blind to her character.” He knows, too, that “he himself had failed as a husband and failed as a man.”
In short, he is the archetypal noir loser, married to Sherry (Marie Windsor), who is discontented, fickle, frustrated, and doomed. A true chingona as perhaps only Marie Windsor could render her! When George confides that in the next few days he will have a lot of money, she says, with practiced cruelty, “Did you put the right address on the envelope when you sent it to the North Pole?” Sherry gets George to reveal the gang’s plan.
Everything goes right until the guys gather to split the proceeds. Sherry has spilled the beans to her handsome boyfriend Val (Vince Edwards). Val and a henchman barge in to steal the dough, and in the ensuing shootout all are killed except George, who is badly wounded but has enough vitality left to stumble home and shoot Sherry before he expires. “It isn’t fair,” she says, making the cinematic most of the moment. “I never had anyone but you, not a real husband, not even a man.”
Having transferred the loot to the biggest suitcase he could buy, Johnny Clay arrives at the scene 15 minutes too late. Seeing George stumble down the front stairs, Johnny puts two and two together and drives away with the sound of sirens in his ears. He and girlfriend Fay (Coleen Gray) hightail it to the airport.
The Killing ends with the greatest money shot in the movies, its nearest competition being the shower of love bestowed on James Stewart on Christmas Eve at the end of It’s A Wonderful Life. Johnny and Fay are at the airport about to board a flight to Boston and freedom. He doesn’t want to let go of the suitcase, but it is too big for the overhead compartment, so he reluctantly yields it. He and Fay watch the suitcase totter atop the checked luggage in the cart taking it from terminal to plane. When a spectator’s dog runs into the cart’s path, the driver swerves, and the suitcase falls off. It pops opens, and the money flies around like snow in a swirling wind.
The set-up has been executed perfectly and yet, because of a stray event, a tiny happenstance, all is for naught—all the blood spilled, all the careful calculation.
Johnny Clay does not survive in the novel on which The Killing is based, Lionel White’s Clean Break. On the last page, two bullets from George’s gun make a “peculiar, plopping sound” as they enter Johnny’s stomach. Under his elbow is a folded newspaper, headlined “Race Track Bandit / Makes Clean Break / With Two Million.”
The movie’s ending is even better. Two million bucks in small bills go up in a whirlwind, and the bandit has not only lost the cash but has also unmasked himself as the culprit. Dazed, helpless, Johnny and Fay retreat and try to hail a taxi. They are standing by the airport’s front doors as two armed plainclothes cops walk menacingly toward them. The look on Sterling Hayden’s face is unforgettable.
Fay: “Johnny, you’ve got to run.”
Johnny: “Ah … what’s the difference?”
This exchange, which ends the movie, could stand as an epitaph for all of noir.
Diptych by John Harbourne. Copyright (c) 2022 by John Harbourne. All rights reserved. John Harbourne has made similar drawings of many other noir figures. www.johnharbourneartist.com
Laura
Then the doorbell rang. Time for one more cigarette. It wasn’t Laura’s body on the kitchen floor. He is not in love with a corpse
Time for one more cigarette. The venomous drama critic insinuates He is in love with a corpse. It’s a typical male-female mix-up.
The venomous drama critic knows He is sane. It’s a typical male-female mix-up. He thinks she is dead and she thinks he is rude.
Is he sane? Each wonders what the other is doing in her living room. He thinks she is a ghost and she thinks he is rude When the picture on the wall becomes a flesh-and-blood woman.
Each wonders what the other is doing in her living room. It hasn’t stopped raining. The picture on the wall becomes a flesh-and-blood woman: Gene Tierney in Laura.
It hasn’t stopped raining. “Dames are always pulling a switch on you,” "Dana Andrews says in Laura. There was something he was forgetting.
“Dames are always pulling a switch on you.” It wasn’t Laura’s body on the kitchen floor. There was something he was forgetting. Then the doorbell rang.
-- David Lehman
"Laura" is taken from David Lehman's book The Mysterious Romance of Murder, pubished by Cornell University Press in 2022. Copyright (c) 2022 by David Lehman.
A cigarette is an invitation. When, in The Lady from Shanghai, able-bodied Irish sailor Michael O’Hara (Orson Welles) meets Elsa Bannister (Rita Hayworth) in a horse-drawn carriage in Central Park, he offers her a cigarette. “But I don’t smoke,” she says. Still, she wraps his cigarette in a handkerchief and tucks it away as a memento. When Elsa’s husband, Arthur, hires Michael to assist on a yacht trip from New York to San Francisco via the Panama Canal, the means and opportunity are at hand for an adulterous romance. Aboard the Zaca, Elsa smokes like an old pro, and it’s as if that pristine, unsmoked cigarette in Central Park prefigured the smoldering affair.
“A cigarette that bears a lipstick’s traces” is the first line of a sexy lyric. An airline ticket takes the smoker to the romantic places where sinners gather.
Cigarettes were currency among the new immigrants. You could tip the delivery boy with a cigarette.
My friend Ron observed the paradox of cigarettes: we smoke them because of the fear of death, not in spite of it.
I have considered writing an ironic “modest proposal,” in the vein of Jonathan Swift, advocating the return of cigarettes to movies, which might shorten life expectancy and thereby ease the costs of long-term health, but friends have dissuaded me on the grounds that the irony would not be grasped.
In 1929, when cigarettes were marketed to women as “torches of freedom,” well-dressed debutante types were paid to smoke while strolling down Fifth Avenue in the Easter Parade.
“Do you remember the last cigarette you had when you gave them up?”
“Which time?”
“I used to think that all I wanted was the respect of honorable men and the ungrudging love of beautiful women,” says Philip Marlow, the hospitalized mystery writer in Dennis Potter’s The Singing Detective. “Now I know for sure that all I really want is a cigarette.”
And what, Mr. Marlow, is it that you crave? “A smoke. A length of ash slowly building. Oh, tube of delight. Blessed nicotine.”
In the first sentence of Too Many Cooks (1938), Rex Stout’s narrator, Archie Goodwin, says that he “lit a cigarette with the feeling that after it had calmed my nerves a little, I would be prepared to submit bids for a contract to move the Pyramid of Cheops from Egypt to the top of the Empire State Building with my bare hands, in a swimming-suit.” That’s quite a lift to be gotten from a smoke.
Leave aside the rush of nicotine. Forget the ritual of opening a pack of unfiltered Luckies, Camels, Chesterfields, Pall Malls, tamping them down, pulling one out, lighting it, discarding the match, taking the first, satisfying long drag. Cigarettes are the greatest prop of all time: puffing, taking in the smoke, drawing in a deep lungful and slowly expelling it, holding the cigarette between your index and middle fingers, motioning with that hand to underscore a point.
“Cigarettes are sublime,” Richard Klein asserts in a book he wrote to console himself when trying to quit smoking. Sublime, maybe; sexy, for sure. “Cigarettes had to go,” the poet and noir connoisseur Suzanne Lummis concedes. “But the cinema lost a language. Aside from the smoking, the lighting of the cigarette could be handled so many ways with such different effects. Richard Conte, Robert Mitchum, all those guys—in two smooth gestures they’ll slide out that silver lighter and make the flame leap up, and we get the message—this is what unflappable cool looks like, virile confidence.”
There is the cigarette of loneliness, the cigarette of desperation: Jean Gabin holed up in his attic room, chain-smoking his last Gauloises, as the police close in on him in Le Jour se lève. There is the cigarette of heartbreak, the chain of cigarettes that won’t help you “forget her, or the way that you love her,” with all the force Sinatra can put into the singular female pronoun in “Learnin’ the Blues.” And there is the cigarette of intense nervousness, jeopardy, and fear smoked by Faye Dunaway in Chinatown, stunning in black cap and veil with black dots. When with a shaky hand Dunaway lights up, Jack Nicholson points out that she already has a cigarette going, and says: “Does my talking about your father make you nervous?”
Lighting somebody’s cigarette is a powerful gesture, suggesting intimacy or the desire for the same. “If you’re going to smoke, you gotta learn to carry matches,” Dix (Sterling Hayden) says when he lights up Doll (Jean Hagen) in The Asphalt Jungle. Aldo Ray does it for Anne Bancroft at the bar in Jacques Tourneur’s Nightfall, and Glenn Ford performs the gallantry for Gloria Grahame in Fritz Lang’s Human Desire. When Lana Turner falters trying to light her cigarette, John Garfield does the honors, foreshadowing the adultery and murder in The Postman Always Rings Twice. The movie producer played by Kirk Douglas teaches the self-same Lana Turner how to smoke sexily in The Bad and the Beautiful, while Dick Powell has the flame Claire Trevor needs in Murder, My Sweet.
Suzanne Lummis draws my attention to the moment “when Powell fires up his lighter and Trevor puts her hand on his and moves it toward the tip of her cigarette.” Says she: “You will help me, won’t you?” He: “Am I doing this for love, or will I get paid with money?” Toward the end of the movie, when “Helen, who is actually Velma, who is actually a killer … rises from the shadows with her cigarette, in her gown slashed with stripes of glinting sequins,” the images presage danger and disaster. Soon bullets will be flying and bodies dropping.
In her discussion of smoking, Lummis also cites In a Lonely Place. Dix Steele (Humphrey Bogart) and Laurel Gray (Gloria Grahame) sit at a piano with other couples, listening to the silky-smooth rendition of the lounge singer, vocalist and pianist Hadda Brooks: I was a lonely one, till you. “He lights a cigarette for her, and she takes it in her mouth, such an intimate gesture,” Loomis writes. “He whispers to her. They are so in love. And it will never be that good again. Nothing is going to be that good again, for either of them. If these characters had lives beyond the credits at the end, we know that each on their dying bed looked back and thought, ‘that’s what happiness felt like.’ And because someone who unsettles their composure enters the club, that happiness didn’t even last the length of the song. That’s noir.”
A haiku:
I like to watch the stars,
in cafés and bars,
smoking in films noirs.
In Laura, Gene Tierney may smoke cigarettes with Vincent Price, but she chooses Dana Andrews, a much better smoker. In Pitfall, when showroom model Lizabeth Scott (in beret, suit, and blouse with a lavaliere) gives married insurance man (Dick Powell) a cigarette and takes one for herself, it signifies something illicit—as is plain when they clinch instead of lighting up.
Kirk Douglas lights cigarettes for Doris Day and himself in Young Man with Horn (1950), which would have been a noir if Day hadn’t been there to rescue Douglas from viper Lauren Bacall. In the same movie, Hoagy Carmichael, as trumpeter Douglas’s buddy, is nicknamed “Smoke,” because he always has a cig in his mouth, even while his hands are busy playing the keyboard and producing “Get Happy” or “Someone to Watch Over Me.”
When Rita Hayworth (Gilda) and Glenn Ford (Johnny Farrell) share a scene in Gilda, one of them may be smoking, but usually not both. Rita in a strapless black dress with a lit cigarette between the index and middle fingers of her right hand is reason enough to rue the day the surgeon general condemned smoking in 1963. “Got a light?” Gilda asks, and when Johnny flicks the lighter, it is belt high and she must bend over to get the flame.
A running gag in Double Indemnity is that Edward G. Robinson lacks a lighter. Each time he tries to light up his cigar but finds no matches in his pocket, Fred MacMurray is on hand smirking and providing the necessary blaze. The relationship between Keyes (Robinson) and Walter Neff (MacMurray) is as intense in its way as the connection between Walter and Phyllis Dietrichson (Barbara Stanwyck). It means something that when Neff is dying of a gunshot wound, it is Keyes who lights his final cigarette. The last line of the movie is on my top-ten list of great last lines: “I love you, too,” said by Neff to Keyes.
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, Barbara Stanwyck, 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.” 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.”
The cigarette as a prize: In The Snake Pit (1948), a so-called “problem picture” dramatizing the plight of the mentally ill, Dr. Kik (Leo Genn) wants to reward Virginia Stuart Cunningham (Olivia de Havilland) for the progress she has made. On the wall, a framed photograph of a severe Sigmund Freud looks on as the doctor kindly says, “What about a cigarette now?”
The romantic cigarette, in defeat: On television in the late ’50s, Sinatra in fedora and raincoat, with a cigarette in his hand, takes his seat at the bar. It’s nearly three in the morning, and he begins to sing “One for My Baby (and One More for the Road)” with only Bill Miller’s piano accompaniment. There’s a glass, an ashtray, and an open pack of smokes on the bar. Joe the bartender pours whiskey into the glass when the singer tells him to “set ‘em up,” and Sinatra strikes a match, keeps it lit, stares at the flame, while telling his new pal Joe that tonight he is drinking “to the end of a brief episode.” Only then does he bring the flame to the cigarette and take a puff. He keeps the cigarette between fingers, or taps the ashes into the tray, and holds the glass of whiskey while singing. The song as written ends with “the long, long road,” but Sinatra never reaches the period at the end of the line. After “the long,” he pauses, takes a drag of his cigarette, repeats “the long,” and lets the music drift off like smoke.
The cigarette of melancholia: A triptych of Gene Kelly, Dan Dailey, and Michael Kidd—World War II army buddies who reunite 10 years later and realize that they loathe themselves and one another—shows the guys smoking and singing “Once I had a dream, what a joke / Gone is that dream, up in smoke” in It’s Always Fair Weather (1955), the most underrated of the Kelly and Stanley Donen movie musicals, with wonderful lyrics by Betty Comden and Adolph Green.
The macho cigarette, cool under pressure: In The Godfather (1972), Michael Corleone is standing in front of the hospital where his wounded father lies unprotected. Enzo, the baker, has chosen this moment to visit with flowers, and Michael enlists him to help stand guard. The two men are to stand there, impersonating gun men, in an effort to deter the hit men driving by. Enzo, understandably nervous, needs a cigarette. Hand goes to pocket, pulls out cigarette. But his hands shake, he can’t work his lighter. Michael calmly takes the Zippo and lights him up. The ruse works. Michael has displayed initiative and imagination, and the signature of that moment is his icy demeanor when firing up Enzo’s lighter. By contrast, the unfiltered Camel that Michael smokes at the end of The Godfather II (1974) is a mark of his aloneness. The cigarette is his only friend as he sits and broods on the end of an ethic, a family, a film.
The royalty of cigarette smokers are Humphrey Bogart and Lauren Bacall. The Big Sleep (1946) ends with the two of them in a car. She “guesses” that she’s in love with him, and he “guesses” that he’s in love with her. Says he: “What’s wrong with you?” She: “Nothing you can’t fix.” And next to the words THE END, there is an ashtray with two smoldering cigarettes in it.
Ah, cigarettes. What a wonderful prop. So sexy! Too bad they cause cancer.
“The Last Cigarette” is adapted from The Mysterious Romance of Murder: Crime, Detection, and the Spirit of Noir, contributing editor David Lehman’s new book, published by Cornell University Press on May 15, 2022.
From The American Scholar (August 25, 2022). Here are the opening paragraphs of my latest "Talking Features" piece:
<<<<
When it was released in 1966, Michelangelo Antonioni’s Blow-Up blew the minds of student cineastes and literary intellectuals at Columbia University—including me. Having just entered the college as a freshman, I sat at the feet of the elders at TheColumbia Review and King’s Crown Essays and took a crash course in cinema as an art form.
In avant-garde circles in general, there was a cult around such European directors as Antonioni, Ingmar Bergman, Luis Buñuel, Federico Fellini, Jean-Luc Godard, François Truffaut, and Agnès Varda. Antonioni’s Italian-language movies—L’Avventura (1960), La Notte (1961), and L’Eclisse (1962)— offered an attractive blend of enigma, ennui, eros, existential fatigue, and Monica Vitti.
L’Avventura has a beginning and middle, but no true end. The character played by Lea Massari disappears; her disaffected lover (Gabriele Ferzetti) and best friend (Vitti) try to find her, and the film arrives at no resolution. It would be as if, having done away with his heroine 45 minutes into Psycho, Hitchcock failed to provide an explanation and a compensatory story to make up for her absence. The ambiguity in L’Avventura goes up a notch in Blow Up.
Antonioni based Blow-Up, his first English-language feature, on a story by the Argentine novelist Julio Cortázar. He set the film in London, “mod” headquarters in the heyday of the Beatles, Carnaby Street, and psychedelic nightclubs. David Hemmings plays Thomas, a nervy fashion photographer with artistic instincts. Besides taking pictures of professional models who resemble heavily made-up mannequins, he spends his time fending off wannabe models, visiting an antiques dealer, and going to pubs and clubs.
There’s a very hot scene featuring Jane Birkin and Gillian Hills trying on clothes and playing sex games with the photographer. In an American movie, such scenes would have a bearing on the plot. Here they are all red herrings, though they do contribute to the movie’s powerful atmospheric effects.
When Thomas ducks out on a photo session, he takes his camera with him to a park. There, in an otherwise unpeopled patch of meadow, he clicks away at a man and a woman in a clandestine embrace. When Jane (Vanessa Redgrave), the woman in the scene, becomes aware of what he is doing, she hurries over to confront him. She demands the roll of film. She even follows him back to his studio, evidently prepared to go to any length to recover the photos. After shaking Jane off by giving her a false roll, Thomas develops the film, makes enlargements, and lo, there is a gun in the bushes.
Is there also a corpse? Has Thomas inadvertently photographed a murder? What should he do about it? Hemmings hems and haws, which the soundtrack anticipates: The Lovin’ Spoonful’s “Did You Ever Have to Make Up Your Mind?” plays in the background earlier in the film.
There are elements of the classic murder mystery in Blow-Up. A dead body is there, and then it isn’t. The incriminating photos are there, and then, because the photographer’s studio with the incriminating enlargements has been ransacked, they’re gone. The effect is less a matter of suspense than of paranoia and perplexity. If the film has an allegorical dimension, it is that great shibboleth of the ’60s: “Nothing is real”—or, more exactly, nothing can stand the test of empirical existence unless it is recorded. To an extent, then, the movie is about movies, what we see versus what we think we see.
Besides the cunning ambiguity of the plot, I would single out two other elements that distinguish this major movie: Blow-Up offers a beguiling snapshot of the Zeitgeist, and it ends marvelously, with an unforgettable final sequence.
The spirit of London’s Swinging Sixties pervades the movie. It is as if everyone is high. In a club, the Yardbirds—a popular band, with Jeff Beck on guitar—perform their song “Stroll On.” When Beck smashes his guitar on stage and throws the neck of the instrument into the crowd, a frenzied fight for the souvenir ensues. Thomas gets into the thick of it and emerges triumphant. Leaving the club with his trophy, he soon throws it away. And when a passerby picks it up, looks it over, and discards it, the parable on what constitutes value is complete.
At a party for which jazz pianist Herbie Hancock provides the score, Thomas encounters the beautiful German model Verushka. “I thought you were supposed to be in Paris,” he says. “I am in Paris,” she replies, puffing on a joint. Before the evening is over, Thomas will take LSD with his agent, Ron. At dawn he returns to the park, expecting to find the corpse he saw earlier, only it is no longer there.
Going home, Thomas comes across mimes at a tennis court, playing with invisible balls and rackets. They gesture to show that their ball is lost and ask Thomas to retrieve it. He does as instructed, miming the action, and then the camera pulls back, Thomas vanishes, and the inevitable murmur from the audience tells us that we have seen something extraordinary, the allure of the enigmatic. >>>>
For more, click here. https://theamericanscholar.org/the-allure-of-the-enigmatic/
When The Manchurian Candidate, based on the novel by Richard Condon, was released in 1962, Pauline Kael called it “the most sophisticated political satire ever to come out of Hollywood.” Six decades on, the judgment holds, and I’ll go further. With its mind-bending plot, its celebrated brainwashing sequence, and stellar performances from a cast led by Frank Sinatra, Angela Lansbury, Laurence Harvey, and Janet Leigh, director John Frankenheimer’s masterpiece remains supreme in the field of conspiracy-theory celluloid.
An honorable but inevitably lesser effort, Jonathan Demme’s 2004 remake starring Denzel Washington and Meryl Streep, lacks the air of Cold War menace, not to mention the queen of diamonds in a game of solitaire as the trigger for a sleeper agent. Also lost is the cinematic magic of the original. Frankenheimer makes exemplary use of montage dissolve techniques to convey altered states of consciousness and depict the experience of hypnotic mind control. And, in retrospect, his 1962 movie seems almost to have anticipated either the earth-shaking events of November 22, 1963, or their interpretation.
Political scientists used to define politics as the art of the possible. If it has morphed into the craft of manipulative paranoia, the change dates back to the assassination of President Kennedy. The Warren Commission’s report satisfied few skeptics, journalists, or serious historians, and the credibility of politicians (who used to be called “statesmen”) keeps ebbing.
The Manchurian Candidate, which presaged the change, presents a plot to assassinate a presidential candidate by long-range rifle during his party’s nominating convention in Madison Square Garden. The movie’s conceit was so scary that studio executives at United Artists felt the project had to be cleared with the White House. Frank Sinatra dutifully called JFK, who greenlit the film, which Sinatra believed in so strongly that he volunteered the use of his private plane for an early scene in the movie.
Talk about serendipity: On October 22, 1962, only two days before the picture’s release, President Kennedy announced to the nation that he had ordered a naval blockade to repulse Russian ships, equipped with missiles, heading to the Caribbean. The Cuban Missile Crisis has been seen ever since as the tensest moment in the 45-year Cold War between the Soviet Union and the United States, and here was a movie advancing the thesis that a Communist assassination plan was in the works.
The Manchurian Candidate is wickedly satirical. Senator John Yerkes Iselin (James Gregory), a demagogue in the manner of Joe McCarthy, is revealed to be an imbecile under the thumb of his ambitious, intellectually superior wife, Eleanor Shaw Iselin (Angela Lansbury at her best). What happened to her first husband? The movie, mum on the point, offers an Oedipal triangle in which Mrs. Iselin controls her war hero son, Raymond Shaw (Laurence Harvey), and gets him to eliminate her rival, his bride (Leslie Parrish), the daughter of Senator Iselin’s fiercest, most principled opponent (John McGiver). Lansbury was less than three years older than Harvey. In the novel, she seduces him; in the film, just a kiss on the lips, but it’s enough.
What most distinguishes The Manchurian Candidate is its opening. If you miss the first five minutes of Hamlet, you can catch up (at the cost of some excellent verse), because the ghost does not appear to Hamlet until act I, scene 4 and doesn’t speak to him until scene 5. But, as the movie’s theatrical release poster accurately proclaimed, “If you come in five minutes after this picture begins, you won’t know what it’s all about.” The film begins in Korea, 1952. Betrayed by a guide, an American army unit is ambushed. After Saul Bass’s marvelous title credits, featuring the queen of diamonds on an oversize political campaign button, we go to an American airport, where Sergeant Shaw, survivor of the ambush, is honored with hoopla for the valor he is said to have displayed under fire.
In the following scene, the camera slowly approaches Shaw’s commanding officer, Major Bennett Marco (Sinatra), asleep beside an insomniac’s paradise of books, among them The Trial, For Whom the Bell Tolls, and Ulysses. Marco, who nominated Shaw for his medal, slides into a recurring nightmare of what really happened in Korea.
The brainwashing sequence begins with the captive GIs in their army fatigues on a stage. The audience appears to the men, in their trance, to consist of dowagers in sunhats who have gathered to talk about hydrangeas at a suburban garden party in New Jersey. In fact, the ladies in the audience are Russian and Chinese bigwigs, and Frankenheimer switches us back and forth between alternating versions, the harmless old women and the malevolent Communists in suits or uniforms. Then we watch in horror as, under orders, Shaw kills two of his fellow POWs while the other soldiers look on, affectless.
Like Major Marco, Corporal Al Melvin (James Edwards) has recurrent nightmares culminating in a public murder committed by Shaw. And, like Major Marco, he is programmed to say, when asked, that “‘Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life.” Everyone says so, and it’s odd, because Raymond is a singularly cold, humorless fellow whom the men dislike..
The buried truth—that the recipient of a Congressional Medal of Honor, feted with fanfare, is a secret, trigger-ready weapon concocted by the enemy—created a mental shock to anyone who saw The Manchurian Candidate in 1962. (I was 14 years old, and amazed.) The plot: to engineer the nomination of the clownish Senator Iselin for the position of vice president, then to kill the man at the head of the ticket, paving the way for Iselin’s rise to that position. The paranoid paradox: the extreme right-wing John Iselin is really a clueless Communist placeholder. The brains of the operation: Eleanor Iselin, as icily ruthless as Lady MacBeth.
Marco, the veteran suffering from PTSD who tries to save Shaw from his predestined fate, looks like a man having a nervous breakdown, but he must have something going for him, because the glamorous and beautiful Rosie Cheyney (Janet Leigh) is willing to break her engagement to her fiancé on the basis of a shared cigarette with Marco on the train between Washington, D. C. and New York City. Although Leigh is extraneous to the plot, I have published a poem contending that the only justification needed for Janet Leigh’s presence in the movie is that she is Janet Leigh. More creatively, Roger Ebert argues that in the paranoid universe of The Manchurian Candidate, Leigh may secretly be Sinatra’s controller.
I will not give away other surprises and speculations except to say that the guises assumed by the queen of diamonds will endow that particular card with a rare significance if you are a part-time poker player. An amusing scene takes place in Jilly’s, Sinatra’s favorite New York hangout. When the bartender, telling a story, says, “Go up to Central Park and go jump in the lake,” Raymond—a solitaire addict who has just encountered the trigger card—does as told. Marco has to fish him out.
The Manchurian Candidate has altered political discourse, and the very word brainwashing has acquired a stink. The evil mesmerist-in-chief, Dr. Yen Lo (Khigh Dhiegh), crows that Raymond Shaw’s “brain has not only been washed, as they say; it’s been dry-cleaned.” In 1967, George Romney shot his presidential candidacy in the foot when he said he had supported the Vietnam War because US generals had “brainwashed” him. Recently, Donald Trump has been depicted as a “Manchurian candidate,” allegedly willing to favor the Russians in exchange for lucrative real-estate deals.
But The Manchurian Candidate offers more than a linguistic afterlife, thrilling paranoia, and the cunning of Eleanor Iselin. It succeeds as well as it does because of the strong sense of the uncanny that informs it, as if we were watching our own history rendered as a spooky hallucination, delivered with the plausibility of a newsreel.
<<<<< Our cover story for NOIR CITY Magazine's latest issue offers a unique portrait of actor William Holden, an actor not synonymous with film noir. Yet, writer Rachel Walther shows how the actor "brought a brooding restlessness to his characters that distanced them from the mainstream—and sometimes thrust them into the realm of darkness we hold so dear."
Highlights in this issue include profiles of two actors – one classic, one contemporary: Stanley Baker/Loving a Thieving Boy by Ray Banks and J.T. Walsh/Solid Cold by Steve Kronenberg. And, for anyone who has followed the FNF's interest in Argentine restorations, particularly The Beast Must Die (1952) and El vampiro negro (1953), Imogen Sara Smith's in-depth article Down in the Depths/Román Viñoly Barreto and Argentinian Noir is a must-read! And there's plenty more, including Brian Light's Book vs. Film essay on the 1948 film Moonrise. >>>
On Saturday May 14th The American Scholar posted my essay "The Last Cigarette," adapted from a chapter in my new book, THE MYSTERIOUS ROMANCE OF MURDER. Here's an excerpt -- and a link. --DL
<<<< In the first sentence of Too Many Cooks (1938), Rex Stout’s narrator, Archie Goodwin, says that he “lit a cigarette with the feeling that after it had calmed my nerves a little, I would be prepared to submit bids for a contract to move the Pyramid of Cheops from Egypt to the top of the Empire State Building with my bare hands, in a swimming-suit.” That’s quite a lift to be gotten from a smoke.
Leave aside the rush of nicotine. Forget the ritual of opening a pack of unfiltered Luckies, Camels, Chesterfields, Pall Malls, tamping them down, pulling one out, lighting it, discarding the match, taking the first, satisfying long drag. Cigarettes are the greatest prop of all time: puffing, taking in the smoke, drawing in a deep lungful and slowly expelling it, holding the cigarette between your index and middle fingers, motioning with that hand to underscore a point.
“Cigarettes are sublime,” Richard Klein asserts in a book he wrote to console himself when trying to quit smoking.[1] Sublime, maybe; sexy, for sure. “Cigarettes had to go,” the poet and noir connoisseur Suzanne Lummis concedes. “But the cinema lost a language. Aside from the smoking, the lighting of the cigarette could be handled so many ways with such different effects. Richard Conte, Robert Mitchum, all those guys—in two smooth gestures they’ll slide out that silver lighter and make the flame leap up, and we get the message—this is what unflappable cool looks like, virile confidence.”
There is the cigarette of loneliness, the cigarette of desperation: Jean Gabin holed up in his attic room, chain-smoking his last Gauloises, as the police close in on him in Le Jour se lève. There is the cigarette of heartbreak, the chain of cigarettes that won’t help you “forget her, or the way that you love her,” with all the force Sinatra can put into the singular female pronoun in “Learnin’ the Blues.” And there is the cigarette of intense nervousness, jeopardy, and fear smoked by Faye Dunaway in Chinatown, stunning in black cap and veil with black dots. When with a shaky hand Dunaway lights up, Jack Nicholson points out that she already has a cigarette going, and says: “Does my talking about your father make you nervous?”
Lighting somebody’s cigarette is a powerful gesture, suggesting intimacy or the desire for the same. “If you’re going to smoke, you gotta learn to carry matches,” Dix (Sterling Hayden) says when he lights up Doll (Jean Hagen) in The Asphalt Jungle. Aldo Ray does it for Anne Bancroft at the bar in Jacques Tourneur’s Nightfall, and Glenn Ford performs the gallantry for Gloria Grahame in Fritz Lang’s Human Desire. When Lana Turner falters trying to light her cigarette, John Garfield does the honors, foreshadowing the adultery and murder in The Postman Always Rings Twice. The movie producer played by Kirk Douglas teaches the self-same Lana Turner how to smoke sexily in The Bad and the Beautiful, while Dick Powell has the flame Claire Trevor needs in Murder, My Sweet.
In her discussion of smoking, Suzanne Lummis also cites In a Lonely Place. Dix Steele (Humphrey Bogart) and Laurel Gray (Gloria Grahame) sit at a piano with other couples, listening to the silky-smooth rendition of the lounge singer, vocalist and pianist Hadda Brooks: I was a lonely one, till you. “He lights a cigarette for her, and she takes it in her mouth, such an intimate gesture,” Loomis writes. “He whispers to her. They are so in love. And it will never be that good again. Nothing is going to be that good again, for either of them. If these characters had lives beyond the credits at the end, we know that each on their dying bed looked back and thought, ‘that’s what happiness felt like.’ And because someone who unsettles their composure enters the club, that happiness didn’t even last the length of the song. That’s noir.”
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.”[3]
The cigarette as a prize: In The Snake Pit (1948), a so-called “problem picture” dramatizing the plight of the mentally ill, Dr. Kik (Leo Genn) wants to reward Virginia Stuart Cunningham (Olivia de Havilland) for the progress she has made. On the wall, a framed photograph of a severe Sigmund Freud looks on as the doctor kindly says, “What about a cigarette now?”
The romantic cigarette, in defeat: On television in the late ’50s, Sinatra in fedora and raincoat, with a cigarette in his hand, takes his seat at the bar. It’s nearly three in the morning, and he begins to sing “One for My Baby (and One More for the Road)” with only Bill Miller’s piano accompaniment. There’s a glass, an ashtray, and an open pack of smokes on the bar. Joe the bartender pours whiskey into the glass when the singer tells him to “set ‘em up,” and Sinatra strikes a match, keeps it lit, stares at the flame, while telling his new pal Joe that tonight he is drinking “to the end of a brief episode.” Only then does he bring the flame to the cigarette and take a puff. He keeps the cigarette between fingers, or taps the ashes into the tray, and holds the glass of whiskey while singing. The song as written ends with “the long, long road,” but Sinatra never reaches the period at the end of the line. After “the long,” he pauses, takes a drag of his cigarette, repeats “the long,” and lets the music drift off like smoke.
The cigarette of melancholia: A triptych of Gene Kelly, Dan Dailey, and Michael Kidd—World War II army buddies who reunite 10 years later and realize that they loathe themselves and one another—shows the guys smoking and singing “Once I had a dream, what a joke / Gone is that dream, up in smoke” in It’s Always Fair Weather (1955), the most underrated of the Kelly and Stanley Donen movie musicals, with wonderful lyrics by Betty Comden and Adolph Green.
The macho cigarette, cool under pressure: In The Godfather (1972), Michael Corleone is standing in front of the hospital where his wounded father lies unprotected. Enzo, the baker, has chosen this moment to visit with flowers, and Michael enlists him to help stand guard. The two men are to stand there, impersonating gun men, in an effort to deter the hit men driving by. Enzo, understandably nervous, needs a cigarette. Hand goes to pocket, pulls out cigarette. But his hands shake, he can’t work his lighter. Michael calmly takes the Zippo and lights him up. The ruse works. Michael has displayed initiative and imagination, and the signature of that moment is his icy demeanor when firing up Enzo’s lighter. By contrast, the unfiltered Camel that Michael smokes at the end of The Godfather II (1974) is a mark of his aloneness. The cigarette is his only friend as he sits and broods on the end of an ethic, a family, a film.
The royalty of cigarette smokers are Humphrey Bogart and Lauren Bacall. The Big Sleep (1946) ends with the two of them in a car. She “guesses” that she’s in love with him, and he “guesses” that he’s in love with her. Says he: “What’s wrong with you?” She: “Nothing you can’t fix.” And next to the words THE END, there is an ashtray with two smoldering cigarettes in it.
Ah, cigarettes. What a wonderful prop. So sexy! Too bad they cause cancer. >>>> https://theamericanscholar.org/the-last-cigarette/
Today is the official publication date of THE MYSTERIOUS ROMANCE OF MURDER: CRIME, DETECTION, AND THE SPIRIT OF NOIR. In the Washington Post, Michael Dirda writes:
<<< David Lehman’s “The Mysterious Romance of Murder” surveys “crime, detection and the Spirit of the Noir” in fiction, film, poetry and music. As one might expect from this distinguished poet and versatile man of letters, his sprightly new book isn’t just deeply knowledgeable, it’s also a lot of fun. >>>
It's not in my book, but I just remembered that James Merrill once told me that he thought smoking was "a form of suicidal yoga." This item also recenblky surfaced. From Margaret Talbot, "The Retiring Sort," in The New Yorker, December 13, 2021: " 'Flesh and the Devil' also features some of the most erotic scenes I've ever encountered on film. There's one, in a nighttime garden, in which Garbo rolls a cigarette between her lips, then puts it between [John] Gilbert's, her eyes never leaving his, as he strikes a match and illuminates their gorgeous, besotted faces."
Night and the city. Dark alleys, rain-drenched streets, silhouettes at windows, blinking neon. Welcome to Saturday Night Noir, a one-way trip into the doom-laden heart of a new kind of American cinema featuring life-beaten men and dangerously seductive women, born of the expressionistic camera-work of German and Austrian emigres, and the pulp imaginations of the great Hammett, Chandler, Cain and their siblings.
We offer five greats from the U.S., one per year from 1944–1948, four enrolled in the National Film Registry. And a bonus: two screenings of 1949’s great British noir, The Third Man (moved from its original Saturday night slot to accommodate our revised February 7 opening for in-person screenings!). Noir enthusiasts can finally see a restored print of Detour, in which “B auteur Edgar G. Ulmer turned threadbare production values and seedy, low-rent atmosphere into indelible pulp poetry.” (Janus Films)
The series wraps with Billy Wilder’s classic Double Indemnity, introduced by local author David Lehman on Thursday, May 5, 2022, at 7 PM at Willard Straight Hall on the Cornell University campus. Copies of his book The Mysterious Romance of Murder: Crime, Detection, and the Spirit of Noir, published by Cornell University Press, will be available for sale at the screening.
<<< Billy Wilder’s Double Indemnity defined the noir genre with its calculated coolness and eerily familiar scenes of suburban LA.
Barbara Stanwyck plays the ultimate femme fatale: a woman who lures a hapless insurance salesman (MacMurray in a handsome suit) into a complex murder scheme. The electricity between the killer couple is palpable and Edward G. Robinson (as MacMurray’s emasculated boss) crackles each time he steps into the frame.
Local author David Lehman will introduce the film, which is featured in his forthcoming book, The Mysterious Romance of Murder: Crime, Detection, and the Spirit of Noir, published by Cornell University Press. Copies of the book will be available for sale at the screening. >>
Thursday, 05/05/2022 at 7:00pm. Willard Straight Theatre, Cornell University. "The space features the largest screen in Ithaca, Dolby Digital Surround Sound and the best projection in the area." For more information, click here.
For what it's worth, I do not concur with the notion that Edward G. Robinson's character is "emasculated."
<<< Dana Andrews and Linda Darnell hate each other in a hotel room with sink in San Francisco. They have just had a fight or gone to bed; maybe both. “I’m waiting for something to happen,” he says. Then: “Nothing’s going to happen.” He takes off, goes to the Blue Gardenia, and catches the bartender’s eye. “What’ll it be?” “I’ll have a double scotch.” (Pause). “Make that a single scotch.” (Pause). “I’ll settle for a beer.” Those are the best lines he gets.
In the Blue Gardenia, Nat Cole sings and Jean Hagen recites a poem by Robert Burns. She can sing, too. “You’re hired.” “I get forty dollars a week plus bail money.” >>>
For the rest of the poem as posted today on The Common, click here.
On The Mysterious Romance of Murder:
"Do yourself a favor and follow Lehman's lead on this idiosyncratic tour through the noir ethos in literature, poetry, music, and film. He's an erudite, insightful, and amusing tour guide, whether you're new to the terrain or a habitué."
-- Eddie Muller, host of Turner Classic Movies' Noir Alley and author of Dark City
"Books or films? Until now, travelers to the land of noir have tended to confine themselves to one province or the other, whereas veteran explorer David Lehman has mastered the language of both territories. His field report slides back and forth between page and screen with joyful confidence, offering sharp insights throughout and giving us not only the full picture but the full story as well. I am especially grateful to him for his delightful remarks on the importance of cigarettes, music, and wisecracks in these classic films, which only seem to get better as the years go on."
-- Paul Auster
"This is a masterwork in which Lehman's encyclopedic knowledge of film, literature, and cultural history is synthesized by way of lively exegesis, quotes, poems (his own), catalogs, mini-biographies, and eclectic, brilliantly illuminated byways, both classical and pulp. His vivid, chromatic style is what one expects from a poet and critic of Lehman's stature. The Mysterious Romance of Murder must take a prominent place, stylistically and critically, alongside Luc Sante's Low Life, Julian Symons's Bloody Murder, and Cyril Connolly's The Unquiet Grave. As with the very best mysteries?of the heart and the intellect?you can't put it down."
-- Nicholas Christopher, author of Somewhere in the Night
<<< From Sherlock Holmes to Sam Spade, Nick and Nora Charles to Nero Wolfe and Archie Goodwin, Harry Lime to Gilda, Madeleine Elster, and other femmes fatales,—crime and crime-solving in fiction and film captivate us. Why do we keep going back to Agatha Christie's ingenious puzzles and Raymond Chandler's hard-boiled murder mysteries? What do spy thrillers teach us and what accounts for the renewed popularity of morally ambiguous noirs? In The Mysterious Romance of Murder, the poet and critic David Lehman explores a wide variety of outstanding books and movies—some famous (The Maltese Falcon, Double Indemnity), some known mainly to aficionados—with style, wit, and passion.
Lehman revisits the smoke-filled jazz clubs from the classic noir films of the 1940s, the iconic set pieces that defined Hitchcock's America, the interwar intrigue of Eric Ambler's best fictions, and the intensity of attraction between Humphrey Bogart and Lauren Bacall, Robert Mitchum and Jane Greer, Cary Grant and Ingrid Bergman. He also considers the evocative elements of noir—cigarettes, cocktails, wisecracks, and jazz standards—and includes five original noir poems (including a pantoum inspired by the 1944 film, Laura) and ironic astrological profiles of Barbara Stanwyck, Marlene Dietrich, and Graham Greene. Written by a connoisseur with an uncanny feel for the language and mood of mystery, espionage, and noir, The Mysterious Romance of Murderwill delight fans of the genre and newcomers alike. >>>
"Books or films? Until now, travelers to the Land of Noir have tended to confine themselves to one province or the other, whereas veteran explorer David Lehman has mastered the language of both territories. His field report slides back and forth between page and screen with joyful confidence, offering sharp insights throughout and giving us not only the full picture but the full story as well. I am especially grateful to him for his delightful remarks on the importance of cigarettes, music, and wisecracks in these classic films which only seem to get better as the years go on."
-- Paul Auster
"This is a masterwork in which David Lehman's encyclopedic knowledge of film, literature, and cultural history are synthesized by way of lively exegesis, quotes, poems (his own), catalogs, mini-biographies, and eclectic, brilliantly illuminated byways, both classical and pulp. His vivid, chromatic style is what one expects from a poet and critic of Lehman's stature. The Mysterious Romance of Murder must take a prominent place, stylistically and critically, alongside Luc Sante's Low Life, Julian Symons's Bloody Murder, and Cyril Connolly's The Unquiet Grave. Like the very best mysteries—of the heart and the intellect—you can't put it down."
-- Nicholas Christopher, author of Somewhere in the Night
Even bad books have their charms. Last night I read such a book the title of which I shall not mention nor will I name the book's author who thinks that at the end of Dark Passage Bogart wears a white dinner jacket as in Casablanca and that Loretta Young's father in The Stranger is the president of the college where Orson Welles teaches when in fact the dad is a Supreme Court justice and Mr. Welles as the Nazi without a German accent teaches at a prep school and as for Detour the author doesn't get the point that it's a study in the unreliable narrator while Double Indemnity, in the writer's opinion, is only so-so because both Stanwyck and MacMurray lack sex appeal, ha, and, too, the author likens Dana Andrews to a baseball player who got to the majors only because Ted Williams and co are fighting the second World War I could go on but why should I when I enjoyed reading the book even despite the irritating use of “creep” and “milquetoast” just because I love noir and so does the author so all sins are forgiven losses are restored and sorrows end.
from the archive; first posted March 2, 2020 Top left: Dana Andrews; top right Fred MacMurray and Barbara Stanwyck in Double Indemnity; center left Edward G. Robinson in The Stranger; center right Tom Neal and Ann Savage in Detour; bottom left Gloria Grahame; bottom right Elisha Cook, Jr., and Marie Windsor in The Killing.
In the summer 2015 issue of Stay Thirsty there's a great interview with Eddie Muller (shown here with Kathleen Maria Milne). Eddie is host of TCM's Noir Alley and head of the foundation that has rescued from oblivion such film noir classics as Cry Danger (1951), Try and Get Me! (1951), Repeat Performance (1948), Too Late for Tears (1949), and Woman on the Run (1950). Watch his showings -- midnight Saturdays and 120 AM Sundays -- and you'll marvel not only at his erudition and charm but also at his period-authentic ties and stylish decor. Click here to read the interview. It was a particular thrill for me when Eddie genrously provided a blurb for my new book, coming in May 2022, The Mysterious Romance of Murder: Crime, Detection, and the Spirit of Noir. -- DL
<<< Director Billy Wilder’s 1944 film, Double Indemnity, is the ne plus ultra of American film noir. If we were to give out noir awards on the model of the Oscars, I believe it would win for best picture, best screenplay (written by Raymond Chandler in collaboration with Wilder), best femme fatale (Barbara Stanwyck), and best supporting actor (Edward G. Robinson). Excellent as a villain and a dupe, Fred MacMurray would get a nomination for best actor in a lead role but would lose to Out of the Past’s Robert Mitchum.
The plot is that old reliable, homicidal adultery. Man falls for woman whose husband stands in the way. To consummate the illicit affair requires the couple to collaborate on eliminating the obstacle. As in The Postman Always Rings Twice, also based on a book by James M. Cain, murder presents itself as a feasible solution, albeit one that involves an intricate scheme. In both movies, the woman’s husband is almost incidental to the plot—though Cecil Kellaway’s Greek diner owner who likes getting drunk and sings “She’s Funny That Way” in Postman is a live wire next to Mr. Dietrichson (Tom Powers), the stiff to whom Stanwyck is married in Double Indemnity. There are various love triangles involving Stanwyck’s stepdaughter Lola (Jean Heather) and her boyfriend (Byron Barr), but in all of them, the husband figure is almost an afterthought, like the corpse in chapter one of a detective novel. It is Stanwyck who dominates the picture, and the triangle in which she and Robinson stand at opposite poles in MacMurray’s consciousness is the most vital one of all.
Our narrator is the wounded Walter Neff (MacMurray), a bachelor in his 30s with a healthy libidinal appetite, dictating his confession into a recording device: “How could I have known that murder can sometimes smell like honeysuckle?” Neff is the chump who works for an insurance company and knows that, because of the so-called “double indemnity” clause, the firm pays double for accidental deaths incurred while a policyholder is traveling. He and Phyllis Dietrichson (Stanwyck) conspire to amend Mr. Dietrichson’s policy before bumping him off. Then Walter will impersonate the victim and fall off a moving train, though one that is going very slowly. He and Phyllis will plant the corpse on the tracks. Plausible on paper, but it smells bad to an experienced insurance investigator—and then, to paraphrase Dana Andrews in Laura, the dame pulls a switch on you. It turns out that Phyllis has manipulated Walter to do her bidding all along. She’s in it not for love, but for her husband’s dough. She loves somebody else—to the extent that she loves anyone other than herself. By the time Neff gets cold feet, it’s too late. “The machinery had started to move, and nothing could stop it.”
Some favorite moments:
1. Stanwyck as traffic cop and MacMurray as speeding motorist when he first calls on her, hoping to get her husband to renew his life insurance. Mr. Dietrichson is not at home, but Mrs. Dietrichson is scantily clad at the top of a staircase. She descends. Sparks begin to fly. Walter has come on a bit strong, and the dialogue is a wonderful fencing match:
Phyllis: There’s a speed limit in this state, Mr. Neff. Forty-five miles an hour.
Walter: How fast was I going, officer?
Phyllis I’d say about 90.
Walter: Suppose you get down off your motorcycle and give me a ticket.
Phyllis: Suppose I let you off with a warning this time.
Walter: Suppose it doesn’t take.
Phyllis: Suppose I have to whack you over the knuckles.
Walter: Suppose I bust out crying and put my head on your shoulder.
Phyllis: Suppose you try putting it on my husband’s shoulder.
<<< Humphrey Bogart was far from your conventional heartthrob. Not blessed with the looks of a Cary Grant or Gregory Peck, he was reliably good as a hoodlum or bootlegger, a Cagney sidekick in flicks of the ’30s, or an unlucky truck driver playing second fiddle to George Raft in Raoul Walsh’s They Drive by Night (1940).
Not until he was 41 did Bogart become a leading man. In Walsh’s High Sierra, (1941), Bogart plays Roy Earle, nicknamed “Mad Dog,” an ex-con on the lam after a heist goes wrong. Roy dies on a mountaintop, but not before winning the love of Marie (Ida Lupino). Even Bosley Crowther, the film critic for TheNew York Times, with his astonishingly low batting average, had good words for Lupino and Bogart: she was “impressive as the adoring moll,” and he displays “a perfection of hard-boiled vitality.” Then to confirm that, these concessions aside, Crowther was his usual self, he added, “As gangster pictures go—if they do—it’s a perfect epilogue.” The right word would have been prologue, as what followed was a whole new genre of crime and noir movies.
The role of Sam Spade, the hard-boiled private eye in The Maltese Falcon (1941)—Dashiell Hammett’s novel adapted by John Huston in his directorial debut—made Bogart’s reputation and accounts for the image many of us have of him today. The tough guy who won’t let Mary Astor play him for a sap and outwits the wonderful Warner Brothers trio of Sydney Greenstreet, Peter Lorre, and Elisha Cook, Jr., is, as he points out, not “as crooked as I’m supposed to be,” even as he joins in the hunt for the legendary priceless black bird, which turns out to be a fake.
A wide-brimmed fedora and belted trench coat are as vital to Bogart as top hat, white tie, and tails are to Fred Astaire. A lighted cigarette dangles from Bogey’s lips. He is quick with a quip, and when this is pointed out to him as if it were a fault, he replies, “What do you want me to do, learn to stutter?” His voice conveys an aggressive world-weariness. It is difficult to impress him. He incorporates skepticism in the sound of his words. As he says in The Maltese Falcon, “The cheaper the crook, the gaudier the patter.” >>>
To read further, with commentary on Casablanca and The Big Sleep, link here. Photos are stils from The Big Sleep.
Ed note: Since December 2019 I have written a regular column on classic movies for The American Scholar. Here are the opening paragraphs of my latest, which was posted yesterday (April 17) under the heading "Blind Accidents: How John Huston’s The Asphalt Jungle brilliantly epitomizes the caper film." -- DL
<<< “If you want fresh air, don’t look for it in this town,” Louis the “box man” Ciavelli (Anthony Caruso) tells Doc Riedenschneider (Sam Jaffe),the mastermind of a million-dollar jewel heist, in John Huston’s 1950 noir, The Asphalt Jungle. Surprise: the robbery doesn’t go off as brilliantly planned. Doc, also known as “the professor” and “Herr Doktor,” will end up in prison along with Gus (James Whitmore), the hunchbacked counterman who is a top-notch getaway driver; Cobby (Marc Lawrence), a bookie; and Lieutenant Ditrich (Barry Kelley), a crooked cop . Louis will leave a widow and a small, sickly child after a watchman is punched and falls to the ground, misfiring his gun, and a slug finds its home in Louis’s belly. Oh, yes—“box man” means safecracker.
Based on the novel by W. R. Burnett, The Asphalt Jungle is the ur-example for the whole caper subgenre. The booty could be the gems in a shop on Paris’s ritzy rue de Rivoli (Rififi), the proceeds at the track on the day of a big race (The Killing) or, in a comic register, the take of five Las Vegas casinos at midnight on New Year’s Eve (Ocean’s Eleven). Whatever the setting, the result is failure, not because of the ratiocinative powers of the police but because of the inevitability of betrayal, miscalculation, and violent death. Nearly all of noir is founded on this assumption made somehow romantic and even glamorous. >>>
For the rest of this piece, please link to The American Scholar website here: https://theamericanscholar.org/blind-accidents/ For other "Talking Pictures" posts, click here: https://theamericanscholar.org/dept/sections/departments/talking-pictures/
Photo: Sterling Hayden, Jean Hagen, and Sam Jaffe in The Asphalt Jungle, 1950
She saw a murder. She bought all the papers. She pocketed the murdered woman's earrings. She called the police. She smoked a cigarette. She told her story and was not believed. She deduced that the door had been tampered with. She answered the doctor's unreasonable questions reasonably. She heard the woman say one thing: “Show Mr. Peabody into the library, please.” She didn't back down. She insisted she saw the ex-Nazi, author of Age of Violence, kill the girl, “Joyce Stewart.” She didn't write the threatening letters that were typed on her machine. She didn't get ticketed, just scolded, for speeding on a scary mountainous road. She took the elevator down. She ran in the street. She hurried up the black and white steps pursued by shadows.
I left it
on when I
left the house
for the pleasure
of coming back
ten hours later to the greatness of Teddy Wilson "After You've Gone" on the piano in the corner of the bedroom as I enter in the dark
In the summer 2015 issue of Stay Thirsty there's a great interview with Eddie Muller (shown here with Kathleen Maria Milne). Eddie is host of TCM's Noir Alley and head of the foundation that has rescued from oblivion such film noir classics as Cry Danger (1951), Try and Get Me! (1951), Repeat Performance (1948), Too Late for Tears (1949), and Woman on the Run (1950). Watch his showings -- midnight Saturdays and 120 AM Sundays -- and you'll marvel not only at his erudition and charm but also at his period-authentic ties and stylish decor. Click 
