WICKED WOMAN (1953) - what's the fuss about this B noir?

After having indulged in mostly classics lately, like SHANE, 3:10 TO YUMA, and RIFIFI, watching a decidedly B film from the early 50s resulted in a bit of a shock to the senses.  But I trusted Guy Maddin's advice and came away more than entertained.  The film was WICKED WOMAN directed by Russell Rouse in 1953, and it was screened April 10th at the Harvard Film Archive, as part of their Guy Maddin Presents series.

Platinum blonde Beverly Michaels stars, she of the apparently long B movie career playing tough but beautiful dames.  The role in this film is the one she is best known for.  She isn't a great actress, but uses everything she has to create a powerful screen presence here.  At 5'9" she towers over most of the other characters, except her leading man, Richard Egan.  She deliberately slinks and slithers her way around the camera, using her lean body to full advantage.  In fact the first shot of her features only the waist down.  She's as sultry as they come, and we know she's gonna stray from the straight and narrow, yet she projects enough vulnerability to win you over, and make you understand that she knows of no other way to survive.  As Guy Maddin says in his film notes for the series, "She's an amazing presence, the towering Michaels, who contrived for this el cheapo movie miracle a gliding, super-sensual gait not unlike the scudding of a just-surfaced submarine."  

First view of leading lady Beverly Michaels as she gets off a bus

The plot of the film is simple - a beautiful dame short on luck buses in to an unnamed town, takes up residence, and sets about conning the landlady and a particularly smitten neighbor into funding her attempts to land a job.  When she does, she becomes a waitress at a local blue collar bar owned by hunky bartender Richard Egan and his wife, who has a predilection for drink.  Our heroine seduces Egan and sets about planning their getaway.  The low budget film takes place mainly in three indoor sets -- the bar where our heroine works nights, and her small flophouse apartment, and the hallway in the apartment building.  Shorter scenes take place inside an office, a bus station, and the street in front of the flophouse. One surprise in this film is the passionate kissing scene between Michaels and Egan -- a complaint of mine in older films is that kisses more often than not are unconvincing.  This one just -- is.  

  

Beautiful "wicked woman" pleading for a job

Beverly Michaels and her vulnerability

  

Evelyn Scott as Dora

The tone honestly didn't seem 'noir' to me.  Rather, it was more like a cross between a seedy dark comedy and melodrama.  Despite this, the characters created by Michaels, her lover Egan, his trod-upon wife, played by Evelyn Scott, and leering neighbor-from-hell Percy Helton, are all compelling.  The direction by Rouse and hard boiled script by Rouse and Clarence Greene make this familiar story suspenseful nonetheless.  This film will never reach a wide audience, but is a reminder of how entertaining a low budget film can be given a decent script, director, actors, and a large dose of inventiveness.

   

Apparently WICKED WOMAN has a cult following among noir aficionados, including Eddie Muller.  Here are a couple of references that expand upon the pleasures and lessons to be gained from spending 77 minutes it its company:

Sunset Gun reviews the film at its Telluride screening in 2014 and focuses on its feminist underpinnings

Cinema sojourns discusses its place in the noir pantheon

Beverly meets Richard Egan

April Classic Film Screenings in Greater Boston

Another month has nearly passed, and April promises to bring an enticing assortment for classic film fans in and around the Hub.  Check these out!

Coolidge Corner Theatre
As part of their "Cinema Jukebox" series, in which films with compelling soundtracks are presented, this month it's the Sharks & Jets in WEST SIDE STORY (1961) on Wednesday April 11.

And on April 25, Chaplin's later masterpiece THE GREAT DICTATOR (1940) in which Chaplin satirizes Hitler, comes to the big screen as part of the "Big Screen Classics" series.  This is a favorite of mine, and I must say, somewhat timely. My favorite scenes are those with Jack Oakie as Mussolini knock-off "Napoloni".   You Must Remember This podcast series is featuring two episodes on Chaplin, his life during WWII and the making of his film.  Also well worth spending the time.

Somerville Theatre
Next weekend, on Sunday April 3rd, grab a big box of popcorn and sit back (because it will be a while--nearly 3 hours) to view D.W. Griffith's INTOLERANCE.  I will admit to not yet making it through an entire screening but perhaps this time will be the charm.  Pianist Jeff Rapsis will provide live accompaniment for this installment of the 'Silents, Please' film series.

Then, on April 21 a double feature of two films marking 60 years since they first premiered:  A FORBIDDEN PLANET and THE SEARCHERS (both 1956).  I've not seen the former film, and since it's first on the bill, co-presented with the Boston Sci-Fi Film Festival, I will put it on my calendar.  Walter Pidgeon in color, in a sci-fi!

Finally, the Somerville brings a 70mm version of  Hitchcock's VERTIGO to the big screen, playing three consecutive evenings on April 22, 23, and 24th.  I had a chance to catch this at the Harvard Film Archive a couple years ago, so I don't think I'll make this one, but I'm sure it will be a treat.

Harvard Film Archive
Starting in March, the HFA engaged current director Guy Maddin to program an extensive series of films and write up notes for each.  All of this can be found here "Guy Maddin Presents".  His film choices have ranged from silents, pre-codes, through to films made much later in the 20th century.  Even if you don't go to any of these, check out the series online to read Maddin's entertaining film notes for a couple of dozen films. The series sponsors the following screenings in April:

April 1, 7 PM: CHILDREN OF MONTMARTRE (LA MATERNELLE) -- a French film from 1933 that Maddin describes as incredibly movingly as directed by Marie Epstein & Jean Benoit-Levy, and "a little masterpiece".   At 9 PM is THE FACE BEHIND THE MASK (1941), which Maddin says is his favorite Peter Lorre film, a "B-movie wonder!"

April 2, 9 PM is THE THREAT (1949) is a noir starring Michael O'Shea, Virginia Grey, and Charles McGraw.  Maddin says this one "is hilariously mean, raw-boned and brawny and absolutely delightful."

On Sunday April 3 at 5 PM is a late silent with Loretta Young and Lon Chaney called "LAUGH, CLOWN, LAUGH."  One guess as to who plays the clown.  Maddin claims this has the "oddest love triangle in film history."  Hmmm.  Martin Marks will provide live musical accompaniment.

Finally on April 10 at 5 PM is WICKED WOMAN (1953) starring Beverly Michaels, for which this apparently was her most memorable role, according to Maddin.  He also says this is a good companion piece for the B-noir Poverty Row classic DETOUR.  Sounds like fun.  (Shhhh, this film is also on YouTube right now, so see it there if you can't get to the Archive, that being your first choice of course!)