Robert Mitchum, Barbara Bel Geddes, and Robert Preston star in “Blood on the Moon”

A classic “noir Western,” Blood on the Moon (1948) is an American Western noir directed by Robert Wise and starring Robert Preston, Barbara Bel Geddes, and Robert Preston. The supporting cast includes Walter Brennan, Frank Faylen, and Phyllis Thaxter.

The film centers on Jim Garry (Mitchum), a drifter and a hired hand. He’s called to a remote part of the American West by an old friend, Tate Riling (Preston), who’s involved in a dispute with a local cattle rancher. Initially, Garry agrees to take on a role in what he believes is a straightforward business deal, but he quickly discovers a complex web of deceit, betrayal, and violence.

The film’s plot thickens as Garry becomes entangled in the conflict between the cattleman and a group of homesteaders. The rancher's spirited daughter, Amy Lufton (Bel Geddes), immediately distrusts Garry, suspecting he’s on the side of her family’s enemies. As Garry begins to question his friend’s true intentions and the morality of his own involvement, he finds himself caught between opposing sides, each with their own secrets and hidden agendas. He learns that the stakes are much higher than he first believed and that he’s a pawn in a much larger, more dangerous game.

Torn between loyalty to his past and a growing sense of justice, Garry must navigate a treacherous landscape of shifting allegiances and constant danger. His journey to uncover the truth and choose a side forces him to confront his own cynical nature and determine where his true loyalties lie.

Blood on the Moon trivia

• After seeing the film, Howard Hughes canceled Barbara Bel Geddes’s contract. He said she wasn’t sexy enough.
• For the night scenes, director Robert Wise and cinematographer Nicholas Musuraca chose to use infrared film, despite the problems it could cause with the tones of clothes and makeup.
• According to some pre-production press, James Stewart was set to star in the Mitchum role.
• Walter Brennan thought Robert Mitchum looked like an authentic cowboy.

 

Click HERE to watch the film on the Internet Archive.

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Discussion questions

1. Noir Western or Traditional Western? Blood on the Moon is often called a “Noir Western.” What elements of film noir does it incorporate? Do you think the film ultimately adheres more to the conventions of film noir or the traditional Western genre?
2. The Morality of Jim Garry: At the start of the film, Jim Garry is a hired hand, a man for hire with no clear moral compass. How does his character evolve throughout the film? What events or interactions, particularly with Amy Lufton, lead to his shift from a cynical opportunist to a man of principle?
3. Trust and Betrayal: The film’s plot is driven by a complex web of deceit. Discuss the theme of trust as it applies to the relationships between Jim Garry and Tate Riling, Jim and Amy, and even Amy and her father. In this world, who can be trusted, and why?
4. Symbolism of the Setting: The film’s desolate, rugged landscapes serve as more than just a backdrop. How does the setting—the canyons, the isolated ranches, the moonlit nights—reflect or enhance the film’s themes of moral ambiguity, isolation, and conflict?

 

Paul Douglas, Richard Basehart, and Barbara Bel Geddes have only “Fourteen Hours”

Fourteen Hours (1951) is a taut, suspenseful drama that chronicles the true-to-life events of a single day in New York City. The film begins with a simple act: a young man, Robert Cosick (Basehart), steps out onto the ledge of a 15th-floor hotel window. This action sets in motion a high-stakes, real-time crisis that captivates the entire city. Down on the street, a crowd of thousands gathers, turning the private tragedy into a public spectacle. The media, including newspapers and early television crews, descend upon the scene, while police and emergency services race to save the man's life.

At the heart of the story is Charlie Dunnigan (Douglas), a compassionate traffic cop who is the first to establish a rapport with the troubled man. As time ticks by, Dunnigan becomes the sole lifeline for Cosick, who refuses to talk to anyone else, including psychiatrists and family members. The film delves into the unfolding drama on the ledge, as well as the diverse reactions of the people below—from those genuinely concerned to those placing bets on the outcome. The narrative also explores subplots involving other people whose lives are affected by the standoff, including a young couple who meet in the crowd and a woman contemplating divorce.

As the standoff extends into the night, the film peels back the layers of Cosick’s troubled past, revealing the complex psychological and family dynamics that led him to the brink. The tension mounts as all efforts to talk him down seem to fail. The film’s strength lies in its documentary-like realism and its exploration of the collective human experience—the mix of empathy, curiosity, and ghoulish fascination that a public crisis can elicit. It remains a powerful and emotionally charged portrait of desperation and the lengths to which a stranger will go to help another.

Henry Hathaway (1898 – 1985) was an American film director and producer. Hathaway began working in silent films in 1925 as an assistant to established directors such as Victor Fleming and Josef von Sternberg. His first solo directorial effort was Heritage of the Desert (1932), starring Randolph Scott. Hathaway, along with Scott, would be known for western movies. Besides Scott, Hathaway directed Gary Cooper in several films, including The Lives of a Bengal Lancer (1935), which earned him his only Best Director Academy Award nomination. In 1940, Hathaway began working at Fox, where he directed Tyrone Power in Johnny Apollo and Brigham Young (both 1940), Gene Tierney in China Girl (1942), Don Ameche and Dana Andrews in Wing and a Prayer (1944), and Call Northside 777 (1948) starring James Stewart and Richard Conte. After leaving Fox, he was one of three directors who worked on the western epic How the West Was Won (1962). He directed Steve McQueen in Nevada Smith (1966), directed John Wayne in True Grit (1968), which won Wayne his one and only Best Actor Academy Award.

Paul Douglas (1907 – 1959) was an American actor. Douglas starred on Broadway and in film. He is mostly known for his comedic performances in films like It Happens Every Spring (1949), Angels in the Outfield (1951), and Never Wave at a WAC (1953). Other Douglas films include A Letter to Three Wives (1949), The Big Lift (1950), Love That Brute (1951), and Clash by Night (1952). Douglas was set to play the role of Mr. Sheldrake in The Apartment (1960), but died of a heart attack right before production was to start. He was replaced by Fred MacMurray.

Barbara Bel Geddes (1922 – 2005) was an American stage and screen actress. She starred as Maggie in the original Broadway production of Cat on a Hot Tin Roof (1955). She played Irene Dunne’s daughter in I Remember Mama (1948), and was Midge, James Stewart’s on-again-off-again girlfriend in Vertigo (1958). Bel Geddes also worked on television during the 1950s and 1960s. In 1978, she starred as Miss Ellie Ewing Farlow on Dallas (1978 – 1990), the role for which she is most famous.

Richard Basehart (1914 - 1984) was an American actor who worked steadily in film and television. Basehart starred in several films noir of the late 1940s and early 1950s. He also had a lead role in director Federico Fellini’s La Strada (1954). Other film roles include Moby Dick (1956), Decision Before Dawn (1951), and The Brothers Karamazov (1958). Baby Boomers would remember Basehart as Admiral Harriman Nelson on Irwin Allen’s science fiction television series Voyage to the Bottom of the Sea (1964 -1968).

Fourteen Hours trivia

• Film debuts of Grace Kelly and John Cassavetes.
• Richard Basehart’s wife, costume designer Stephanie Klein, was diagnosed with a brain tumor during filming in May and June 1950, and died following brain surgery during production of the film in July.
• The film is based on a real-life event that happened in 1938 in New York City.
• Except for brief scoring under the main titles and at the film’s conclusion, the film has no music.

Click HERE to watch the film on YouTube.

Click HERE to join the online discussion on Tuesday, September 30, 2025 at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation with a link to join the discussion on Zoom.

Discussion questions

1. Exploitation of Tragedy: The film depicts the crowd below the ledge with a mix of genuine concern and ghoulish fascination. How does the movie comment on the public's relationship with tragedy and spectacle, and how does this theme resonate with modern media and social media?
2. Moral Compass: Police Officer Charlie Dunnigan is presented as a compassionate, ordinary man. Why is he, rather than a trained professional like the psychiatrist, the only person who can connect with Robert Cosick? What does this suggest about the importance of human empathy over clinical expertise in moments of crisis?
3. Family Dynamics and Mental Health: The film offers a glimpse into Robert’s fraught relationship with his mother and father. How does the movie portray the impact of family dynamics on mental health? Do you think the film's psychological explanations for his distress hold up today?
4. Suspense in Stasis: For much of the film, the main character is physically stationary. How does director Henry Hathaway build and maintain suspense despite the lack of traditional action? Consider the use of camera angles, the subplots, and the real-time element of the story.

Richard Widmark, Paul Douglas, and Barbara Bel Geddes star in Elia Kazan’s “Panic in the Streets”

Panic in the Streets (1950) is an American film noir directed by Elia Kazan and starring Richard Widmark, Paul Douglas, and Barbara Bel Geddes. The film expertly blends elements of crime thriller and medical drama. Set in the gritty, bustling port of New Orleans, the story begins when a mysterious man is found dead with a lethal, highly contagious plague. Dr. Clint Reed, a dedicated and tenacious Public Health Service officer, is tasked with identifying the victim and finding anyone he may have infected. He’s given a mere 48 hours to prevent a city-wide epidemic, a ticking clock that intensifies the film's suspense. Despite his medical authority, Dr. Reed faces skepticism and outright hostility from the police and the city’s underbelly, who are more concerned with their criminal activities than public health.

The film’s tension escalates as Dr. Reed, with the reluctant help of police Captain Warren, delves into the city's seedy criminal world to find the two men who were with the victim before he died. They navigate through a labyrinth of dock workers, shady characters, and back-alley dealings. The main antagonists, a cruel and paranoid gangster named Blackie and his dim-witted accomplice, find themselves on the run, oblivious to the fact that they are carriers of the deadly disease. Their desperation and fear, combined with Dr. Reed’s frantic search, create a thrilling and nail-biting chase through the city.

Panic in the Streets stands out for its realistic, on-location shooting in New Orleans, which lends an authentic, documentary-like feel to the film. Its blend of a high-stakes medical mystery with the classic noir aesthetic makes it a compelling and timeless thriller.

 

Elia Kazan (1909 – 2003) was an American director, producer, writer, and actor. He is one of the co-founders of the Actors Studio in 1947 with Robert Lewis and Cheryl Crawford. Kazan is also one of the most celebrated directors of the theater and movies. Kazan won two Best Director Academy Awards, in 1947 for Gentleman’s Agreement and 1954 for On the Waterfront, and a Lifetime Achievement Academy Award in 1998. A Tree Grows in Brooklyn (1945) was Kazan’s feature film debut as a director.

Richard Widmark (1914- 2008) had a sensational movie debut playing the crazy villain Tommy Udo in director Henry Hathaway’s Kiss of Death (1947). His performance won him a Golden Globe Award for New Star Of The Year – Actor. He was also nominated for the Academy Award for Best Supporting Actor for his performance as Udo. Widmark was under contract to Twentieth Century-Fox, where he played mostly villains. Later in his career, he started playing more heroic roles in films like Slattery’s Hurricane and Down to the Sea in Ships (both 1949).

Paul Douglas (1907 – 1959) was an American actor. Douglas starred on Broadway and in film. He is mostly known for his comedic performances in films like It Happens Every Spring (1949), Angels in the Outfield (1951), and Never Wave at a WAC (1953). Other Douglas films include A Letter to Three Wives (1949), The Big Lift (1950), Love That Brute (1951), and Clash by Night (1952). Douglas was set to play the role of Mr. Sheldrake in The Apartment (1960), but died of a heart attack right before production was to start. He was replaced by Fred MacMurray.

Barbara Bel Geddes (1922 – 2005) was an American stage and screen actress. She starred as Maggie in the original Broadway production of Cat on a Hot Tin Roof (1955). She played Irene Dunne’s daughter in I Remember Mama (1948), and was Midge, James Stewart’s on-again-off-again girlfriend in Vertigo (1958). Bel Geddes also worked on television during the 1950s and 1960s. In 1978, she starred as Miss Ellie Ewing Farlow on Dallas (1978 – 1990), the role for which she is most famous.

 

Panic in the Streets trivia

• The feature film debut of Jack Palance.
• The on-location filming in New Orleans impacted the film’s success at the box office.
• According to a press report in 1949, Dana Andrews and Linda Darnell were originally cast in the film.
• Director Elia Kazan has a cameo as a mortuary assistant.
• Won an Academy Award for Best Writing, Motion Picture Story (1951).

 

Click HERE to join the online discussion on September 22, 2025, at 6:30 p.m. Central Time. Once you RSVP, you’ll receive an invitation with a link to join the discussion on Zoom.

Click HERE to watch the movie on the Internet Archive.

 

Richard Widmark and Paul Douglas

Discussion questions

1. The Role of Public Health and Law Enforcement: How does the film portray the dynamic and often conflicting relationship between Dr. Reed, representing public health, and Captain Warren, representing law enforcement? In a real-world scenario, what are the ethical and practical challenges of this collaboration, especially when a crisis requires them to work together?
2. Fear, Panic, and the Public: The film’s title, Panic in the Streets, points to a central theme. How do the various characters—from the criminals to the ordinary citizens—react to the threat of a plague? What does the film suggest about the human response to an unseen danger and the role of fear in a public crisis?
3. Filming Location and Atmosphere: Elia Kazan chose to film on location in the gritty, real-life streets of New Orleans. How does this decision impact the film’s tone and sense of urgency compared to if it had been shot on a soundstage? What specific elements of the city’s environment contribute to the film’s noir aesthetic and overall atmosphere?
4. Moral Responsibility vs. Self-Preservation: The film features characters who are either unaware of or choose to ignore the public health threat for their own benefit. What is the film’s commentary on individual moral responsibility versus the instinct for self-preservation? How do the actions of the film’s antagonists, Blackie and his accomplice, serve as a cautionary tale about the consequences of prioritizing personal gain over the collective good?
5. Moral Responsibility vs. Self-Preservation: The film features characters who are either unaware of or choose to ignore the public health threat for their own benefit. What is the film's commentary on individual moral responsibility versus the instinct for self-preservation? How do the actions of the film's antagonists, Blackie and his accomplice, serve as a cautionary tale about the consequences of prioritizing personal gain over the collective good?

James Mason, Barbara Bel Geddes, and Robert Ryan are "Caught"

Caught (1949) is an American film noir directed by Max Ophuls and starring James Mason, Barbara Bel Geddes, and Robert Ryan. The screenplay was by Arthur Laurents from the novel Wild Calendar by Libbie Block.

Leonora Eames (Bel Geddes) always dreamed about being rich. Her dreams come true when she marries Smith Ohlrig a multimillionaire. Her dreams quickly turn into nightmares when Ohlrig turns out to be mentally unstable and abusive. Leonora eventually leaves Ohlrig, going to work in a doctor's office, and befriends Dr. Larry Quinada (Mason). The two eventually fall in love but there's one problem: she's married to Ohlig and he's not going to give Leonora up easily.

Max Ophuls (1931-1957) was born in Germany where his film career began. After it was clear the Nazis would take power in Germany, Ophuls, a jew, moved to France in 1933 where he became a French citizen in 1938. After the fall of France, he traveled through Switzerland and Italy, eventually ending up in the United States. In Hollywood, Ophuls directed Douglas Fairbanks Jr. in The Exile (1947), Joan Fontaine and Louis Jordan in Letter from an Unknown Woman (1948), and Caught starring James Mason, Barbara Bel Geddes, and Robert Ryan. The Reckless Moment would be his last Hollywood film before he returned to France, where he directed major successes La Ronde (1950) and The Earrings of Madame de…(1953) starring Charles Boyer and Danielle Darrieux.

James Mason (1909 – 1984) was an English actor who was a movie star in the UK before coming to Hollywood. His popular British films include The Seventh Veil (1945) and The Wicked Lady co-starring Margaret Lockwood (1945). His performance in Carol Reed’s Odd Man Out (1947) brought him international acclaim and success in Hollywood. In Hollywood he starred in four films in 1949: Caught, Madame Bovary with Jennifer Jones, The Reckless Moment with Joan Bennett, and East Side, West Side with Barbara Stanwyck. Other popular American films include The Desert Fox: The Story of Rommel (1951), The Prisoner of Zenda (1952), Julius Caesar (1953), A Star is Born (1954), 20,000 Leagues Under the Sea, Island in the Sun (1957), North by Northwest (1959), Journey to the Centre of the Earth (1959), and Lolita (1963). Mason continued to work in film and television up to the time of his death.

Barbara Bel Geddes (1922 – 2005) was an American stage and screen actress. She starred as Maggie in the original Broadway production of Cat on a Hot Tin Roof (1955). She played Irene Dunne’s daughter in I Remember Mama (1948), and was Midge, James Stewart’s on-again-off-again girlfriend in Vertigo (1958). Bel Geddes also worked on television during the 1950s and 1960s. In 1978, she starred as Miss Ellie Ewing Farlow on Dallas (1978 – 1990), the role for which she is most famous.

Robert Ryan (1909 - 1973) was an American film and stage actor. Ryan got his start in acting with a theater group in Chicago, where he was born, in the late-1930s. By 1939, he had a film contract with Paramount appearing in minor roles in a variety of pictures. In 1943, he signed a long-term contract with RKO based on his stage performance in Clash by Night (1941). The studio was grooming him for stardom with 1943’s Tender Comrade co-starring Ginger Rogers when he enlisted in the United States Marine Corps, serving as a drill instructor. He resumed his career after the war and was nominated for a Best Supporting Actor Academy Award for his performance in Crossfire (1947). Ryan worked on stage, on TV, and in film during the next three decades. His other film roles include The Set-Up (1949), Flying Leathernecks (1951), On Dangerous Ground (1951), Clash by Night (1952), and Bad Day at Black Rock (1954).

Robert Ryan and Barbara Bel Geddes

Caught trivia

• James Mason was originally cast as Smith Ohlrig, the role Robert Ryan played.
• Smith Ohlrig was supposedly based on Howard Hughes.
• This was Mason's first American film.
• The film has three famous TV moms in the cast: Barbara Billingsley (June Cleaver of Leave it to Beaver), Natalie Schafer (Lovey Howell of Gilligan's Island), and Barbara Bel Geddes (Miss Ellie of Dallas),

To watch the film on YouTube, click on the link below.

To join the discussion on July 25, 2022, at 6:30 p.m. Central Time, click here. Once you RSVP, you will receive an invitation with a link to the discussion on Zoom.

Discussion questions

1. Contemporary reviews were negative but now the movie is considered a film noir classic. What do you think turned those critics off?
2. What did you think of James Mason's American film debut? Was he smart to switch roles with Robert Ryan?
3. Caught was Bel Geddes fourth movie in three years. What did you make of her performance? Any shades of Miss Ellie?
4. Many critics thought Robert Ryan's character was modeled after Howard Hughes. Did you see any resemblance?
5. Did anything about the film surprise you?