Alan Ladd, Veronica Lake, and William Bendix in “The Blue Dahlia”

The Blue Dahlia is a 1946 film noir, directed by George Marshall, about Johnny Morrison (Alan Ladd), a decorated naval aviator who returns home from the war to find his wife, Helen (Doris Dowling), has been unfaithful. After a heated confrontation, Johnny leaves, only to learn later that Helen has been murdered. The police, led by Captain Hendrickson (Tom Powers), quickly make Johnny their prime suspect. As he attempts to clear his name, Johnny becomes entangled in a web of deceit involving Helen's new lover, the charming nightclub owner Eddie Harwood (Howard da Silva), and Harwood's estranged wife, Joyce (Veronica Lake).

Johnny, with the help of his friends and fellow veterans Buzz (William Bendix) and George (Hugh Beaumont), tries to piece together the events of the night of the murder. He discovers that his wife, Helen, was a troublesome alcoholic and that Eddie Harwood's business partner, “The Man with a Gun”  Leo, had a long-standing feud with her. The film’s plot is driven by Johnny's race against time to uncover the truth and prove his innocence. He forms an unlikely alliance with Joyce, who also suspects her husband is involved, and together they navigate the seedy underbelly of the Los Angeles nightclub scene.

Alan Ladd and Veronica Lake

George Marshall (1891-1975) was an American film and television director, screenwriter, producer, and actor. Born in Chicago, Illinois, Marshall dropped out of the University of Chicago and worked various jobs, including as a mechanic, logger, and newspaper reporter, before entering the film industry. He began as an extra in 1916 and quickly moved into directing, with his early work consisting mostly of westerns and comedies. He directed films for various studios, including Fox, Universal, and Paramount, and worked with notable actors such as Laurel and Hardy, W.C. Fields, and Bob Hope. Later in his career, he also directed television series. He received a Star on the Hollywood Walk of Fame in 1960.

Marshall directed films across many genres throughout his career, which spanned over 50 years. He is known for his work on movies such as Destry Rides Again (1939) and The Blue Dahlia (1946). He also co-directed How the West Was Won (1962), for which he directed the railroad segment. Marshall died in Los Angeles, California, in 1975 from pneumonia.

Alan Ladd (1913 – 1964) was an American actor and film producer. Before Ladd made in big in movies, he had a successful career on the radio. After numerous bit parts at just about every Hollywood studio, Paramount signed him to a long-term contract and crafted roles that propelled him to superstardom. Ladd established himself in films noir like This Gun for Hire (1942), The Glass Key (1942), and The Blue Dahlia (1946). Other important films include Two Years Before the Mast (1946) and The Great Gatsby (1949). Ladd also established himself in the western genre, starring in Whispering Smith (1948) and one of the most famous westerns of all time, George Stevens’s Shane (1953). George Stevens offered the role of Jett Rink in Giant (1956), but Ladd turned it down because it wasn’t the lead. Ladd’s last film was in a supporting role in The Carpetbaggers (1964).

Veronica Lake (1922 - 1973) was an American film, stage, and television actress. She was a popular star of film noirs, often paired with Alan Ladd in the 1940s. She was also famous for her peek-a-boo hairstyle. Her home studio, Paramount, dubbed her the peek-a-boo girl. Women and girls all over the world copied her hair-over-one-eye hairstyle. Lake became an overnight sensation with her role in I Wanted Wings (1940). During the height of her career, Lake was making $4,500 a week. Some of her popular films include Sullivan’s Travels (1941), This Gun for Hire (1942), The Glass Key (1942), So Proudly We Hail! (1943), and The Blue Dahlia (1946). Lake’s career declined due to her struggle with alcoholism. She died from cirrhosis of the liver in 1973. She was 50 years old.

William Bendix (1906 – 1964) was an American film, radio, and television actor. Bendix usually played rough guys, gangsters, and blue-collar characters. In 1942, he was nominated for a Best Supporting Actor Oscar for his performance in the World War II drama Wake Island. As a youngster, Bendix was a batboy at Yankee Stadium. He was fired for buying Babe Ruth a hot dog and soda before the game. Bendix starred in several classic films noir, including The Glass Key (1942) and Blue Dahlia (1946). Perhaps his greatest role was as Chester A. Riley, a role he played on radio and television to great success.

The Blue Dahlia trivia

• The film was rushed into production because Alan Ladd was called to military service.  When the script was completed, men over thirty were released from service.
• Cars with the “B” sticker on their windshield could only purchase eight gallons of gas per week. Gas was rationed during World War II.
• This was Raymond Chandler’s first original screenplay without a collaborator. Chandler drank heavily to help him meet the deadline and worked from home, which was unheard of during the studio era.
• Fourth film pairing of Ladd and Lake.
• Raymond Chandler objected to Veronica Lake being in the film. He didn’t think she was a good actress. He also thought director George Marshall was a hack. 

Click HERE to watch the movie on the Internet Archive

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Discussion questions

1. The character of Johnny Morrison is a returning veteran who finds his life in disarray. How does the film use his character to explore the themes of post-war disillusionment and the challenges faced by soldiers reintegrating into civilian society?
2. The Blue Dahlia is a classic example of film noir. Discuss how the film utilizes common noir tropes, such as shadowy cinematography, a cynical protagonist, and a femme fatale, to tell its story. How do these elements contribute to the film's overall mood and tone?
3. Raymond Chandler, a master of hardboiled fiction, wrote the screenplay for The Blue Dahlia. How is his signature style evident in the film's dialogue, plot, and character development? Do you think the film effectively captures the essence of his literary work?
4. The film presents several complex female characters, particularly Helen and Joyce. How do their roles challenge or conform to the stereotypical portrayals of women in 1940s cinema? What do their actions reveal about the social and moral landscape of the time?
5. Buzz, one of Johnny's friends, suffers from a psychological condition related to his combat experience. How does the film portray his struggles, and what does his character add to the film's exploration of the lasting impact of war?

Ladd, Lake, and Donlevy star in “The Glass Key”

The Glass Key (1942) is an American film noir directed by Stuart Heisler and starring Brian Donlevy, Veronica Lake, and Alan Ladd. The supporting cast includes William Bendix, Bonita Granville, Richard Denning, and Joseph Calleia.

The Glass Key centers on Ed Beaumont (Alan Ladd), the trusted right-hand man of political boss Paul Madvig (Brian Donlevy). When a local gangster, Shad O’Rory, is found murdered, suspicion immediately falls on Madvig, especially since he had recently been publicly feuding with Shad over the affections of Janet Henry (Veronica Lake), the daughter of a powerful senator whom Madvig intends to marry. Ed, despite his personal feelings for Janet, is fiercely loyal to Madvig and sets out to clear his name. He dives deep into the seedy underworld, navigating corrupt politicians, rival gangsters, and the cynical social circles of the elite, all while facing threats and beatings designed to deter him.

As Ed investigates, he uncovers a tangled web of deceit, betrayal, and hidden motives. 

 

Stuart Heiser (1896 – 1979) was an American film and television director. Heisler started out as a film editor from 1921 to 1936. He then worked as a director for the remainder of his career. He directed films starring Bing Crosby, Fred Astaire, Gary Cooper, and Loretta Young. He directed Susan Hayward in Smash-Up, the Story of a Woman, considered her breakout performance. She earned her first Best Actress Academy Award nomination for her performance. Other films directed by Heiser include Along Came Jones (1945), Blue Skies (1946), Tulsa (1949), Dallas (1950), The Star (1952), and I Died a Thousand Times (1955).

Brian Donlevy (1901–1972) was an American actor noted for playing tough guys in movies. He mostly worked as a supporting actor, but sometimes played the lead, as in the Preston Sturges classic The Great McGinty (1940). Donlevy worked in the theater but soon found regular work in silent films. He transitioned to sound pictures and starred in “A” and “B” pictures at most of the major studios. He supported the biggest stars of Hollywood’s Golden Age, including Robert Taylor, Barbara Stanwyck, Gary Cooper, Marlene Dietrich, and Bing Crosby.

Veronica Lake (1922 - 1973) was an American film, stage, and television actress. She was a popular star of film noirs, often paired with Alan Ladd in the 1940s. She was also famous for her peek-a-boo hairstyle. Her home studio, Paramount, dubbed her the peek-a-boo girl. Women and girls all over the world copied her hair-over-one-eye hairstyle. Lake became an overnight sensation with her role in I Wanted Wings (1940). During the height of her career, Lake was making $4,500 a week. Some of her popular films include Sullivan’s Travels (1941), This Gun for Hire (1942), The Glass Key (1942), So Proudly We Hail! (1943), and The Blue Dahlia (1946). Lake’s career declined due to her struggle with alcoholism. She died from cirrhosis of the liver in 1973. She was 50 years old.

Alan Ladd (1913 – 1964) was an American actor and film producer. Before Ladd made in big in movies, he had a successful career on the radio. After numerous bit parts at just about every Hollywood studio, Paramount signed him to a long-term contract and crafted roles that propelled him to superstardom. Ladd established himself in films noir like This Gun for Hire (1942), The Glass Key (1942), and The Blue Dahlia (1946). Other important films include Two Years Before the Mast (1946) and The Great Gatsby (1949). Ladd also established himself in the western genre, starring in Whispering Smith (1948) and one of the most famous westerns of all time, George Stevens’s Shane (1953). George Stevens offered the role of Jett Rink in Giant (1956), but Ladd turned it down because it wasn’t the lead. Ladd’s last film was in a supporting role in The Carpetbaggers (1964).

 

Click HERE to watch the movie on the Internet Archive.

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Brian Donlevy, Veronica Lake, and Alan Ladd

The Glass Key trivia

• William Bendix accidentally knocked Alan Ladd in a fight scene.
• This was a remake of the version first filmed in 1935, starring George Raft in the Ladd role.
• Paulette Goddard was originally cast in the role of Janet Henry, but had to drop out due to a prior commitment. It was announced that Patricia Morison would replace her, but after the producers saw the chemistry between Lake and Ladd in This Gun for Hire (1942), Lake was cast as Janet.
• This was the second of the four Ladd/Lake pairings.

 

Discussion questions

1. What do you think of the second pairing of Veronica Lake and Alan Ladd?
2. Some film noir plots are hard to follow, or in some cases, are second to the relationships between the male and female characters. Was the plot of this film hard to follow?
3. What did you think of the supporting cast? Did anyone's performance stand out to you?
4. Did anything surprise you?
5. Was the ending satisfying, believable?

Kirk Douglas, Eleanor Parker, and William Bendix star in “Detective Story”

Detective Story (1951) is an American drama directed by William Wyler and starring Kirk Douglas, Eleanor Parker, and William Bendix. The supporting cast includes Cathy O’Donnell, George Macready, Lee Grant, and Joseph Wiseman. This was the film debut for both Grant and Wiseman.

The film takes place over one day at a New York City police station. Kirk Douglas plays a tough detective who, in his pursuit of criminals, leads him to discover a secret that could destroy his marriage and career.

Click HERE to watch the film on the Internet Movie Archive

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Kirk Douglas and Eleanor Parker

Detective Story trivia

• The film was nominated for four Academy Awards, including Best Actress for Eleanor Parker and Best Supporting Actress for Lee Grant.
• Alan Ladd was originally offered the role of Detective McLeod.
• The film is based on the Broadway play that ran for 581 performances. Ralph Bellamy starred as Detective McLeod.
• Joseph Wiseman and Lee Grant recreated their stage roles.
• Cathy O’Donnell and Gladys George were directed by William Wyler in The Best Years of Our Lives.

Discussion questions

1. Do you think the play transferred to film successfully?
2. Eleanor Parker is on screen for just over 20 minutes but it was enough for her to get a Best Actress nod. Do you think she deserved it?
3. What did you think of Kirk Douglas’s performance as the detective?
4. The movie has an amazing supporting cast. Did any one performance stand out to you?
5. Did anything about the film surprise you
6. Would you recommend this movie to a friend?

Lucille Ball and Mark Stevens find themselves in “The Dark Corner”

The Dark Corner (1946) is an American film noir directed by Henry Hathaway and starring Lucille Ball, Clifton Webb, William Bendix, and Mark Stevens. The screenplay was by Jay Dratler and Bernard Schoenfeld. The cinematography was by Joseph  (Joe) MacDonald (My Darling Clementine, Yellow Sky, How to Marry a Millionaire, and The Sand Pebbles). The music was by Cyril Mockridge.

Private investigator Bradford Galt (Stevens) has recently moved from San Francisco to New York City to leave a troubled past behind. Galt blames his former partner Tony Jardine (Kurt Kreuger) for all his troubles but is unaware of Jardine’s criminal involvement with Hardy Cathcart (Webb) an art gallery owner. And why is a man in a white suit following Galt?

With the help of secretary Kathleen Stewart (Ball), Galt sets out to discover the truth and clear his name.

Lucille Ball and Mark Stevens

Henry Hathaway (1898 – 1985) was an American film director and producer. Hathaway started working in silent films in 1925 as an assistant to established directors like 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.

Lucille Ball (1911 – 1989) was an American actress. Ball started her career as a model and later appeared in films while under contract to RKO Radio Pictures during the 1930s and 1940s. At RKO, she starred in B-pictures and had supporting roles in A-pictures like Stage Door (1937) co-starring Katharine Hepburn and Ginger Rogers. Ball left RKO for M-G-M in the mid-40s but major stardom eluded her. Ball had a hit radio show, My Favorite Husband. CBS wanted her to develop the show for television but Ball insisted on having her real-life husband Desi Arnaz co-star with her. The studio wanted her to star with her radio husband, Richard Denning, but Ball held out for Arnaz and I Love Lucy was born. During her television career, Ball was nominated for 13 Primetime Emmy Awards, winning five times. Ball’s reputation as one of the world’s great comedians has never been disputed.

Clifton Webb (1889 - 1966) was an American stage and film actor. Webb was a successful Broadway star and had made several silent films before he appeared in Laura (1944). As the acerbic Waldo Lydecker, Webb established himself as a character actor and eventually a leading actor in films like Cheaper by the Dozen (1950), Dreamboat (1952), and Titanic (1953). Working exclusively for Twentieth Century-Fox, Webb's last film was Satan Never Sleeps (1962) co-starring William Holden and directed by Leo McCarey.

William Bendix (1906 – 1964) an American film, radio, and television actor. Bendix usually played rough guys, gangsters, and blue-collar characters. In 1942, he was nominated for a Best Supporting Actor Oscar for his performance in the World War II drama Wake Island. As a youngster, Bendix was a bat boy at Yankee Stadium. He was fired for buying Babe Ruth a hot dog and soda before the game. Bendix starred in several classic films noir, including The Glass Key (1942) and Blue Dahlia (1946). Perhaps his greatest role was as Chester A. Riley a role he played on radio and television to great success.

Mark Stevens (1916 – 1994) was an American actor and director. Stevens starred in films and was also a successful actor in the early days of television. In 1943, he was signed to a contract at Warner Bros. as Stephen Richards. At Warner’s, he had small parts, often uncredited in A-pictures like Destination Tokyo (1943), and Rhapsody in Blue (1945). When his contract was up at Warner Bros., he was signed by Fox where Darryl Zanuck changed his name to Mark Stevens. At Fox, he reached leading-man status starring opposite June Haver in I Wonder Who’s Kissing Her Now (1947) and with Haver once again in Oh, You Beautiful Doll (1949). Both films with Haver were big hits. He also starred in The Street With No Name (1948) where he was billed over Richard Widmark. He played Olivia de Havilland’s loyal husband in The Snake Pit (1948) and Dancing in the Dark (1949) with William Powell and Betsy Drake. Later in his career he directed himself in several movies and worked in television on shows like Magnum P.I. and Murder She Wrote.

The Dark Corner trivia

• The studio hoped that this film would be as successful as Laura, but although it was well received by the critics, it wasn’t a commercial success.
• Lucille Ball was borrowed from M-G-M for the role of Kathleen Stewart when Ida Lupino became unavailable.
• Ball clashed with director Henry Hathaway who was critical of her performance.
• The cast is a who’s who of 1950s television with Lucille Ball (I Love Lucy-1951), William Bendix (The Life of Riley­-1953), Reed Hadley (Racket Squad-1950 and Public Defender-1954), Mark Stevens (Big Town-1950).
• Alfred Newman’s theme music “Street Scene” was used once again. “Street Scene” was used in more Fox films than any other musical theme.

To watch the film on YouTube click here.

To join the discussion on November 6, 2023, at 6:30 p.m. Central Time, click here. Once you RSVP, you will receive an invitation along with a link to join the discussion on Zoom.

Discussion questions

1. What did you think of Lucille Ball’s performance as a film noir dame?
2. The critics loved this movie but audiences didn’t. Why do you think this movie didn’t hit gold at the box office?
3. Were Ball and Mark Stevens believable as an on-screen couple?
4. What about Cliffton Webb? Was his character Waldo Liedecker 2.0?
5. Did you have a favorite scene or piece of dialogue?
6. Did anything about the film surprise you?

Review of “The Blue Dahlia” at #NoirCityChicago

I went to see The Blue Dahlia, at the Music Box Theatre, 3733 N. Southport Ave., Chicago, last night. The 1946 Paramount release, directed by George Marshall was presented in a clean 35mm print. The original screenplay from detective story legend, Raymond Chandler is just a tad less confusing than Howard Hawks’s The Big Sleep released the same year. But like that Bogie and Bacall classic, The Blue Dahlia is just as enjoyable nonetheless.

Terrific publicity shot of Alan Ladd and Veronica Lake

Introduced by Film Noir Foundation Founder and President, Eddie Muller, who provided some interesting background information, as well as putting the film in context. For example, the film was rushed into production before star Alan Ladd was off to serve in the Navy toward the end of World War II. Muller also noted that Ladd’s Dahlia and frequent costar, Veronica Lake, was never a femme fatale, at least not in the films she made with Ladd. Muller said Lake, by contrast, was always a self-confident woman, a positive example to the women watching her on the big screen. Muller said that Ladd and Lake were the 1940s most popular acting team. Judging from the box office success of their films, one could reasonably make that argument.

Seeing the film with an audience was a delight. The best part of the film was the snappy dialogue between all the major characters. Some of the situations portrayed were laugh-out-loud funny, but probably weren’t meant to be so in 1946. Besides the top-billed Ladd and Lake, there’s great support from William Bendix, Doris Dowling, Howard Da Silva, and Hugh Beaumont (yes, Ward Cleaver before Leave it to Beaver fame).

Lobby card for The Blue Dahlia featuring Ladd and Lake

The plot surrounds the murder of Ladd’s wife after he returns home from military service. When Ladd discovers that his wife has been unfaithful and was responsible for the death of their young son, he walks out on her. Their arguing overheard by the house detective at Dowling’s bungalow, casts suspicion on Ladd when Dowling ends up dead. Ladd goes on the run when he realizes he’s a murder suspect. Lake picks up Ladd in her car when she finds him walking in the rain. Lake befriends Ladd and the two strike up an uneasy friendship. When it is revealed that Lake is the estranged wife of Da Silva, the nightclub-owning-gambler and Dowling’s boyfriend and potential murderer, things get complicated. Just about everyone in the movie has a motive to bump off Miss Dowling, which holds your suspense, but also makes the plot difficult to follow at times. But no matter, it’s the dialogue between Ladd and Lake and the other cast members (as Muller noted in his introduction) that really make this movie hum.

Without giving in to spoilers, let’s say that everything makes sense in the end.

The Blue Dahlia was a big hit for Paramount and one of the most popular of Ladd and Lake’s films. Ladd’s career continued to climb, but Lake’s was pretty much over by the end of the decade.

The Noir City Chicago film festival runs through August 23. The see the remaining films on the schedule, click here.