Glenn Ford, Gloria Grahame, and Broderick Crawford star in Fritz Lang’s “Human Desire”

Human Desire (1954) is an American film noir directed by Fritz Lang and starring Glenn Ford, Gloria Grahame, and Broderick Crawford. Peggy Maley, Kathleen Case, and Edgar Buchanan round out the supporting cast.

Korean War veteran Jeff Warren (Ford) is a train engineer for the Central National Railroad. Jeff’s involvement with Vicki Buckley (Grahame) puts him in peril with Vicki’s sadistic husband Carl (Crawford).

Will Jeff and Vicki be able to overcome the evil shadow of Carl Buckley?

Gloria Grahame and Glenn Ford

Fritz Lang (1890 – 1976) was an Austrian-German-American director. Lang is the director of the silent film classic Metropolis (1927). After serving in World War I, Lang worked as an actor in the theater and then worked as a writer at Decla Film in Berlin. Lang’s first talking picture was M (1931) a story about a child murderer. Due to his growing renown, Joseph Goebbels offered him the position of head of the German film studio UFA in 1933. Lang emigrated to Paris and then to the United States in 1936. Lang worked for all the major studios, making twenty-three feature films in the United States. Some of Lang’s films include Scarlet Street (1945), The Big Heat (1953), and While the City Sleeps (1956).

Glenn Ford (1916 - 2006) was a Canadian-American actor who was one of the biggest box office draws for three decades. Ford acted on stage in California before he signed a contract with Columbia Pictures. He appeared in mostly B movies until The Lady in Question (1940), the first time he was paired with fellow Columbia contract player, Rita Hayworth. After serving in the Coast Guard during World War II, Ford’s career took off. He and Hayworth had a huge hit with Gilda (1946) and A Stolen Life (1946) with Bette Davis. Ford came into his own in the 1950s with films like Blackboard Jungle (1955), Interrupted Melody (1955) with Eleanor Parker, Jubal (1956), and The Fastest Gun Alive (1956) with Jeanne Crain, all box office successes. By the end of the decade, Ford was one of the biggest stars in the world. Ford continued making movies in the 1960s but his films were more uneven than in the previous decade. However, he had hits with Experiment in Terror (1962) and The Courtship of Eddie’s Father  (1963). In 1978, he played Clark Kent’s adoptive father in Superman (1978). His last film role was Raw Nerve (1991).

Gloria Grahame (1923 – 1981) was an American actress. She began her career on the stage and then went to Hollywood in 1944 where she was under contract to M-G-M. At M-G-M, they didn’t know what to do with Grahame. She was loaned out to play Violet Bick in It’s a Wonderful Life, earning good notices but M-G-M decided to sell her contract to RKO. She played minor and secondary roles in several film noirs, but her career didn’t gain any traction at that studio. She had good roles in Sudden Fear (1952) and won an Academy Award for Best Supporting Actress for her performance in The Bad and the  Beautiful (1952). Grahame’s performance in that film lasted just over nine minutes. She was the Elephant Girl, performing her stunts, in Cecil B. De Mille’s The Greatest Show on Earth (1952). Other films include Not as a Stranger (1955) and Oklahoma! (1955) where she played Ado Annie, a change of pace from her typical femme fatale roles. Grahame died of cancer at the age of 57.

Broderick Crawford (1911 – 1986) was an American stage, film, radio, and television actor. Born in Philadelphia to a show business family, Crawford acted with his parents on stage. As an adult, he won acclaim as Lenny in the original Broadway production of Of Mice and Men in 1937. He later moved to Hollywood and began acting in small roles and bit parts throughout the 1940s. He finally got his chance at stardom in All the King’s Men (1949), the film version of Robert Penn Warren’s award-winning novel. The film was a big hit and Crawford won the Academy Award for Best Actor for his performance as Willie Stark. Now a star, Crawford starred in more prestigious productions including Born Yesterday (1950) receiving top-billing over co-stars Judy Holiday and William Holden. Crawford became a television icon as Dan Matthews in the police dram Highway Patrol (1955 – 1959.) 

Human Desire trivia

• Fritz Lang didn’t like the title. He thought it was redundant. “What other desire is there?”
• Lang wanted Marlon Brando to play the role of Jeff. Brando thought Lang had lost his way and called the screenplay “crap.”
• Rita Hayworth was originally scheduled to co-star with Ford but she was tied up in court with divorce proceedings.
• Olivia de Havilland and Jennifer Jones were mentioned as possible leads.
• Ford and Broderick Crawford worked together in Convicted (1950) and The Fastest Gun Alive (1956).

Click HERE to watch the film on YouTube.

Click HERE to join the discussion on September 23, 2024, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

Discussion questions

1. If you saw The Big Heat (1953) also starring Ford and Graham, which do you think is the better film?
2. Do you think Vicki loved Jeff or was she just using him to get rid of her husband?
3. Some critics have called Human Desire a low-rent Double Indemnity and The Postman Always Rings Twice. Do you agree with that criticism?
4. Ford and Grahame were paired again because of their previous success in The Big Heat. Do you think their on-screen chemistry is as good in this film?
5. How much of the action is based on fate and the characters' choices?
6. Was the ending a surprise to you? Was it satisfying?
7. Does this film qualify as a film noir in your opinion? Yes or no? Why?

Joan Bennett is determined to discover the “Secret Beyond the Door”

Secret Beyond the Door (1947) is an American psychological thriller directed by Fritz Lang and starring Joan Bennett and Michael Redgrave. The strong supporting cast includes Anne Revere, Barbara O’Neil, Natalie Schafer, and Paul Cavanagh. The cinematography was by Stanley Cortez (The Magnificent Ambersons, The Night of the Hunter, and The Three Faces of Eve. The music was by Miklos Rozsa (Double Indemnity, Spellbound, Ben-Hur).

Celia (Bennett), a rich, young heiress meets a mysterious man, architect Mark Lamphere (Redgrave) on vacation in Mexico. The two fall in love instantly and are married. The honeymoon is happy but trouble is on the horizon when in a playful mood, Celia locks her husband out of their hotel room.

When they return to Mark’s home, Celia discovers that Mark was married before and has a teenage son David (Mark Dennis)—things Mark never told Celia. She also discovers that Mark’s sister Caroline (Revere) and Mark’s assistant Miss Robey(O’Neil) also reside in her home with Mark.

David tells Celia that Mark killed his mother. Shocked, Celia now worries that Mark may be planning to kill her as well. And then there are Mark’s rooms that recreate famous murders of women! What does it all mean and is Celia’s life in serious danger? 

Joan Bennett

Fritz Lang (1890 – 1976) was an Austrian-German-American director. Lang is the director of the silent film classic Metropolis (1927). After serving in World War I, Lang worked for a time as an actor in the theater and then worked as a writer at Decla Film in Berlin. Lang’s first talking picture was M (1931) a story about a child murderer. Due to his growing renown, Joseph Goebbels offered him the position of head of the German film studio UFA in 1933. Lang emigrated to Paris and then to the United States in 1936. Lang worked for all the major studios, making twenty-three feature films in the United States. Some of Lang’s films include Scarlet Street (1945), The Big Heat (1953), and While the City Sleeps (1956).

Joan Bennett (1910–1990) began her film career during the early sound era. A natural blonde, Bennett dyed her hair as a plot device in the film Trade Winds (1938). As a brunette, Bennett projected a sultry persona that had her compared to the brunette beauty, Hedy Lamarr. During this period she starred in two costume epics. She played Princess Maria Theresa in The Man in the Iron Mask (1939) and Grand Duchess Zona of Lichtenburg in The Son of Monte Cristo (1940). Bennett was one of two finalists for the role of Scarlett O’Hara in Gone with the Wind (1939), along with Paulette Goddard. She had a very successful collaboration with the director Fritz Lang. With Lang, she starred in the classics Man Hunt (1940), The Woman in the Window (1944), and Scarlet Street (1945). Bennett acted on stage and on television where she became a pop culture icon playing Elizabeth Collins Stoddard in the gothic soap opera Dark Shadows (1966-1971).

Michael Redgrave (1909 – 1985) was an English stage and film actor and director. He worked primarily on the British stage but had some significant film roles. He made his American film debut in Mourning Becomes Electra (1947) co-starring Rosalind Russell—he made Secret Beyond the Door first but Electra was released first. For his performance, he was nominated for the Academy Award for Best Actor. Other notable film roles include The Stars Look Down (1940), Dead of Night (1945), and The Browning Version (1951). He is the father of actresses Vanessa and Lynn Redgrave.

Secret Beyond the Door trivia

• This was the fourth film that Bennett made with director Fritz Lang.
• The grove of trees that Bennett runs through fleeing the house is the same grove used in the Universal horror film The Wolf Man (1941).
• Lang thought this film would be his Rebecca (1940). Lang felt he was being eclipsed by directors like Alfred Hitchcock and was desperate to stay relevant.
• This was Michael Redgrave’s first American film.
• Bennett requested the services of cinematographer Stanley Cortez. Cortez and Lang didn’t get along on set.
• Bennett and Redgrave did some very dangerous stunt work at the insistence of Lang. This didn’t sit well with the two stars.

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

Discussion questions

1. Some critics consider this movie a film noir. Would you put it in that category? Why or why not?
2. This film has been compared to earlier Alfred Hitchcock films, especially Rebecca and Spellbound. Do you see the reason for those comparisons? Does Secret Beyond the Door remind you of any other pictures?
3. What do you think was Bennett’s motivation to marry Redgrave so quickly?
4. What was Redgrave’s motivation?
5. This film could fall into the damsel in distress genre. Was Bennett a convincing damsel?
6. Was Michael Redgrave believable as the conflicted Mr. Lamphere?
7. Did you have a favorite character or scene?

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

Michael Redgrave

Walter Pidgeon is the subject of a “Man Hunt”

Man Hunt (1941) is an American political thriller directed by Fritz Lang and starring Walter Pidgeon and Joan Bennett. The film is based on the novel Rogue Male (1939) by Geoffrey Household. The screenplay was written by Dudley Nichols and Lamar Trotti. The cinematography was by Arthur C. Miller and the music was by Alfred Newman.

The film takes place in 1939 with renowned British big-game hunter Captain Alan Thorndike (Pidgeon) attempting to assassinate Adolph Hitler close to his residence near Berchtesgaden. Thorndike is captured at brought before Major Quive-Smith (George Sanders). Thorndike tells the major he wasn’t really going to kill Hitler but just wanted to see if he could just for sport. Through a strange course of events, Thorndike escapes the Nazis and goes on the run. He meets Jerry (Bennett) a young woman who hides him in her apartment. Jerry acts as a go-between for Thorndike and his diplomat brother, Lord Risborough (Frederick Worlock).

Will Thorndike be able to allude the Nazis and return to the sporting life he once knew?

Fritz Lang (1890 – 1976) was an Austrian-German-American director. Lang is the director of the silent film classic Metropolis (1927). After serving in World War I, Lang worked for a time as an actor in the theater and then worked as a writer at Decla Film in Berlin. Lang’s first talking picture was M (1931) a story about a child murderer. Due to his growing renown, Joseph Goebbels offered him the position of head of the German film studio UFA in 1933. Lang emigrated to Paris and then to the United States in 1936. Lang worked for all the major studios, making twenty-three feature films in the United States. Some of Lang’s films include Scarlet Street (1945), The Big Heat (1953), and While the City Sleeps (1956).

Walter Pidgeon (1897 - 1984) was a Canadian-American actor. During his long career, he was nominated for two Best Actor Academy Awards—Mrs. Miniver (1942) and Madame Curie (1943). Pidgeon worked on the stage before he entered films, making his Broadway debut in 1925. When he starting working in film, he starred in musicals. Once the interest in musicals declined, he began making a name for himself in dramas and comedies during the mid-1930s. His lead role in How Green Was My Valley restored his popularity. He was first paired with Greer Garson in Blossoms in the Dust (1941). They made a total of eight films together, making them one of the screen’s most popular acting teams. Some of their other films include Mrs. Miniver (1942), Mrs. Parkington (1944), Julia Misbehaves (1948), and That Forsyte Woman (1949). Pidgeon has success on his own in films like Week-End at the Waldorf (1945), The Bad and the Beautiful (1952), and the science fiction classic, Forbidden Planet (1956). One of Pidgeon’s last film roles was Funny Girl (1968) where he portrayed Florenz Ziegfeld.

Joan Bennett and Walter Pidgeon

Joan Bennett (1910–1990) began her film career during the early sound era. A natural blonde, Bennett dyed her hair as a plot device in the film Trade Winds (1938). As a brunette, Bennett projected a sultry persona that had her compared to the brunette beauty, Hedy Lamarr. During this period she starred in two costume epics. She played Princess Maria Theresa in The Man in the Iron Mask (1939) and Grand Duchess Zona of Lichtenburg in The Son of Monte Cristo (1940). Bennett was one of two finalists for the role of Scarlett O’Hara in Gone with the Wind (1939), along with Paulette Goddard. She had a very successful collaboration with the director Fritz Lang. With Lang, she starred in the classics Man Hunt (1940), The Woman in the Window (1944), and Scarlet Street (1945). Bennett acted on stage and on television where she became a pop culture icon playing Elizabeth Collins Stoddard on the gothic soap opera Dark Shadows (1966-1971).

George Sanders (1906 – 1972) was a British film and stage actor who also had a fine singing voice. Hollywood was looking for a villain to star opposite a young Tyrone Power in Lloyd’s of London (1936) and Sanders more than fit the bill. His performance in that film would forever stamp him as a sophisticated bad guy. Before his acting career, he worked in the textile industry, which must have helped him with his role in The Strange Affair of Uncle Harry. In the 1960s, Sanders played Mr. Freeze in the Batman (1966) television series.

Man Hunt trivia

• The film was made before America entered World War II. It was considered propaganda, encouraging American involvement in the war.
• Director John Ford was approached to direct but he turned the project down.
• 20th Century-Fox built a replica of the London tube station with the aid of actual blueprints.
• This was Roddy McDowall’s American film debut. He would go on to work with Walter Pidgeon that same year in How Green Was My Valley.

To watch the movie on YouTube, click below.

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Why watch this film?

• The director Fritz Lang is considered one of the great directors who emigrated from Europe to the United States.
• It is the first of Lang’s four anti-Nazi films, which also include Hangmen also Die! (1943), Ministry of Fear (1944), and Cloak and Dagger (1946).
• This was Lang’s first collaboration with Joan Bennett. Other Lang-directed films that Bennett starred in include The Woman in the Window (1944), Scarlet Street (1945), and Secret Beyond the Door (1947).

Discussion questions:

What did you think of Walther Pidgeon as the hero?

Before the film was released, the studio was concerned that it was promoting U.S. involvement in World War II. Did you see that promotion in the film?

Does the film remind you of other similar films you’ve seen?

What did you think of Joan Bennett’s performance? Did you think she and Pidgeon had good chemistry on screen? Does the romance work or would the film have been better without it?

Publicity photo of Bennett for Man Hunt

A walk down "Scarlet Street" with Edward G. Robinson, Joan Bennett, and Dan Duryea

Scarlet Street (1945) is a film noir directed by Fritz Lang, produced by Walter Wanger, cinematography by Milton Krasner, and starring Edward G. Robinson, Joan Bennett, and Dan Duryea.

With the critical and box office success of The Woman in the Window (1944), director Lang once again directed Robinson, Bennett, and Duryea in another film noir thinking lighting would strike twice and it did.

Joan Bennett in Scarlet Street

The plot revolves around Christopher “Chris” Cross (Robinson), a shy and reserved cashier for a retail store. In his spare time, he paints to help him forget his dull life and loveless marriage with Adele (Rosalind Ivan). Walking through Greenwich Village he witnesses Kitty March (Bennett) being roughed up by Johnny Prince (Duryea) and proceeds to knock Johnny out with his umbrella. Chris is enamored with Kitty and the two go out for drinks. While together, Chris is somewhat vague about his profession and his financial situation. Based on the way Chris talks about art, Kitty suspects he’s a rich and famous artist. When Kitty tells Johnny about her encounter, Johnny cooks up a plan to swindle Chris of his “fortune.”

Edward G. Robinson paints in his bathroom in Scarlet Street.

If The Woman in the Window was all a dream, Scarlet Street is a nightmare. Much darker than its predecessor but with similar ironic twists and turns to keep you guessing till the end.

Scarlet Street was a nominee for Best Feature Film at the 1946 Venice Film Festival.

Fritz Lang (1890 – 1976) was an Austrian-German-American director. Lang is the director of the silent film classic Metropolis (1927). After serving in World War I, Lang worked for a time as an actor in the theater and then worked as a writer at Decla Film in Berlin. Lang’s first talking picture was M (1931) a story about a child murderer. Due to his growing renown, Joseph Goebbels offered him the position of head of the German film studio UFA in 1933. Lang emigrated to Paris and then to the United States in 1936. Lang worked for all the major studios, making twenty-three feature films in the United States. Some of Lang’s films include Scarlet Street (1945), The Big Heat (1953), and While the City Sleeps (1956).

Milton R. Krasner (1904 – 1988) was an American cinematographer. He is best known for his work at 20th Century-Fox where he filmed such classics as All About Eve (1950) and The Seven Year Itch (1955). Other notable films he photographed include Scarlet Street (1945), The Dark Mirror (1946), The Egg and I (1947), The Farmer’s Daughter (1947), Bus Stop (1956), An Affair to Remember (1957), Bells Are Ringing (1960), Sweet Bird of Youth (1962), How the West Was Won (1962), Love with the Proper Stranger (1963), and The Singing Nun (1966). Krasner won an Academy Award for his work on Three Coins in the Fountain (1954).

Robinson and Bennett

Edward G. Robinson (1893 – 1973) was an American actor of the stage and screen. Robinson is a true star from Hollywood’s Golden Age where he starred in the gangster classic Little Caesar (1931), Kid Galahad (1937), Confessions of a Nazi Spy (1939), The Sea Wolf (1941), Double Indemnity (1944), and Key Largo (1948). Robinson was awarded an Honorary Academy Award in 1973 but was never nominated for a competitive Oscar.

Joan Bennett (1910–1990) began her film career during the early sound era. A natural blonde, Bennett dyed her hair as a plot device in the film Trade Winds (1938). As a brunette, Bennett projected a sultry persona that had her compared to the brunette beauty, Hedy Lamarr. During this period she starred in two costume epics. She played Princess Maria Theresa in The Man in the Iron Mask (1939) and Grand Duchess Zona of Lichtenburg in The Son of Monte Cristo (1940). Bennett was one of two finalists for the role of Scarlett O’Hara in Gone with the Wind (1939), along with Paulette Goddard. She had a very successful collaboration with the director Fritz Lang. With Lang, she starred in the classics Man Hunt (1940), The Woman in the Window (1944), and Scarlet Street (1945). Bennett acted on stage and on television where she became a pop culture icon playing Elizabeth Collins Stoddard on the gothic soap opera Dark Shadows (1966-1971).

Dan Duryea (1907 – 1968) was an American film, stage, and television actor. He is best known for his character roles as villains, but he had a long career that included a variety of lead and second lead roles. Duryea graduated from Cornell University in 1928. In his senior year, he was the president of the college drama society. Duryea went to Hollywood in 1940 to Leo Hubbard in The Little Foxes, a role he created on Broadway. He established himself in films noir costarring in classics like Scarlet Street (1945), Criss Cross (1948), and Too Late for Tears (1949).

Below is the link to the movie on YouTube. Please use this link; there are several prints uploaded to the channel, but this one is the best one available.



Join us on Zoom for a discussion of this film on July 7, 2020, 2020, at 6:30 p.m. Central Time. Check below for meeting links.

Stephen Reginald is inviting you to a scheduled Zoom meeting.

Topic: Discussion of "Scarlet Street"
Time: Jul 7, 2020 06:30 PM Central Time (US and Canada)

Join Zoom Meeting

https://us04web.zoom.us/j/74072831028?pwd=REdjTU00bERyc1BMVCs2a2FnMExjUT09

Meeting ID: 740 7283 1028
Password: 9NLZi9

Questions for discussion:
1. Does Joan Bennett’s Kitty March have anything in common with Alice Reed from The Woman in the Window?
2. How similar is Edward G. Robinson’s Christopher Cross with his characterization of Richard Wanely?
3. What about Dan Duryea? Was his characterization similar to the one in The Woman in the Window?
4. What classic film noir elements, based on your understanding of the genre, did you notice?
5. Was the ending a surprise to you? Was it a satisfying ending?
6. Of the two films: The Woman in the Window and Scarlet Street, which one do you think is the better film?

Fritz Lang’s “The Woman in the Window” starring Edward G. Robinson and Joan Bennett

The Woman in the Window (1944) is an American film noir directed by Fritz Lang, produced by Nunnally Johnson, and starring Edward G. Robinson, Joan Bennett, Raymond Massey, and Dan Duryea.

The plot centers on a mild-mannered college professor Richard Wanley (Robinson) who meets Alice Reed, (Bennett) while staring at a painting in an art gallery window. He soon realizes that the woman was the model for the painting. What started out as an innocent night out for a few drinks turns into a night of murder and blackmail.

How will  Professor Wanley and Alice get out of the mess they’ve gotten themselves into?

Joan Bennett and Edward G. Robinson

Fritz Lang (1890 – 1976) was an Austrian-German-American director. Lang is the director of the silent film classic Metropolis (1927). After serving in World War I, Lang worked for a time as an actor in the theater and then worked as a writer at Decla Film in Berlin. Lang’s first talking picture was M (1931) a story about a child murderer. Due to his growing renown, Joseph Goebbels offered him the position of head of the German film studio UFA in 1933. Lang emigrated to Paris and then to the United States in 1936. Lang worked for all the major studios, making twenty-three feature films in the United States. Some of Lang’s films include Scarlet Street (1945), The Big Heat (1953), and While the City Sleeps (1956).

Nunnally Johnson (1897 – 1977) was a journalist, screenwriter, producer, and director. He worked for many years as a writer at 20th Century-Fox before he co-founded International Pictures in 1943 with William Goetz. Johnson was nominated for an Academy Award for Best Screenplay in 1940 for The Grapes of Wrath. Johnson wrote, produced, and directed The Man in the Gray Flannel Suit (1956) and The Three Faces of Eve (1957). As a writer-producer, he is responsible for The Gunfighter (1950), My Cousin Rachel (1952), and How to Marry a Millionaire (1953). Johnson’s last credited screenplay was for The Dirty Dozen (1967).

Milton R. Krasner (1904 – 1988) was an American cinematographer. He is best known for his work at 20th Century-Fox where he filmed such classics as All About Eve (1950) and The Seven Year Itch (1955). Other notable films he photographed include Scarlett Street (1945), The Dark Mirror (1946), The Egg and I (1947), The Farmer’s Daughter (1947), Bus Stop (1956), An Affair to Remember (1957), Bells Are Ringing (1960), Sweet Bird of Youth (1962), How the West Was Won (1962), Love with the Proper Stranger (1963), and The Singing Nun (1966). Krasner won an Academy Award for his work on Three Coins in the Fountain (1954).

Edward G. Robinson (1893 – 1973) was an American actor of the stage and screen. Robinson is a true star from Hollywood’s Golden Age where he starred in the gangster classic Little Caesar (1931), Kid Galahad (1937), Confessions of a Nazi Spy (1939), The Sea Wolf (1941), Double Indemnity (1944), and Key Largo (1948). Robinson was awarded an Honorary Academy Award in 1973 but was never nominated for a competitive Oscar.

Joan Bennett (1910–1990) began her film career during the early sound era. A natural blonde, Bennett dyed her hair as a plot device in the film Trade Winds (1938). As a brunette, Bennett projected a sultry persona that had her compared to the brunette beauty, Hedy Lamarr. During this period she starred in two costume epics. She played Princess Maria Theresa in The Man in the Iron Mask (1939) and Grand Duchess Zona of Lichtenburg in The Son of Monte Cristo (1940). Bennett was one of two finalists for the role of Scarlett O’Hara in Gone with the Wind (1939), along with Paulette Goddard. She had a very successful collaboration with the director Fritz Lang. With Lang, she starred in the classics Man Hunt (1940), The Woman in the Window (1944), and Scarlet Street (1945). Bennett acted on stage and on television where she became a pop culture icon playing Elizabeth Collins Stoddard on the gothic soap opera Dark Shadows (1966-1971).

Dan Duryea (1907 – 1968) was an American film, stage, and television actor. He is best known for his character roles as villains, but he had a long career that included a variety of lead and second lead roles. Duryea graduated from Cornell University in 1928. In his senior year, he was the president of the college drama society. Duryea went to Hollywood in 1940 to Leo Hubbard in The Little Foxes, a role he created on Broadway. He established himself in films noir costarring in classics like Scarlet Street (1945), Criss Cross (1948), and Too Late for Tears (1949).

Below is the link to the movie on YouTube. Please use this link; there are several prints uploaded to the channel, but this one is the best one available.



Join us on Zoom for a discussion of this film on June 30, 2020, 2020, at 6:30 p.m. Central Time. Check below for meeting links.

Stephen Reginald is inviting you to a scheduled Zoom meeting.

Topic: Discussion of "The Woman in the Window"
Time: Jun 30, 2020, 06:30 PM Central Time (US and Canada)

Join Zoom Meeting

https://us04web.zoom.us/j/71665496130?pwd=ZDdveDhIN1ZCcjNSSGRDNTE2SHhBQT09

Meeting ID: 716 6549 6130
Password: 7yG9D2

Questions for discussion:
1. Noir or not? Does this film fit your idea of film noir?
2. Did you notice any noir visual clues?
3. Was Edward G. Robinson credible as a middle-aged college professor?
4. Any significance to the name Wanely? Why do you think professor Wanely decided to read “The Song of Solomon.”
5. Joan Bennett wasn’t your typical film noir “dame.” What sets her apart from some other femme fatales in other films noir? Were you curious about Bennett’s profession?
6. Fritz Lang is considered one of the best directors of film noir. From what you know about Lang, do you agree? What makes his style unique?
7. Did you like the ending? Was it a surprise or expected?

Trivia: Look for Robert Blake at the beginning of the film. He plays Robinson’s young son. Blake wasn't credited in the movie.

“The Reckless Moment”—an overlooked film noir gem

Max Ophuls, a renowned German director who only made four films in the United States, directed The Reckless Moment (1949). It starred Joan Bennett and James Mason. It was only Mason’s third American film.

The plot involves Lucia Harper (Bennett) who is trying to keep Ted Darby (Shepperd Strudwick) a low-life criminal from seeing her teenage daughter Bea (Geraldine Brooks). He tells Lucia that he’s willing to stop seeing Bea for a price. Lucia is confident that when she tells her daughter Darby’s true feelings the relationship will come to an end. This is film noir so no situation gets resolved that easily. Without giving anything away, let’s just say things go horribly wrong, exposing Lucia’s daughter and family to some pretty despicable characters.

Joan Bennett in a pivotal scene from The Reckless Moment

The Backstory
Director 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), 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.

Joan Bennett (1910–1990) began her film career during the early sound era. A natural blonde, Bennett dyed her hair as a plot device in the film Trade Winds (1938). As a brunette, Bennett projected a sultry persona that had her compared to brunette beauty, Hedy Lamarr. During this period she starred in two costume epics. She played Princess Maria Theresa in The Man in the Iron Mask (1939) and Grand Duchess Zona of Lichtenburg in The Son of Monte Cristo (1940).

Joan Bennett in a still from one of her screen tests for Gone with the Wind. This is the famous paddock scene.

Almost Scarlett O’Hara
Bennett was one of two finalists for the role of Scarlett O’Hara in Gone with the Wind (1939), along with Paulette Goddard who appeared to be the front-runner. There was concern that Goddard’s marriage to Charley Chaplin wasn’t legal, which made Bennett’s prospects to play Scarlett almost certain until Vivian Leigh showed up to watch the filming of the burning of Atlanta scenes on the Selznick backlot. In spite of that disappointment, Bennett had a distinguished film career. She worked with many of the top directors of the period, including George Cukor, Mitchell Leisen, Tay Garnett, Henry Hathaway, and Vincente Minnelli. She had a very successful collaboration with the director Fritz Lang. With Lang, she starred in the classics Man Hunt (1940), The Woman in the Window (1944), and Scarlet Street (1945). She worked with the French director Jean Renoir in The Woman on the Beach and with director Zolton Korda in The Macomber Affair (both 1947) co-starring Gregory Peck. In 1950, she became the perfect wife and mother in Father of the Bride (1950) and its sequel, Father’s Little Dividend (1951) both directed by Minnelli. A scandal after the release of Dividend pretty much ended Bennett’s film career. She continued to act on stage and on television where she became a pop culture icon playing Elizabeth Collins Stoddard on the gothic soap opera Dark Shadows (1966-1971).

James Mason (1909-1984) was an English actor who was a popular film star in Great Britain before he came to Hollywood. Mason was a top box office star in the UK with hits like The Seventh Veil, The Wicked Lady (both 1945), and Odd Man Out (1947).

Barbara Stanwyck and James Mason in East Side, West Side (1949)

Hollywood Calling
Mason went to Hollywood to make Caught (1949) directed by Ophuls. He made three other films in 1949: Madame Bovary, East Side, West Side, and The Reckless Moment. In 1951 he entered into an agreement with 20th Century Fox where they signed him to a seven-year contract. At Fox, he starred as General Rommel in The Desert Fox: The Story of Rommel (1951) directed by Henry Hathaway. It was a commercial and financial success. He reprised the role n The Desert Rats (1953) co-starring a young Richard Burton with direction by Robert Wise. In 1954 he played the evil Sir Brack in Prince Valiant and Captain Nemo in Disney’s 20.000 Leagues Under the Sea. That same year he starred in the role he is probably most identified with, Norman Maine in A Star Is Born co-starring Judy Garland. For his performance in that film, he was nominated for the Academy Award for Best Actor. He continued to act through the fifties and sixties in a variety of films, including North by Northwest, Journey to the Center of the Earth (both 1959), The Marriage-Go-Round (1961), Lolita (1962), The Fall of the Roman Empire (1964), Georgy Girl (1966), and Mayerling (1968). During the 1970s and 1980s, Mason continued to act in film and on television. In 1982, Mason was nominated for the Academy Award for Best Supporting Actor in The Verdict starring Paul Newman.

Joan Bennett and Elizabeth Taylor Trivia
Bennett and Elizabeth Taylor share the same birthday: February 27.
Bennett played Amy March in Little Women 1933.
Taylor played Amy in Little Women 1949.
Both Bennett and Taylor were grandmothers at 39.
Both Bennett and Taylor gave birth to one of their children on their birthdays.
Bennett and Taylor played mother and daughter, respectively in Father of the Bride and Father’s Little Dividend.

You can read more about Joan Bennett by clicking here.

Book Review: Hollywood Enigma: Dana Andrews

Hollywood Enigma: Dana Andrews by Carl Rollyson
The University Press of Mississippi, 2012

Dana Andrews was one of Hollywood’s biggest stars during the mid-1940s to early 1950s. A basically decent man, Andrews struggled with alcoholism for decades. His addiction affected his film career; other stars got roles that should have gone to him.

Carl Rollyson’s biography is comprehensive and fascinating. Rollyson obviously respects his subject, however, he is objective when it comes to some of the unattractive and disturbing incidents in Andrews’s life.

Andrews was born in Collins, Mississippi in 1904. His father, a Baptist minister, moved the family to Huntsville, Texas to accept a pastorate there. Somewhat rebellious, Andrews’s pursuit of an acting career was shunned by his strict parents. A talented singer, Andrews also studied opera. As soon as he was able, he moved to California to pursue his dream of acting success. He eventually became a regular performer at the famed Pasadena Playhouse where he met second wife, Mary Todd.

Andrews as Fred Derry in The Best Years of Our Lives,
perhaps his finest screen performance

Hollywood eventually came calling and Andrews was signed by legendary independent filmmaker Samuel Goldwyn in 1938. After some small and supporting roles in films like the Ox-Box Incident, Andrews hit pay dirt as Lieutenant Mark McPherson in Laura, playing opposite Gene Tierney. A critical and financial success, Dana Andrews was now a full-fledged movie star. Success, and all the trappings that came with it, was tough for Andrews to handle. His drinking started to get in the way of his career and personal life. Amazingly, for the years he was a major star, his drinking rarely affected his on-screen work.

Andrews worked with major directors like John Ford, Otto Preminger, Fritz Lang, William Wyler, and Lewis Milestone. If it weren’t for his drinking, Andrews may have starred in the classic films Gentlemen’s Agreement and Twelve O’Clock High, both going to Gregory Peck. He finally conquered his demons late in life and was able to enjoy acting on the stage with his wife. A family man at heart, Andrews loved his wife and family passionately, if not perfectly. Apart from learning a lot about Andrews the man and actor, the reader comes away with an understanding of what the life of a movie star was like under the studio system. As you might imagine, it wasn’t as glamorous as we were led to believe. Rollyson’s work is respectful and objective, painting a rich portrait of one of Hollywood’s most beloved  movie stars.

Hollywood Enigma: Dana Andrews is available at Amazon.com and bookstores everywhere.

Rollyson is a professor of journalism at Baruch College, CUNY. He is the author of more than thirty books, including the forthcoming American Isis: The Life and Death of Sylvia Plath and biographies of Marilyn Monroe, Lillian Hellman, Martha Gelhorn, Norman Mailer, Rebecca West, and Susan Sontag. He is the advisory editor of the Hollywood Legends Series.

Take a look at the Dana Andrews blogathon posts to learn more about the actor and his most famous movie roles by clicking here.