Audrey Totter

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The Set-Up Review


Good
Robert Wise, the director of The Sound of Music and Star Trek: The Motion Picture, gives us the most unlikely film in his career: a 72-minute noir set at a rigged boxing match.

Based on a poem, this spare film is consumed almost completely by a boxing match, filmed in real time. Between rounds, the scheming occurs -- our hero's manager wants him to take a dive, while the boxer's wife stands by her man. Whoops, the manager thinks his fighter's going to lose, so he doesn't bother to tell him that he's taken a payoff.

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The Postman Always Rings Twice (1946) Review


Excellent
Lana Turner - or, more precisely, her legs - are the star of the first film adaptation of James M. Cain's classic novel, released in 1946. Frank Chambers, a restless drifter, arrives in a roadside restaurant run by Nick Smith (Cecil Kellaway). A tube of lipstick drops from the counter and rolls slowly to the feet of Nick's wife Cora (Turner). So begins one of the most lascivious upward pans of '30s and '40s film, climbing up Turner's legs and torso to her lit-from-the-inside golden-tressed face. There's more eroticism in that moment than in most of Bob Rafelson's ill-advised 1981 remake, which pretended to be a sexier, lustier adaptation.

The plot of Postman is, indeed, sexier than usual - the perceived naughtiness of Cain's original, excellent novel got it a "Banned in Boston" stamp. But toned down for the screen, Postman is mainly an excellent noir that's fueled by one of John Garfield's best performances. As Frank and Cora fall deeper into their romance, they begin to plan doing away with Nick. The first attempt sadly and (thanks to a clumsy shot of an electrocuted cat) hilariously fails to take, but the second works out ghoulishly. From there, the story becomes a noir classic of shifting loyalties, betrayal, and paranoia. Few actors of the time were as good as portraying the decent man in a conundrum, but there's something about the combination of Garfield's mannish broad shoulders and childish eyes that make him perfect for noirs. Body and Soul is his finest hour, but Postman is worth Garfield as well.

Continue reading: The Postman Always Rings Twice (1946) Review

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