Journey Into Fear (1943)

'Journey Into Fear' was adapted from the Eric Ambler novel of the same name from 1940. The movie was completed in 1942, but it wasn't released theatrically, and in at least two altered forms, until 1943. More about that later. Eric Ambler was a prolific and well-known British author of mostly spy novels. Several of his novels were made into movies, such as 1939's 'The Mask Of Dimitrios' which was made a movie of the same name in 1944 (the novel was released in 1939). His 1937 novel 'Uncommon Danger' was turned into a movie called 'Background To Danger' in 1943 which was also the title under which the book was released in the US. His 1962 novel 'The Light Of Day' was put on the screen in 1964 by Jules Dassin as 'Topkapi'. The list goes on however, and in the case of 'Journey Into Fear', it does not end with this 1943 adaptation either. It was also used as source material for an episode on the 50s TV series 'Climax!', as well as a 1975 movie. Ambler also developed and co-wrote a tv series around the book's protagonist, Howard Graham, also to be called 'Journey Into Fear', but that never made it past the pilot episode. I would love to see that pilot episode however. And of course it was also made into a radio play, which happened more often than not in those days. In this case, 'Journey Into Fear' appeared as an episode on the well-known 'Escape' radio show in 1950, and can be heard here.

Anyways, let's focus on the 1943 movie, because there is plenty to say about this movie, especially about the involvement of Orson Welles. But let's first state the 'facts' as stated in the credits roll of this movie. The movie was directed by Norman Foster, after Joseph Cotten, the lead actor in this movie, turned it into a screenplay. Cinematography was handled by Karl Struss ('The Great Dictator') while Roy Webb ('Notorious', 'Out Of The Past') did the score. But as shall be explained further down, all is not what it seems... or so it seems.

The story revolves around Howard Graham (Joseph Cotten), a naval engineer working for an armaments manufacturer, who's in Istanbul, Turkey for a night with his wife Stephanie (Ruth Warrick), on their way to Batoumi. A local company representative, Kopeikin (Everett Sloane), takes Graham to a small nightclub where part of the entertainment consists of a magician's act. Graham gets asked to participate in one of his magic acts, and when it's over, the magician is shot dead. Graham realizes it was an attempt on his life, it would take some time to replace him, and in the meantime Turkey could not get any guns, which would give them a major disadvantage in the war against nazi Germany. Kopeikin and Graham make their way to the office of the police chief, Colonel Haki (Orson Welles), who tells Graham he knows a nazi agent named Mueller has ordered his killer Banat (Jack Moss) to take care of Graham. Seeing as they're on to Graham, Haki puts Graham on a small cargo boat to Batoumi, ensuring him his wife will be guarded and will travel to Batoumi safely. On the boat he sees Josette (Dolores del Rio) again, a sultry dancer he met at the nightclub, and her business parter Gogo Martel (Jack Durant). There are also several other passengers however, some of whom could be sent there to kill Graham. And he's absolutely sure they're still after him when Banat boards the ship on a stop in Trabzon...

'I didn't admit it, Stephanie, but I knew then that shot was meant for me...'

The movie starts off in a, for 1943, fairly odd way. It doesn't start with the credit roll but there's an opening scene before that. The camera zooms in on an opened window in a dingy hotel in Istanbul, looking into a room where a big and grubby man, Banat, puts a record on a record player. As the record plays, he's combing his hair and packing his gun. The record skips quite a bit however, creating a very weird mood and soundtrack. Once Banat turns off the player and leaves the room, the movie title is displayed and the credits start.

The scene in the nightclub is also memorable for several reasons. The magician and his trick that ultimately gets him killed is quite memorable, but Dolores del Rio's presence as Josette is the icing on the cake really. She's wearing a tight full body leopard skin suit in the nightclub scene, and while it would look more than a little silly on 99% of all women, it looks quite stunning on her. And she looks ravishing throughout this movie, del Rio has a lot of charisma and sex appeal here. French actrice Michèle Morgan ('The Chase', 'Passage To Marseille') was originally cast for the role of Josette, but I have problems imagining her looking anything but weird and wrong in that catsuit, so I'm glad the part went to Dolores del Rio, a Mexican actress who had been a movie star in Hollywood since the 20s.

'I am dumbfounded. But then I am dumbfounded every 25 minutes.'

Josette is also a part of the voice-over narration, which is done by Graham/Joseph Cotten, as he recites a letter he's written to his wife. The letter, and thus the narration, deals mostly with Graham making excuses for a fling/affair he had with Josette while on the boat, recalling all the events involved with the boat trip, although oddly enough not even so much as a tight hug or a kiss is shared between them in the movie. At least not in the footage that has been left untouched! There is however also a known version of 'Journey Into Fear' without the voice-over narration which means that in one version of the movie, the story is told in flashback using the voice-over narration, and in another version the story is told in a linear fashion, due to the the lack of voice-over narration! I am curious to see the other version, as well as the original version (which is improbable to ever surface). Supposedly the lost footage contained more references to the implied affair between Graham and Josette, as well as Colonel Haki trying to seduce Graham's wife Stephanie on the train to Batoumi!

The movie however is sprinkled, from start to finish, with all kinds of special touches. Banat's scratched up record makes an appearance in the opening scene. Its skipping soundtrack also announces Banat's arrival on the ship to the viewer, before Graham is aware of Banat's presence. Del Rio's bodysuit is an obvious one, and what a special touch it is! There is also a lot of humor in this movie. A couple travelling on the boat, Mr. and Mrs. Matthews (Frank Readick and Agnes Moorehead), have a very weird relationship, which is explained by Mr. Matthews to Graham. It's hard to explain in a brief manner, but he used socialist rhetoric as a means to get his wife to treat him well, because she fears what people might think of them, only to start believing the rhetoric and becoming a socialist himself. Visually there are a lot of small but nice touches as well. Camera shots at low and/or tilted Dutch angles, plenty of shadows (the majority of the movie takes place during the evening/night), people carefully positioned in shots to create tension, I imagine a lot more thought and care went into the camera work than you'd think at first. The finale is also memorable, taking place outside of a hotel in the pouring rain.

There are also some weird plot holes, or unexplained things at the very least, which might be due to the excessive cutting that was done. For instance Graham enters the boat with a rather large gun given to him by Kopeikin. He hides this gun underneath his matress, only to be gone later on. The gun is never seen again, nor is it ever revealed who stole it. And how do Mueller and his men know Graham is on the boat to Batoumi? There are more odd things, and I expect a lot of them making more sense with the additional footage that was left on the editing room floor. It isn't distracting however, it adds to the fun, because you never know what to expect.

The more and more I see of Joseph Cotten, the more of a fan of his work I become. The man was an amazing but somewhat under-appreciated actor with a wide range. Even though his performance here is fairly low-key and is nowhere near the presence he had in for instance 'Shadow Of A Doubt', he is really good here and he manages to express emotions with subtle facial motions. Dolores del Rio is also great here, although it seems clear her and Cotten shared more screentime in the original version. In a way, not having that footage, leaving some questions about their relationship unanswered, adds to her seductive aura. But even still, I enjoyed her performance a lot here. Most of the other, smaller characters are given a quirky side, resulting in some off-beat and funny moments, such as the aforementioned Mr. and Mrs. Matthews, and the actors do solid work here. Jack Moss has no lines as Peter Banat, and doesn't have to do much here besides stare at Cotten and eat soup with crumbled crackers in it, which is possibly for a good reason, as he wasn't an actor, but more about that later.

'Mr. Graham and I are going to blow up the Bank of England, seize Parliament, shoot the gentry, and set up a Communist government!'

Some people might say 'Journey Into Fear' is not a noir because it's got some quirky/funny moments and exhibits far less grittiness than usually associated with noir. I can see their points. But thematically the movie falls squarely into noir territories and a lot of the characters on the boat could potentially be linked to the nazi's plot to murder Graham, even including Josette, who just so happens to be on the same boat as Graham. And this is 1943, when the whole 'film noir' style was still being fleshed out (some argue it wasn't until 1944's 'Double Indemnity' that true film noir emerged). So yes, it's got elements from a variety of genres/styles, and film noir is definitely one of the main ones there in my opinion.

So, 'Journey Into Fear' is a fast-paced, entertaining and incredibly fun film noir, that looks great and has great characters, with good performances. Even Orson Welles isn't too over-the-top here as he had a tendency to do. This movie deserves more attention that it seems to receive. Do not hesitate to check this movie out, you won't regret it!

There is also another level of fun associated with 'Journey Into Fear', and that is the involvement of Orson Welles. Was there ever a movie he acted in that he did not have another hand in? Probably not. So there are also a lot of rumors and stories about his involvement with 'Journey Into Fear', a lot of which can be found on the excellent Wellesnet.

As mentioned before, Joseph Cotten is credited as having written the screenplay. However, it is widely believed he co-wrote it with Orson Welles, basing their screenplay on an earlier, uncredited, screenplay written by Ben Hecht and Richard Collins. Ben Hecht would become a fairly well-known screenwriter whose noir credits, sometimes uncredited, include 'Gilda', 'Whirlpool' and 'Kiss Of Death'.
Welles and his production company Mercury Productions produced 'Journey Into Fear', together with RKO. And while Welles has denied directing this movie, the amount of visual touches do suggest that Welles had more than a few talks with director Norman Foster. Foster was an actor/director who up until then had directed mostly Charlie Chan and Mr. Moto movies and was working at the time for Welles on 'Bonito The Bull', a short movie which was to be part of Welles' never to be finished 'It's All True' project. Welles was always doing several things at the same time, and so he got Foster to direct 'Journey Into Fear' instead. But I imagine Welles being Welles, he directed his fair share of scenes, including the striking opening scene which was added post-production. There are apparently even photos of him directing while dressed up as Colonel Haki, supposedly even directing 'Journey Into Fear' at night and 'The Magnificent Ambersons' during daytime. Cotten was also the lead actor of that movie, so it must have been quite a busy time for the two of them!
Welles didn't run Mercury Productions all by himself, and one of his business associates at that time, Jack Moss, ended up playing a big role in this movie as Peter Banat, the assassin. Remarkably, Moss/Banat does not talk throughout the entire movie. There is a big backstory about the relationship between Welles and Moss, who had a troubled relationship and eventually had a falling out, but that happened after this movie was done, I presume they were still on good terms when 'Journey Into Fear' was shot. There's an interesting piece about them here, for those who are interested, claiming Moss is (at least partially) responsible for Welles' downfall.
Having mentioned Mercury Productions already, Welles was also the person behind the Mercury Theater, a group of stage and radio performers, and as such, a lot of actors from that company were routinely cast in his movies. The most famous names are Joseph Cotten ('Citizen Kane', 'The Magnificent Ambersons') and Agnes Moorehead who would become the voice of the well-known 1943 Suspense radio play 'Sorry, Wrong Number', which would be adapted into a popular film noir starring Barbara Stanwyck in 1948 (reviewed here). Other Mercury Theater actors who also appear in 'Journey Into Fear' include Edgar Barrier, Frank Readick (his only feature-length movie credit) and Everett Sloane ('Citizen Kane', 'The Lady From Shanghai').
As mentioned earlier, Michèle Morgan was replaced by Dolores del Rio for the part of Josette. Dolores del Rio just so happened to be a having an affair with Orson Welles around that time, one does wonder if that had anything to with her casting.

'Journey Into Fear' was also one of the last projects Welles did while under contract with RKO, and a strained relationship it was, with Welles spending tons of money on projects that never went anywhere like the aforementioned 'It's All True' movie. RKO had shelved the finished movie in 1942, and managed to cut out 20 or so minutes of the movie before finally releasing it in 1943. Unfortunately the cut footage is most likely lost, as unused film was routinely destroyed in those days. But between their 'editing' job and releasing the movie, they had Orson Welles shoot additional footage, which is the opening scene apparently. Welles would later claim this was the first movie to have an opening scene shown before the credits, but had to admit later he was wrong, as it had been done a couple of times in the 30s already. Welles and Joseph Cotten also wrote the voice-over narration which was done by Joseph Cotten. Why there are 2 versions of this movie, with one not having this additional footage nor the voice-over narration, is unknown to me, but the version without the voice-over narration or opening scene, might be the version RKO created before Welles was involved again (it's about the same length however so that would suggest Welles cut out some material for the 'definitive' version as well?). Apparently this other version was shown in the UK a few times, so hopefully at some point this movie will be released properly on DVD with both versions. One can always hope!

8/10

Shadow Of A Doubt (1943)

Few directors are as famous as Alfred Hitchcock. To some fans his movies form a genre in itself even. I wouldn't go quite that far, but it would be hard to argue that he did not have a profound effect on film making as a whole, and on the thriller genre specifically. Some of his movies have definite noir touches, and 1943's 'Shadow Of A Doubt' most certainly is one of them. It brings together a lovely, innocent small town and a lovely, innocent family and a charming but sinister invader with a disturbing secret, resulting in a remarkable movie that is both very dark as well as having quirkiness and humor in it.

'Shadow Of A Doubt' was based on a story by Gordon McDonell and turned into a screenplay by among others Alma Reville, Hitchcock's wife. The musical score was done by Dimitri Tiomkin ('D.O.A.', 'Angel Face'), and a lot of it was based on a waltz by Franz Lehár. Cinematography was done by Joseph Valentine ('Possessed', 'Rope').

'I know you. I know that you don't tell people a lot of things. I don't either. I have a feeling that inside you somewhere, there's something nobody knows about.'
'Something... nobody knows?'
'Something secret and wonderful. I'll find it out.'
'It's not good to find out too much, Charlie.'

'Shadow Of A Doubt' might as well be called 'A Tale Of Two Charlies', as its two main characters are called Charlie. There's Charlotte 'Charlie' Newton (Teresa Wright), a teenage girl, bored out of her mind with her dull life, who is over the moon when her uncle Charlie, Charles Oakley, comes to visit them, all the way from New Jersey. She was named after him and idolizes him, believing they're kindred spirits. Uncle Charlie (Joseph Cotten) however has alterior motives for travelling cross-country to visit them. At first all is fine and she loves having uncle Charlie around, spending as much time with him as she can. But soon small things happen that make her think uncle Charlie has a secret to hide from them, believing it to be a wonderful secret initially, and she's determined to find out what it is. But as she discovers, uncle Charlie's secret might be darker than she could have ever imagined, as he could be the Merry Widow Murderer, who's sought on the West coast for 3 murders...

 The movie focuses on Charlie and uncle Charlie and their relationship, which changes drastically over the course of the movie, helped by Jack Graham (Macdonald Carey), a detective posing as a government interviewer doing a piece on the Newton family, but who in reality is trying to keep tabs on uncle Charlie and take a picture of him to send back to New Jersey for identification purposes. Charlie had already uncovered some weird behavior in uncle Charlie but didn't think much of it. The cryptic engraving in a ring uncle Charlie gave her as a present and its possible connection to one of the murders proves to be the tipping point for her however, and from that point on the movie changes from 'Charlie & uncle Charlie against the world' to 'Charlie vs. uncle Charlie', but there is still no real evidence, so she has to keep her fears and suspicions to herself, while seeing her mother happier than ever with her kid brother staying over.

Joseph Cotten is simply amazing as uncle Charlie. To the viewer, and later on to Charlie, he has an icy-cold demeanor filled with dread and menace. However, to the family and the local community of Santa Rosa, California where the Newtons live, he's a charming and successful businessman with a quirky sense of humor and a bit of an odd outlook on life. Even a vitriolic speech about 'faded, fat, greedy women' at the dinner table is shrugged off as nothing special. This makes uncle Charlie such a scary and memorable character, despite his creepy ideas on life and rich widows in specific, he blends in perfectly well. Cotten usually played the 'good guy' in movies and starred in genuine classics such as 'Citizen Kane' and 'The Third Man', but every time I think of Joseph Cotten I think of uncle Charlie and the ominous aura he possesses in this movie.

Teresa Wright ('The Best Years Of Our Lives', 'Pursued') is also really good here as Charlie. This was her fourth movie, and the first for which she did not receive an Oscar nomination, one of which she also won (for 'Mrs. Miniver'), according to IMDb something no one else achieved before or since. She gives the innocent, small-town girl Charlie a strong and determined edge, and the transformation in her relationship with uncle Charlie is done quite well. The chemistry between her and Cotten and their changing bond is part of what elevates this movie to great heights. Charlie, and Teresa Wright, reminds me of Iris/Margaret Lockwood in an earlier Hitchcock classic, 'The Lady Vanishes'. Both are young women who live a fairly carefree life, and through the course of the movie learn how strong and determined they really are. Almost a decade after this movie, Wright and Cotten would star again in another noir thriller, as husband and wife no less, in 1952's 'The Steel Trap'.

'We're not talking about murder, I'm talking about killing Herb and he's talking about killing me!'

The supporting cast is also wonderful, and the script gives them all distinct characters. The Newtons, as well as Santa Rosa, represent an average family in an average small town, but Hitchcock has given them their own unique and quirky personalities. Mother Emma 'Emmy' Newton (Patricia Collinge) is the head of the family and pampers her kid brother Charlie because he's the youngest one, unlike her own youngest kid, Roger (Charles Bates) who tries to be noticed but is mostly ignored or dismissed by everybody else. Dad Joseph 'Joe' (Henry Travers) has a dull job as a bank teller but enjoys discussing various ways to kill a person with his colleague Herb (Hume Cronyn), and younger daughter Ann (Edna May Wonacott) reads non-stop and wants to marry a librarian when she grows up. Oh, and she asks for a blessing for Veronica Lake in her nighttime prayers, how can you not love her? Macdonald Carey's Graham is pretty middle-of-the-road in comparison and seems almost too young to play a government agent, but his character is helped by a blossoming romance between him and Charlie.

The music's theme is centered around the Merry Widow waltz by Franz Lehár, a tune that Charlie cannot get out of her head when uncle Charlie comes to town, already hinting at what's to come. Visually, the movie is beautiful, and has plenty of clever touches. Some shots and scenes are repeated in a different context, such as when uncle Charlie looks out of a window at two men who are shadowing him in New Jersey, and later on at the Newtons he carefully peers out of a window again only to find two women chattering about unaware of his presence. There are also plenty of beautiful shots that are used to signify the changing relationship between Charlie and uncle Charlie, including shots that are taken from the point of view of one of them. And lastly, there are a lot of small things that happen or are said, that are innocent enough by themselves, but still somehow tie in to the story, and they become more prevalent on consecutive viewings, adding to the appreciation of the movie. For instance, in one scene, a jaded waitress sees the ring uncle Charlie gave to Charlie as a present, and casually remarks that she'd die for a ring like that, not knowing its past. Or when Joe tells uncle Charlie to not put his hat on the bed. Uncle Charlie asks Joe if he's superstitious, to which Joe replies that he isn't, but he also doesn't believe in inviting trouble, but trouble has of course already found its way into the Newton residence.

I've already mentioned the 'faded, fat, greedy women' dinner table speech, but there's also another well-known monologue by uncle Charlie, when he takes Charlie to a shady cafe and all but confirms Charlie's suspicions about his real reason to come to Santa Rosa. He ends his talk with a pitch-black observation which is probably the best-remembered quote from this movie:

'Do you know the world is a foul sty? Do you know if you rip the fronts of houses you'd find swine? The world's a hell, what does it matter what happens in it?'

Hitchcock was known for loving to shoot on set and disliking shooting on location, where he had less control over the surroundings. But due to severe budget restrictions set by the War Production Board, he was forced to use location shooting and only a minimal amount of sets for this movie (source). He hand-picked Santa Rosa, California as the location for the movie, using some of its inhabitants as actors in the movie including first time actor Edna May Wonacott who's quite remarkable as Ann Newton (here's a wonderful post on her), and the story goes that he fell in love with the town so much he bought a house there.

The ending apparently was studio-mandated, Hitchcock wanted it to be more open-ended and leave more to guess/think about for the audience. It might have worked better, I don't know, to me the ending is quite fitting. Either way, the movie's great. Hitchcock is reported to have said on several occasions that 'Shadow Of A Doubt' was his favorite of all of his movies. I am not a Hitchcock expert but of all of his movies that I've seen so far, this one is also my favorite. It is really really good and full of tension as well as some black and sardonic humor, and to me it gets even better after repeat viewings. Highly recommended!

9/10

The Seventh Victim (1943)

Val Lewton was a well-known B-movie horror producer ('The Body Snatcher', 'Cat People'). And 'The Seventh Victim' can easily be lumped into that category, especially because one of the characters from 'Cat People' makes another appearance here, played by the same actor (Dr. Louis Judd, played by Tom Conway). But really, his 'horror' productions were creepy, psychological and atmospheric rather than explicit. This certainly rings true for 'The Seventh Victim' which is not only creepy and atmospheric but also has a sinister gothic/noir feel to it, with perhaps one of the darkest and bleakest endings of all 40s movies. Apparently the screenplay of the movie was written by Charles O'Neal and DeWitt Bodeen based on the title alone. This was the first movie that Mark Robson ('Champion', 'Edge Of Doom') directed, with Nicolas Musuraca ('Stranger On The Third Floor', 'Out Of The Past') doing the cinematography and Roy Webb ('Notorious', 'Out Of The Past') responsible for the musical score.

Mary Gibson (Kim Hunter in her first movie) is a student at a private school paid for by her sister Jacqueline (Jean Brooks). When her tuition hasn't been paid in a while and her sister's whereabouts are unknown, she's forced to leave the school and go in search of her sister, who lives in New York City. Her sister ran a cosmetics salon/company, but when Mary visits it, she finds out the manager, Esther Redi (Mary Newton), has bought it from her sister, which later on turns out to be a lie, her sister gave it to her. Through visiting the Italian restaurant where Jacqueline rents a room from Mary comes into contact with several persons who are somehow connected to Jacqueline, including her estranged husband Gregory Ward (Hugh Beaumont), her psychiatrist Dr. Louis Judd (Tom Conway) and a poet who also rents a room there, Jason Hoag (Erford Gage). Eventually she does find Jacqueline, but also the Palladists, a secret satanic society/cult that Jacqueline was a member of, as well as Mrs. Redi. After Jacqueline spoke about them to Dr. Judd, which goes against their rules and is punishable by death, she had to go into hiding, but they're still after her.

This is a very dark and sinister movie which addresses, especially for 1943, controversial subject matter like suicide, self-determination, depression/psychiatric illnesses and satanic cults and manages to do so in a surprisingly thoughtful and respectful manner. The movie is very layered, both visually and in subject matter, and thought-provoking. It also has complex and a-stereotypical characters. Who would have thought that in a 'horror' movie from 1943 a cult of satanists would be portrayed as a group of civilized, well-mannered and eloquent people who have taken a vow of non-violence? Mind you, if they wish death on you, as they do on Jacqueline, they use their powers of persuasion, which leads up to a very eerie scene where they're trying to talk her into drinking poisonous wine, and later on to getting an assassin to do the dirty work for them, in again a creepy chase scene down dark alleyways.

Visually the movie is strikingly well done, especially in the more tense scenes, the environment and the use of shadows really adds to the atmosphere. It is here, as well as in Jacqueline, that the noir-ness of this movie really shines. Film noir is not just about femmes fatales and contrast-rich/chiaroscuro lighting, it is also about human nature and doomed protagonists/anti-heroes. And Jacqueline is doomed, not so much by outside influences, but because of her own mind/emotions. There are also scenes that would probably have been quite stunning and shocking in 1943. For instance when Mary first enters Jacqueline's room, only to find a chair with a hangman's noose hanging above it. Dr. Judd even explains to Mary a bit later how that room with the noose made Jacqueline happy somehow. And I will not divulge the end of this movie, but it is a real shocker, even today, and I have no idea how it got past the Hays production code that was in effect at the time. It is a beautifully done, incredibly dark and thought-provoking ending however. Then there's a (non-lethal) shower scene that predates Psycho's famed shower scene by over 15 years, an eerie subway ride, and so on.

Jacqueline herself not only stands out visually with her pale skin, striking raven-black hair, and her unusually lethargic demeanor, but also with her state of mind. She seems to carry a hefty load of melancholy on her frail shoulders, but it is made clear that she has severe psychiatric issues and struggles with suicidal tendencies. Mary on the other hand couldn't be more different. As her name suggests, she's very innocent and virgin-like, almost naive. It is a huge contrast.

'The Seventh Victim' starts and ends with a quote from one of John Dunne's Holy Sonnets: 'I runne to death, and death meets me as fast, and all my pleasures are like yesterday' and this dark poetic feeling runs throughout this movie. Val Lewton once said that this movie's message was 'Death is good', that is how dark this movie was meant to be, and has indeed turned out to be. Recommended viewing for a late night. It might not frighten you, but it will almost certainly leave an impression and make you think about it.