Crime of Passion (1957)
A gripping widescreen black and white crime film where the loner lost in a complacent world is a woman--played with steely determination by Barbara Stanwyck. In some ways this film is a familiar type, but it has some unique lines that open up as it goes until it becomes a unique tale of seduction and ambition.
You won't see Sterling Hayden better (this is around the time of his defining but more constrained role in Kubrick's "The Killing"), and throw in Raymond Burr and, believe it or not, Fay Ray (of "King Kong" fame, 1933), and you have quite a cast. It moves fast though there is some redundancy to the events sometimes--we get the idea of her ambition, for example, but they give us several examples of it instead of one good one. In general the writing is very smart and sometimes witty, in the hands of a late noir standard bearer, the woman writer Jo Eisinger.
The great dramatic photography is by legendary Joseph LaShelle, and it's all pulled together elegantly by director Gerd Oswald. Who's he? Good question...this is his most respected film (he also did the good "A Kiss Before Dying" which is streamable on Netflix). I think this is a lucky confluence of talents--Stanwyck of course, and Hayden, but also LaShelle and Burr and Eisinger.
It might be no coincidence that one of the themes, in fact the trigger for Stanwyck's change of character halfway through, is a revelation of sexual (gender) stereotypes--men play cards and silly things that sound important, and women sit in the next room not playing cards saying silly things that sound silly. At least in Eisinger's eyes. It's great stuff for 1957, and has more honesty than many later approaches to the problem. Stanwyck's solution, of course, is dubious. She plays a role she played in one of my favorite movies of hers, twenty some years earlier, in "Baby Face," where she sleeps her way to success.
A good one, late in the noir/crime era for this style, but so good it holds up well.
A gripping widescreen black and white crime film where the loner lost in a complacent world is a woman--played with steely determination by Barbara Stanwyck. In some ways this film is a familiar type, but it has some unique lines that open up as it goes until it becomes a unique tale of seduction and ambition.
You won't see Sterling Hayden better (this is around the time of his defining but more constrained role in Kubrick's "The Killing"), and throw in Raymond Burr and, believe it or not, Fay Ray (of "King Kong" fame, 1933), and you have quite a cast. It moves fast though there is some redundancy to the events sometimes--we get the idea of her ambition, for example, but they give us several examples of it instead of one good one. In general the writing is very smart and sometimes witty, in the hands of a late noir standard bearer, the woman writer Jo Eisinger.
The great dramatic photography is by legendary Joseph LaShelle, and it's all pulled together elegantly by director Gerd Oswald. Who's he? Good question...this is his most respected film (he also did the good "A Kiss Before Dying" which is streamable on Netflix). I think this is a lucky confluence of talents--Stanwyck of course, and Hayden, but also LaShelle and Burr and Eisinger.
It might be no coincidence that one of the themes, in fact the trigger for Stanwyck's change of character halfway through, is a revelation of sexual (gender) stereotypes--men play cards and silly things that sound important, and women sit in the next room not playing cards saying silly things that sound silly. At least in Eisinger's eyes. It's great stuff for 1957, and has more honesty than many later approaches to the problem. Stanwyck's solution, of course, is dubious. She plays a role she played in one of my favorite movies of hers, twenty some years earlier, in "Baby Face," where she sleeps her way to success.
A good one, late in the noir/crime era for this style, but so good it holds up well.