Johnny Angel

Put Humphrey Bogart in the title role and this would be remembered along with the likes of "The Maltese Falcon," and "The Big Sleep" as a true classic. With George Raft as the lead it's not quite a classic but still damn close. Frankly I was expecting a B movie and was simply knocked out by how good it was. I'm not going to dump on Raft the way some others have because, while unquestionably a limited actor, he did have a solid presence about him and is undeniably effective at times despite his obvious limitations.

Raft is at his best when he's asked to be tough, relentless and decisive. He gets into trouble during those scenes where he's required to be scheming or thoughtful; saying one thing while thinking another. Let's just say he's not real big on nuance. That hurts the latter half of the film where the audience really needs to FEEL his escalating outrage, impatience and thirst for revenge (such as Dick Powell is able to convey in the classic 1945 film noir "Cornered.") The way Raft plays it, what you see is what you get. Everything is on the surface. You assume he's only romancing Claire Trevor's femme fatale to find out more about his father's murder, but Raft doesn't give you the subtext. It just seems like a lackluster and rather puzzling liaison, considering how angry and anxious he had previously been to uncover the truth.

But Raft is much more inspired throughout the first portion of the film and actually does register true pain and regret over his beloved father's death as he's roaming the - supposedly - deserted ship. (A Nosferatu-like premise that sets a truly eerie, haunting tone which never lets up.) And his no nonsense, take no prisoners search to find the killer showcases Raft at his very best. An early scene with fragile Signe Hasso where he brutally interrogates/romances her absolutely crackles, and culminates with a great film noir line. Just before Raft wipes away a tear from Hasso's face he growls, "Looks like rain."

But the true star of this film is director Edwin Marin. Talk about painting with light - this is one of the most gorgeously photographed, most visually arresting films I've ever seen. It just OOZES mood and atmosphere - not to mention some serious post-war disillusionment. And Marin's camera work is equally stunning as he tracks and pans and zooms and frames each shot in fresh, exciting ways. It's one of those movies where "The Past" is almost an actual character always lurking in the shadows that NO ONE can escape. But what else would you expect from something with a quintessentially cryptic noir title like "Johnny Angel"?

In fact I wouldn't be surprised if Alan Parker wasn't paying homage to this little gem with his not dissimilar, equally unsettling "Angel Heart", also set in New Orleans. Mickey Rourke's character in that 1987 film was also named, I believe, Johnny Angel.

Early on a floozie throws herself at Raft and he brushes her off. She complains to no one in particular with a shrug - "Looks like Angel is wearing his halo tonight."

You want noir? THAT'S noir.

I couldn't really get into this one, mainly because of the casting of George Raft as the hero. I'm not a big fan of Raft at the best of times, but he was usually convincing as a gangster or something similar. In this movie he looks uncomfortable as a more conventional leading man, and I just didn't find his character believable. With another actor, say Bogart or Robert Mitchum, I might have enjoyed 'Johnny Angel' a lot more, but as it is I found it very difficult to get interested in the plot, and my attention kept wandering. However the movie isn't entirely worthless, Hoagy Carmichael gives an entertaining turn as the wonderfully named eccentric cabbie Celestial O'Brien. And yes he sings. watch this movie for Hoagy if nothing else.

Despite its lackluster title, based on a book with an equally unexciting name, "Mr. Angel Comes Aboard," "Johnny Angel" stands out for its dazzling camera-work by Harry J. Wild--too bad it wasn't shot on location in New Orleans, but "The Naked City" was still three years away to popularize filming in the streets of big towns--and for the well-written noir script. The acting is sufficient for the story being told with Claire Trevor as Lilah (as in Delilah) Gustafson making an alluring femme fatale. And who can best Margaret Wycherly as a domineering mother (in this case a domineering nanny)?-with shades of Ma Jarrett already visible. The music by the multi-talented Hoagy Carmichael is added spice, but why "Memphis in June" when the film is about New Orleans?

The story is a good one with the elements of mystery and suspense handled just right by director Edwin L. Marin so that too much is not revealed too soon. Seaman Johnny Angel discovers his father's ship deserted with signs of fowl play aplenty. In his mind he knows his father is dead, but why? A mysterious French lady in a green raincoat (Signe Hasso)was seen leaving the ship once it was towed in to harbor at New Orleans. Angel must find this vanishing woman to unlock the door to the enigma and to uncover the ones responsible for the dastardly deed. He works for George 'Gusty' Gustafson, portrayed as a nefarious milksop by Marvin Miller, later of TV's "The Millionaire" fame.

Gusty who owns and operates the Gustafson Shipping Company is preoccupied with satisfying his demanding wife, Lilah, no easy task, who also has the hots for Angel. Lilah was a former entertainer at the popular hang-out, "The Jewel Box." When one of the girls at the club states, "I wish I could sing like she could." The bartender replies, "Who said she could sing?"

Shades of the "Mary Celeste" as a seemingly deserted ship looms out of the mist off the coast of New Orleans. It's boarded by George Raft whose father was it's captain. Raft (more animated than usual} uncovers a complex plot. The colorful New Orleans backgrounds and good performances make this an above average noir film. Claire Trevor is excellent as a double crossing blonde and Hoagy Carmichael plays to type as a ubiquitous taxi driver and sings "Memphis In June". All very nicely put together.

For those of you who see this title and expect a film built around Shelley Fabares big teen idol hit from the early Sixties, skip this one by. If you're looking for an above average noir film with a World War II background than don't miss Johnny Angel.

It was with this film that George Raft entered his B picture noir period of his career. His films vary in quality from now on. Any A films he would be in from this point on were strictly in support of other players most famously in Some Like It Hot.

Raft is a sea captain who is out searching and finds a derelict freighter commanded by his father J. Farrell MacDonald. When he tows it into the port of New Orleans a stowaway played by Signe Hasso gets off. Raft of course trails her, but there are some other people after her as well, people who might be able to tell Raft what happened to his father and the rest of the crew.

Hasso was the custodian of five million dollars in gold that the Free French have smuggled out of Vichy from Casablanca. Of course that's what is involved in the disappearance of the crew.

Claire Trevor is back as a femme fatale, repeating essentially the part she had in Murder My Sweet. In this she's a two timing dame, married to mother dominated Marvin Miller, the owner of the freight line where Raft and MacDonald work. One look at her and you know she's up to no good.

And of course the film is graced by the presence of Hoagy Carmichael who contributes his piano and a song to the proceedings.

All in all, not a bad way for Raft to begin this new portion of his career.