Dem Satan singt man keine Lieder

Van Heflin is "The Prowler" in this 1951 noir directed by Joseph Losey and also starring Evelyn Keyes. Heflin plays a bitter cop named Webb who meets the lonely Susan (Keyes), whose husband works at night on the radio, when he investigates a prowler at her house. He returns, ostensibly to check up on her, and they discover they're from the same part of the country. Soon, they're involved in a love affair that has serious implications.

Losey was a hit or miss director. He was blacklisted and made several films starring Dirk Bogarde in Europe, including the amazing The Servant and a big miss, Modesty Blaise. Here he's on the money with a suspenseful, well done film. Van Heflin is brilliant as Webb, who finally sees a chance at making his dreams come true, and Keyes is wonderful as Susan, disappointed in her marriage.

"The Prowler" was restored by UCLA, and for some reason, when Christopher-Jan Horrocks discussed it on TCM, he described the story incorrectly.

Frankly, I thought this film had a couple of plot problems, but I can't go into them without giving the film away. The event that the plot hinges on is certainly a daring one for those days. I'll just say that the two main characters would have had to have been Angelina Jolie and Brad Pitt for a total stranger to have realized what he realized immediately.

Well worth checking out.

The most unsettling thing about THE PROWLER is the way Van Heflin inhabits the role of a corrupt police officer who worms his way into the life of an innocent woman (Evelyn Keyes), a bored housewife trapped in a loveless marriage with a jealous older man.

From the very first scene, we know that Heflin is going to set a trap for this woman and that eventually she'll succumb to his dubious charm merely to break the cycle of loneliness she's used to. The plot sustains interest up until the cliffhanger of an ending in which all hell breaks loose.

But along the way, there are several glaring faults in the script. Keyes falls in love much too quickly, needing him at her side so desperately that he concocts an accidental shooting to get rid of her hubby. And from then on, her motivations for lying at the inquest are shaky, to say the least. Credibility begins to slip as we lurch toward a very effective ending which won't be revealed here.

In the meantime, the performances are professional, with John Maxwell excellent as a loyal friend and Wheaton Chambers fine as a reluctant doctor. Joseph Losey gets all the suspense he can out of the script, but in the end the bleak low-key photography and sparse sets gives it the feel of a hurried programmer rather than an A-film.

Patrolman Webb Garwood (Van Heflin), called to the upscale home of a late night radio DJ to investigate a reported prowler, covets the man's wife (Evelyn Keyes) and lifestyle and proceeds, through seduction, manipulation, and murder, to attain them with ironic results...

Alain Silver, in his "Film Noir: An Encyclopedic Reference To The American Style", notes that "like most of Losey's American films, THE PROWLER is concerned with complex social issues, which make it marginal to the film noir series." I couldn't agree more that using Film Noir to enlighten dilutes the dark universe the cycle represents but in this case that's a moot point. THE PROWLER doesn't examine social issues, complex or otherwise, and isn't an indictment of America in the mid-twentieth century as much as it is an expose of modern life itself with all its banality and dull aspiration. Better yet, there are no explanations, causes, or, thankfully, remedies offered for the ultimately empty American Dream. Existentially, there's no escape for the outwardly normal anti-hero who is, ironically, a psychopath sworn to "protect and serve" the very ideals he doesn't share. Lonely housewives in unhappy marriages, failed dreams of stardom and college scholarships, soulless ambition for mediocre achievement hidden beneath deceptive outward appearances, and hopes for a future (linked to a motor court) that isn't much better than the past or present all serve to point up the futility of upward mobility. In a bitter irony, Garwood has perverted the American dream but, once attained, that very dream becomes inverted and its ultimate reward (creating a family) proves his undoing. That the birth takes place in a desert ghost town perfectly illustrates a wasteland where everyone is either unfeeling, unsuspecting or dull-witted ...and everything's nothing, really. In its depiction of a monotonous, gray world, THE PROWLER is pure Film Noir and Joseph Losey skillfully conveyed the often pervasive sense of dissatisfaction and ennui with bourgeoisie life but, because of his off screen politics, the film was unfairly tarred with the same brush that derailed the director's career in Hollywood.

This is a really good and sadly overlooked film noir. No happy endings are to be found here, just good performances and writing and a close to perfect example of the film noir genre.

One of the many great films noirs the director made in the fifties ,which would culminate in "time without pity" :and a very successful one, thanks to Van Heflin,who at first sight seems a helpful affable cop whereas he is actually a cupid embittered man:he was not given the chance to study at the university and he became a policeman by default.He must have gone through hard times :when the woman invites him for dinner ,he catches all that he can on his way to the dining room.

In its second part the movie recalls Fritz Lang's "You only live twice "(after "the prowler" ,Losey remade "M"),but with a big difference : Lang's heroes are both victims of an unfair society whereas Susan is completely innocent (as far as the crime is concerned)but her new husband is dangerous ,verging on paranoia (the scene when you hear the dead speak on the record is stunning).It's perhaps one of the rare movies in which a baby becomes a living threat.Even the wind ,in the shack -probably Victor Seastrom's silent movie influence- becomes an enemy .