Wicked Woman

This was a fun movie to watch. I saw it last week while attending the SF Film Noir Festival.

Beverly was a knockout of a woman. One of the rare tall actresses. The makers of the film probably had a hard time finding other tall people to act along with her. The popular character actor Percy Helton shows up again as a nagging wanna be friend to the stunning Beverly who uses him for her gain.

The festival tried to get her to attend from her place in Arizona but she said no. Her son the editor Christopher Rouse also tried unsuccessfully to get her to San Francisco. Oh well it was still a lot of fun.

WICKED WOMAN is an essential "bad girl" B movie of the 1950's. Beverly Michaels was the first blonde to crack this market that decade and while she never reached the public fame and popularity of the slightly later Cleo Moore and Mamie Van Doren, she's one of the genre's major divas even with her tiny filmography. Michaels is at her bad girl best in WICKED WOMAN as Billie Nash, who blows into town with a mysterious past and no references, ending up in a cheap furnished room boarding house. Billie quickly vamps one of her neighbors Percy Helton into sharing his steaks, "loans", and a reference when she applies for a job at a local bar. Owner Evelyn Scott is dubious but agrees to give the girl a break. That first night Michaels meets Scott's hunky, slightly younger husband Richard Egan and all her gratitude toward Scott is forgotten as she quickly sets her trap to seduce Egan - and persuade him to sell the bar (which was Scott's to begin with) out from under Scott without her knowledge and for them to make a getaway to Mexico with the loot.

The cast is sensational for a B movie. Michaels is superb as the tough blonde who can get even tougher when in a foul mood or cornered. Richard Egan, just before his brief stint as a leading man/star in major motion pictures, is excellent as the good husband who can be had; it's a pleasure to see a sexy B movie bad girl have a hunky, sexy leading man which wasn't often the case. (Egan also appears to be the only person in the cast taller than the 5'9" Michaels, who towers over nearly every other costar.)

Evelyn Scott is terrific as well as a bloozy-floozy Myrna Loy-lookalike and there is a sensational featured turn from Percy Hilton, a highly distinct and recognizable character actor of the era who generally played bits on television as a sheepish but lovable nerd; here Percy is still the sheepish imp but able to be just as sleazy and predatory as those who cross his path. This is a truly fascinating look at the clawing and desperation of very-low income 1950's with dumpy, sparsely furnished rooms and one bathroom per floor in the boarding house.

The ending, as another reviewer noted, is a misfire alas and as someone else mentioned, a plot twist one is expecting never develops. Still, WICKED WOMAN is well worth tracking down (it can currently be seen on youtube) for a rare chance to see Beverly Michaels at her "baddest" best.

Seen on TCM in the wee hours, this sordid little noir features the bleached blonde sexpot Beverly Michaels who had been dumped by cheesy Svengali Hugo Haas having switched his attentions to Cleo Moore. Bev makes Marilyn look like a goddess. As she saunters through the dismal sets which include a rancid rooming house, a barful of working-class mediocrities, and generic city streets, swaying her hips with a pokerface, you know this girl has hit bottom and is not likely to go much farther up because all she has is sex for brains. [A late scene shows her with a toothy, gummy grin which may answer the unasked question: why does she so rarely smile?] Down to her last dollar she gets a room, a barmaid job, a slimy admirer across the hall (the weird, weird Percy Helton) and proceeds to seduce the barman (Richard Egan had fallen this far in only a few years?), his bar-owning lush of a wife, and go for the money. The idea is of a continuing cycle of spider trapping fly in her web of deceit and avarice. When the fly is devoured, she moves on to another town. My question: after a few more low-grade films and a couple of TV appearances, what happened to Beverly Michaels? Can't be the same one who shows up 30 years later as a party girl in a British film, can it?

Beverly Michaels rolls in on the bus, finds a cheap room and gets a job pushing booze at Evelyn Scott's bar. She keeps her eyes for the easy touch -- creepy tailor Percy Helton is anxious to mend her clothes for her, and Miss Scott's husband, Richard Egan, is tired of dealing with with a wife who's drinking up all the profits, and anxious to trade her in on a blonde whose waist seems to be about half of her two other ample statistics.

Miss Michaels does everything except chew gum and stick it behind her ear to indicate the sort of woman she is, and is fascinating in a trashy way, just smart enough to know she's dumb, and to also know that men are not going to look at her face when she talks. Quite clearly her performance impressed the co-writer and director of this movie, Russell Rouse. They got married a couple of years later, had a couple of kids, and stayed married until his death.

Beverly Michaels, a long drink of ice water, plays Billie Nash, who blows into town on a Greyhound bus, rents space in a cheap boarding house, gets a job as a drinks waitress in a dive, and throws herself at the owner (Richard Egan). There are, however, complications. Egan's wife (Evelyn Scott)helps run the bar but drinks too much; Michael's across-the-hall neighbor (Percy Halton) is a lecherous "runt" with designs, and a habit of spying, on her. When Michaels and Egan plot to sell the bar and abscond to Mexico, the complications get out of hand. "Wicked Woman" is one of those mid-50s grade-Z features that is oddly compelling -- the acting is far better than you'd expect. And there's a grisly fascination in the depiction of the lousy rooms for rent with hotplates and heartache, and in the rough-and-tumble working-class saloons where late-stage alcoholism is a commonplace. The movie hints at darker developments that never really take place yet somehow maintains a curious, crummy integrity. Definitely worth a watch.