This Gun for Hire

This is a great, compelling crime thriller that stands the test of time quite well. This would be one of the first movies I'd choose to show to a fan of recent movies who wants to explore classic thrillers but doesn't know where to start (along with "The Maltese Falcon" and one or two others). While many period pieces are "appreciated", this one still provides a jolt of adrenaline right from the opening scene, when Alan Ladd rips the maid's dress and slaps her. He's a bad man, no doubt about it, and his portrayal throughout most of the movie is surprisingly dark, even by today's standards. His character, Raven, is a man whose sole act of human compassion is not to murder a crippled orphan in cold blood, and Ladd's performance is underplayed just enough to make him chillingly believable.

This is a relatively early feature in the cycle that would later be called "film noir". A few films had begun to establish the new look and feel for the new generation of gangster movies, but the archetypal noirs were still a couple of years off. This movie is an interesting example of the early style because it visits the typical noir territory (culturally and emotionally) but avoids the stereotypical noir cast of characters. Rather than a flawed, weak man and a femme fatale, "This Gun For Hire" gives us a coldly amoral killer as the male lead and a tough, streetwise woman as the main "good guy" (her cop boyfriend spends most of the film running around frantically and accomplishing nothing).

Visually, this film is pure noir. It's directed by Frank Tuttle, who made the first version of "The Glass Key" in 1935, combining a hard-boiled gangster story and expressionist-influenced lighting. "This Gun For Hire" fits firmly into that mode, and shows that many of the stylistic trademarks of the supposedly "post-war" Noir style were firmly in place before the US had even been in WW2 for a full year. More importantly, it provides thrills, and a great dose of "the good stuff" in a neat, 81-minute-long package.

Both Alan Ladd and Tyrone Power made their film debuts in 1932's Tom Brown of Culver; by 1936, Power was a star.

It took Alan Ladd a long 10 years and something like 40 films to make it, but make it he did as a cat-loving contract killer in "This Gun for Hire," also starring Veronica Lake, Laird Cregar and Robert Preston.

Ladd plays Phillip Raven, a contract killer in San Francisco who is hired to "off" a blackmailer and retrieve a formula from him. What he doesn't know is that his employers paid him in marked bills and then reported him to the police as the killer of the man, hoping to get him out of the way.

Their plan is to sell the formula to the Germans. A Senate committee is suspicious of one of the traitors, a night-club owner named Willard Gates (Cregar) and send in a performer, Ellen Graham (Lake) to work undercover for them, unbeknownst to her LA policeman boyfriend (Preston). Graham and Raven are mistakenly connected by Gates, and soon both are on the run from him.

"This Gun for Hire" is thickly plotted but nevertheless somehow holds the viewer's interest, most likely because of the characterizations. The diminutive, beautiful Lake is an absolute delight as a singer with a magician routine.

As one of the villains, Laird Cregar creates an excellent character - a hugely built fraidy-cat who abhors violence. And Ladd's Phillip Raven, vicious though he is, is a man who learned in childhood not to trust anyone and not to get too close to anyone.

He's a sad character - and this is as close to acting from Ladd as you'll get. In future films, he says his lines in a monotone, though his tough guy persona is very effective.

Here, he plays a ruthless man given to outbursts as well as depression. His pairing with Lake, which perhaps was continued because she was a good height for him, is heaven-sent - these are two noir actors who fit the genre perfectly, if for different reasons.

"This Gun for Hire" makes for compelling drama, but it's sad to watch as well. Cregar died two years after the film's release, at the age of 28, with what would have been a great career lost; after a failed suicide attempt (his mother was a suicide), Ladd would die of an alcohol and drug overdose at the age of 51; and the rage with her peek-a-boo hairdo, Lake, by the '50s, would be an alcoholic working as a bartender in a hotel before dying at age 54.

You could say this is a "curse" film, but one can say that about so many - the lives of the people who made these classics just weren't fun. A shame, because they left us with such great work.

Phillip Raven is a hit man of no obvious moral fibre, he literally will kill anyone for the right price. After fulfilling a contract for the chocolate munching Willard Gates, he finds himself pursued by the law on account that he was paid by Gates with stolen money. Raven sets out for the ultimate revenge and dovetailing towards the explosive finale with him is sultry conjurer Ellen Graham and honest cop Michael Crane.

Based on the Graham Greene novel A Gun For Sale, this is not a straight out adaptation, the plot has been re-jigged with very impressive results. The most enlightening thing I found when reading up on the film was that the studio were so blown away by the efforts of Alan Ladd as Raven, they turned the script around to make him the films chief axis, and boy what a smart move that was for this is Alan Ladd's show all the way.

Ladd plays Raven with brilliant icy veneer, he's cold and devoid of emotion, his only trip to anything resembling caring is an affinity to cats because in his own words, "cats don't need anyone, they are on their own, just like me", the result is one of the most unnerving killers put on to the 40s cinema screens. Veronica Lake is the stunning female of the piece, she glides through the picture with ease as Ellen, a character with her own issues, but thankfully she's integral outside of any sort of romantic plot, even though she is the only one who gets close enough to Raven to learn anything about what makes him tick.

Robert Preston as Michael Crane was to be the pics focus but he becomes a mere side part thanks to Ladd's barnstorming show, and unsurprisingly Laird Cregar is suitably shifty as Gates. It's a fine film in its own right, it's tightly filmed, wonderfully scripted and contains a great noir ending, but ultimately it's all about the cold as death hit-man Raven, and the great performance by the man who played him. 8.5/10

The film that launched Alan Ladd's career, This Gun For Hire is a very short film like the earlier Public Enemy which gave James Cagney his stardom. This would be the normal length of a B film, but it definitely gets all it wants to say in its brief running time.

Essentially we have three stories where all the principal players get brought together in the end. The first involves Robert Preston investigating a reported payroll robbery of the firm that Tully Marshall is the president of. Note that I said 'reported robbery.' The second involves his girl friend, entertainer Veronica Lake being recruited by no one less than a United States Senator to get the goods on one of Marshall's top aides, Laird Cregar who they think is doing some fifth column work at the behest of Marshall. Finally we have contract killer Alan Ladd who's hired by Cregar to bump off Frank Ferguson who is blackmailing Marshall as to his treasonous activities. Preston, Ladd, and Lake don't know they are all on the same case, but by the end of the film they do.

Alan Ladd became Paramount's answer to Humphrey Bogart as a star of action/adventure films and noir films. This Gun for Hire launched his career. He was enormously popular through the Forties, Paramount's biggest star after Crosby and Hope. He played cynical tough guys in modern films, but then branched into westerns where for the most part he was the gallant hero. In fact the ultimate gallant white knight hero in Shane.

His part as Raven is a difficult one, yet he pulls it off. He's a cold blooded contract killer, one of the earliest ever portrayed as a film protagonist. Yet he's human and you see flashes of it, his concern for cats. As a cat lover, I can sure identify with that. Raven is also one of the earliest characters in cinema who talks about child abuse making him what he is. Groundbreaking when you think about it.

Next to Ladd, the biggest kudos have to go to Laird Cregar, borrowed from 20th Century Fox to play Willard Gates. Gates is a top company executive with Marshall's firm which is a defense contractor which is why the Senate is interested in him. He's basically a jerk who thinks he's so clever. Veronica Lake gets to him real easy because of his weakness for the nightclub scene. And he really doesn't take the full measure of Raven, even though the audience is very aware of how deadly he is.

When you think about it what Cregar and Marshall do is unbelievably stupid. They hire Ladd to kill Ferguson and then pay him with hot money, from the alleged robbery. Why would you do that? Chances are in the rackets they're involved in, they might have need of his services in the future. Not a guy to get mad at you. In fact their double cross is what sets the whole film plot in motion.

Moral is never double cross a guy who says and means that "I'm my own police."

This Gun for Hire was Director Frank Tuttle's finest film. He was a contract director for Paramount who did a whole bunch of films with their various stars in the Thirties and Forties. When he hadn't worked in a while, Alan Ladd got him a job directing him in Hell On Frisco Bay while he was at Warner Brothers and Tuttle also directed A Cry In the Night which Ladd produced. Ladd remembered and was grateful to Tuttle for helping break through into top star ranks. Ladd was like John Wayne that way, ever ready to help a colleague down on his luck.

Veronica Lake is recruited by a U.S. Senator with a fictitious name, but in fact there was a committee looking into all kinds of things like this in the Senate in regard to the conduct of the war. It was headed by a Senator from Missouri named Harry Truman who went on to higher office. I wonder if Truman liked This Gun for Hire? Veronica Lake got a big boost in her career. She and Ladd became a classic screen team as a result of this film.

This film is one great cinematic classic, so important to so many careers and still keeps you on the edge of your seat today.

This is a straight-forward, linear, quick-moving story based on a much more interesting book. But it's still an entertaining movie, and probably close to required viewing if you enjoy noir and/or Forties movies.

Raven (Alan Ladd) is a hired killer, evidently without remorse or nerves, who is paid to knock off a blackmailer. The blackmailer was trying to take to the cleaners a corrupt industrialist who was coincidentally helping the enemy. (This is during WWII.) However, Raven is paid in counterfeit bills on the assumption the police will catch him when he spends the money. He discovers the plot and decides to take out the guy who hired him and the fellow, the industrialist, who was behind it all.

The movie bills Veronica Lake and Robert Preston above the title, Laird Cregar just below the title, and Alan Ladd last in big type as "Introducing Alan Ladd." Some introduction; according to IMDb, Ladd had already appeared in more than 40 films in unbilled and minor parts.

This was Ladd's breakthrough movie and he's very good in it. I don't think he was much of an actor, but he had a lot of star presence, especially in the movies he made in the Forties. There was always something passive but potentially dangerous about him. His looks could have kept him in the pretty boy category, but for whatever reason didn't. Veronica Lake, for me, is something of an acquired taste, but for whatever reason she and Ladd made an effective pairing that was repeated several times. Laird Cregar played the heavy, and he was an interesting actor. Big and fleshy, he was something of a Raymond Burr type but more versatile. Robert Preston is seldom mentioned in regard to this movie and this must have ticked him off. Here's a guy who usually played best friend of the lead, gets a good part as the lead in a solid movie -- and winds up being over-shadowed by Ladd.

The first five minutes or so of the movie are among the most efficient I've come across in establishing a major player's character and complexities. We first see Raven waking up in his rented rooms and checking the clock. Nothing out of the ordinary there. In very short order, however, he's taken a gun out, helped a stray kitten get into his room and given it some food, slapped hard and full in the face a maid who tried to kick out the cat, showed up at the blackmailer's place where he meets the blackmailer (who was supposed to be alone); the blackmailer has his "secretary" with him so he just kills them both; on the way out a little girl on the stairs asks him to get her ball which has rolled away; she sees his face, he obviously thinks about shooting her, too -- but gets the ball for her and leaves. In just a few minutes Raven's cold ruthlessness and his conflicts are established, and so is a sort of sympathy for him. These first few minutes, in my view, are what make the movie work.