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La rapace

Titre original : Decoy
  • 1946
  • Approved
  • 1h 16min
NOTE IMDb
6,7/10
2,3 k
MA NOTE
Robert Armstrong, Jean Gillie, Sheldon Leonard, Edward Norris, and Herbert Rudley in La rapace (1946)
Film NoirCrimeDramaThriller

Ajouter une intrigue dans votre langueA mortally-wounded female gangster recounts how she and her gang revived an executed killer from the gas chamber to try to find out where he buried a fortune in cash.A mortally-wounded female gangster recounts how she and her gang revived an executed killer from the gas chamber to try to find out where he buried a fortune in cash.A mortally-wounded female gangster recounts how she and her gang revived an executed killer from the gas chamber to try to find out where he buried a fortune in cash.

  • Réalisation
    • Jack Bernhard
  • Scénario
    • Nedrick Young
    • Stanley Rubin
  • Casting principal
    • Jean Gillie
    • Edward Norris
    • Robert Armstrong
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,7/10
    2,3 k
    MA NOTE
    • Réalisation
      • Jack Bernhard
    • Scénario
      • Nedrick Young
      • Stanley Rubin
    • Casting principal
      • Jean Gillie
      • Edward Norris
      • Robert Armstrong
    • 68avis d'utilisateurs
    • 22avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
  • Photos35

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    Rôles principaux36

    Modifier
    Jean Gillie
    Jean Gillie
    • Margot Shelby
    • (as Miss Jean Gillie)
    Edward Norris
    Edward Norris
    • Jim Vincent
    Robert Armstrong
    Robert Armstrong
    • Frankie Olins
    Herbert Rudley
    Herbert Rudley
    • Dr. Lloyd L. Craig
    Sheldon Leonard
    Sheldon Leonard
    • Police Sgt. Joe Portugal
    Marjorie Woodworth
    Marjorie Woodworth
    • Craig's Nurse
    Philip Van Zandt
    Philip Van Zandt
    • Tommy
    • (as Phil Van Zandt)
    Carole Donne
    • Waitress
    John Shay
    • Al
    Bert Roach
    Bert Roach
    • Mack - Bartender
    Rosemary Bertrand
    • Ruth
    Walden Boyle
    • Chaplain
    • (non crédité)
    Martin Cichy
    Martin Cichy
    • Policeman
    • (non crédité)
    Tom Coleman
    • Trucker at Roadside Inn
    • (non crédité)
    Franco Corsaro
    Franco Corsaro
    • Kelsey
    • (non crédité)
    Madge Crane
    • First Visitor
    • (non crédité)
    Dick Elliott
    Dick Elliott
    • Driver
    • (non crédité)
    Virginia Farmer
    Virginia Farmer
    • Georgia - Margot's Maid
    • (non crédité)
    • Réalisation
      • Jack Bernhard
    • Scénario
      • Nedrick Young
      • Stanley Rubin
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs68

    6,72.3K
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    Avis à la une

    9bmacv

    A knockout film noir with no frills, save Methylene Blue – and Jean Gillie as Margot Shelby.

    When Jean-Luc Godard dedicated Breathless to Monogram Pictures, foremost in his memory must have been Decoy. It's a movie whose reputation, over the years, has grown into folklore, because it's all but impossible to view or obtain. For aficionados of film noir, it has attained the stature of a Holy Grail (or Maltese Falcon), a fabulous treasure the quest for which seems doomed to futility. It has, however, showed up at festival screenings, and now circulating, in samizdat as it were, is a subtitled copy taped from Croatian television.

    While probably it can't ever live up to the inflated legend that trails in its wake, it's decidedly no disappointment. Monogram and its raffish rivals on Poverty Row shot fast and cut corners, working from fast-and-loose scripts full of implausible chunks of plot for viewers either to swallow or choke on. Usually, the results were shoddy and forgettable. But now and again enough elements came together to generate unexpected chemistry. Decoy marks one such serendipitous occasion.

    The key element in this explosive reaction is Jean Gillie, an English actress whose early death in 1949 deprived cinema of one of its darkest Jezebels. Like her compatriot Peggy Cummins (Annie Laurie Starr in Gun Crazy), she makes no attempt, as Margot Shelby, to Americanize her origins; in explanation, Decoy lets her spit out her contempt for poverty in an eloquent aria about that 'dingy, dirty street' that 'runs all over the world,' and through the sooty mill town in England she came from. She vows never to go back to want, and her unquenchable greed powers the plot.

    Tricked out in haut-forties snoods, stoles, muffs and dead-serious hats, Gillie cuts a swath through the various men who stand between her and the $400-grand stolen by her gangster boyfriend (Robert Armstrong. Trouble is, he's the only one who knows where it's stashed but won't tell even though he's on death row.

    But her days as a high-maintenance moll have taught her a thing or two, one of them that a tincture called Methylene Blue can reverse an execution by cyanide. She works her wiles on maverick mobster Edward Norris and an idealistic doctor who does prison autopsies (Herbert Rudley), enlisting them in her gruesome scheme. They hijack the fresh corpse, en route to an 'oven job,' and, in a sequence reminiscent of Frankenstein, bring it back to life.

    Still, the tight-fisted old zombie won't trust them, instead roughing out a map to the buried strongbox but keeping half (why just half?) against the prospect of this second coming's failing to take. It's a turn of events that kicks Gillie's avarice into lethal overdrive....

    Though the movie wouldn't be remarkable without Gillie, it shows a fair amount of craft. From his 11 recorded directorial credits, Jack Bernhardt couldn't have been expected to contribute much, but he adds some arresting details (a sprung window shade in the doctor's office among them) and an offbeat pace. He splits the ending in two, leaving half in its proper place and opening the movie with the other, in a gas-station men's room where the shattered mirror and filthy sink outdo one another as emblems of last-ditch squalor. Police detective Sheldon Leonard figures prominently in those two segments; the rest of the movie is told in extended flashback.

    There's barely a moment when Gillie isn't front and center, for which gratitude should be fulsome. She delivers a go-for-broke performance, short on nuance but long on the flamboyant gesture. She coldly guns the motor to run down one of her victims, skitters into hysterical giggles when she shoots the next, and, dying, laughs in Leonard's face after coaxing him to kiss her ('Jo Jo, just this once, come down to my level'). She's a knockout, and because of her the elusive Decoy, despite the inevitable shortcomings of its Monogram origins, can be counted a knockout, too – film noir with no frills.
    8ccthemovieman-1

    'Margot' Is One Mean, Money-Hungry 'Mother'

    This movie, recently made available through a set of film noirs (Volume 4) packaged with two on each disc, gets points for originality. I mean, how many movies - much less film noirs - do you see someone executed, then brought back to life, then shot in the back minutes later? Now that's what you call having a rough day!

    Robert Armstrong's "Frank Olins" had to endure all that one day. He's the crook who has the money stashed away somewhere and "Margot Shelby" (Jean Gille) is the woman who is bound-and-determined to get it - all of it. "Frank" claims a few times that if he isn't going get the money when he gets out of jail, nobody will and those aren't words that "Margot" wants to hear! Frank knew this dame and other members of his gang, most notably "Jim Vincent" (Edward Norris) were not trustworthy.

    Well, he certainly was right about "Margot." She's the femme fatale - one mean mother - who has only one thing on her mind: money. She never wants to return to her old, poor, dingy ways of her youth in small town England. Now, she's in America, part of gang and she knows how to manipulate men. Of course it helps to be extremely pretty and have a great body, which she does. She plays the men and, well.....like most noirs, the ending is not particularly a happy one for most of the characters in this story.

    Personally, in this film I enjoyed seeing a lot of familiar faces from TV programs and such of the 1950s, beginning with a young Sheldon Leonard who plays the tough, pursing cop in this movie. I also thought Armstrong sounded a lot better than in his early '30s adventure stories. Speaking of sound, the music in here was ill-timed, dominating some scenes which took away from the dialog.

    Make no mistake, though: this is Gilles' movie. For classic movie fans and particular film noir buffs, this is worth checking out. It's always fun to see a new "face," and that certainly applies to Gillis, whose character reminded me a bit of Peggy Cummins' one in "Gun Crazy."

    I thought the ending of this film - the final minute - was especially good. So many times, you get the ending that doesn't stay true to the main character, but this one did.
    7Bunuel1976

    DECOY (Jack Bernhard, 1946) ***

    Given this film’s rarity (it went unseen for 30 years), I guess even self-confessed film nuts could be excused for never having heard of it – that is, until its announcement as part of Warners’ fourth “Film Noir Collection” on DVD. While some of the pairings in that 10-Movie 5-Disc Set were done without rhyme or reason – and it had seemed to me to be so here as well! – the film actually had a connection to its companion piece, CRIME WAVE (1954; which I’ve just watched a couple of days ago), via the credit on both of blacklisted scriptwriter/actor Nedrick Young (he appeared in the latter but only wrote DECOY).

    Being a Monogram production, the film wears its Poverty Row status on its sleeve – with a bizarre plot (involving the re-animation of the dead: this has to be the only vintage crime outing to take the genre into the realm of sci-fi!), gritty look and second-rate cast – but which it generally manages to turn in its favor. In my review for CRIME WAVE itself, I had written how surprised I was that the film proved to be so good – this, then, came as even more of a shock (joining the ranks of such ramshackle ‘B’ noir gems as DETOUR, DILLINGER {both 1945} and GUNMAN IN THE STREETS [1950])! The film was devised as a showcase for British actress Jean Gillie by her husband, director Bernhard – however, the couple would divorce soon after and (even more sadly) Gillie herself would be dead of pneumonia in just a couple of years’ time! Still, hers is one of the most unscrupulous femme fatales ever conceived – ensnaring practically the entire male cast in her obsessive pursuit of money – and which she plays in a slightly overstated (but, under the circumstances, entirely fitting) manner.

    The rest of the cast includes Edward Norris as Gillie’ crooked associate, Robert Armstrong as her ageing gangster boyfriend currently on Death Row and the only one who knows the location of a stashed cache' containing $400,000, Herbert Rudley as the small-town doctor enticed by Gillie into her unholy revivification scheme, and Sheldon Leonard as the cagey and dogged cop on their trail. Norris is somewhat stiff, while Armstrong (the original Carl Denham of “King Kong” fame) brings his typical zest to the role of love-struck and over-the-hill duped mobster – but both Rudley (bemoaning his betrayal of the code governing his profession) and Leonard (secretly enamored of Gillie himself, he’s willing to answer her plea at the moment of death to “stoop to her level”…but she just laughs in his face!) match the lady’s display of cool elegance disguising an essentially hard-boiled nature. Incidentally, Gillie’s character anticipated such celebrated noir bad girls of the ‘deadly sweet’ variety as Jane Greer in OUT OF THE PAST (1947) and Peggy Cummins (coincidentally, another British actress) in GUN CRAZY (1950) – but also Gaby Rodgers in KISS ME DEADLY (1955) in view of her similar histrionic outburst when finally laying hands on the long sought-after object of contention.

    Unfortunately, it’s been revealed that the print of DECOY utilized for the DVD is slightly censored: one of the main characters is trampled no less than three times by a car which has Gillie at the wheel – however, we only get to see this once in the current version! For the record, Bernhard (whose first directorial effort this was) had been an executive at Universal – responsible for such popular ‘B’ horror outings as HORROR ISLAND and MAN-MADE MONSTER (1941; which I still haven’t managed to check out!). Finally, I’m to follow DECOY with another noir of his – the evocatively-titled BLONDE ICE (1948), via the “Special Edition” released by VCI…
    8secragt

    Murderous Exotic Diamond Begs Unearthing

    A stingingly bizarre noir entry every fan should seek out. Why? First, this ultra-rare crime drama has one of the two or three most ruthless and irredeemable femme fatales in B+W history, Margot Shelby, as blisteringly portrayed by standout brit Jean Gillie. Second, it features one of the strangest hybrid sci-fi/noir premises, introducing an exotic chemical to reincarnate the dead as the conceit to get Margot's man-slaughtering act started. Third, it all actually comes together in this strangely involving prison breakout cum road picture, which takes us all the way from the death chamber to a grove of trees in the woods (another death chamber) and back to where it all began, in a family's quiet suburban house (still another death chamber).

    Once you get past the reincarnation, the plot is fairly conventional set pieces which mostly hold up and which benefit from a honey of a twist at the end. Along the way there, we get to see greed, betrayal, spinelessness, insanity, bravery, more betrayal, submission, redemption and more Jean Gillie, whose gin blossom charm and hyena-like guffaw at once blends Richard Widmark's killing debut in KISS OF DEATH with the murderous cackle of SPECTRE in the mirrored killmaze in MAN WITH THE GOLDEN GUN. Either way, she is death and she is irresistible. As is this movie. Find it and you'll see.
    7blanche-2

    Odd, intriguing film from Poverty Row

    1946's Decoy is a fascinating noir, directed by Jack Bernhard, whose intention it was to showcase his wife, Jean Gille, for American audiences. Gille had worked since 1935 in British films.

    Unfortunately, two things happened to railroad Gille's career - she and Bernhard divorced, and then she died of pneumonia three years after this film was made.

    Tall, slender, with silky blond hair and a British accent, Gille has a formidable role here as the noir femme fatale, Margot Shelby, who will stop at nothing to find and possess $400,000 a death row killer has hidden.

    To that end, she plays all ends against the middle. He plans to go to his grave with his secret, determined to be the only person who will ever spend that money. No matter how much he loves Margot, he won't tell her where it is.

    Margot finds out that methylene blue is the antidote for the gas used to execute prisoners and convinces a doctor (Herbert Rudley), who works at the prison, to administer it after the execution.

    Once you're dead, you're dead, except in this film, I guess. Well, somehow, the doc revives this guy, and Margot, the reluctant doctor, and her boyfriend (Edward Norris) go after the loot.

    The story is told in flashback by Margot to Sergeant Portugal (Sheldon Leonard), though at the start of the film, we see the segment leading up to Margot telling her story. I actually went back and watched the beginning over.

    Gille is tough as nails, and while her acting style is overt, it's perfect for this type of film. She might have enjoyed a career as a noir femme fatale in the U. S. were it not for her misfortune. Good movie, if you can buy resurrection.

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    Histoire

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    Le saviez-vous

    Modifier
    • Anecdotes
      Methylene blue is a real chemical compound, discovered in 1896 (by Heinrich Caro), which does indeed have the ability to counteract cyanide poisoning. This property was discovered in 1933 by Dr. Matilda Moldenhauer Brooks of San Francisco. It will not, however, restore life to those who have died from cyanide poisoning.
    • Gaffes
      When Joe walks into the bar, he pauses by the piano. The piano player raises his left hand off the keyboard to wave to Joe, but the piano music continues as if both his hands are still playing.
    • Citations

      Sergeant Joe Portugal: Don't let that face of yours go to your head.

      Margot Shelby: Or to yours?

      Sergeant Joe Portugal: It wouldn't matter if did... People who use pretty faces like you use yours, don't live very long anyway.

    • Connexions
      Featured in Film Noir: Bringing Darkness to Light (2006)

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    FAQ14

    • How long is Decoy?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 31 mars 1948 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Decoy
    • Société de production
      • Bernhard-Brandt Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 16 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.33 : 1

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    Robert Armstrong, Jean Gillie, Sheldon Leonard, Edward Norris, and Herbert Rudley in La rapace (1946)
    Lacune principale
    By what name was La rapace (1946) officially released in India in English?
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