Deux rouquines dans la bagarre

Big-city chronicle dealing with mobsters , corruption , prohibited loves and many other things . Concerning a small-time gangster carries out an assignment from Mafia boss , Ted de Corsia, to smear a law-and-order político , Ken Taylor , running for Mayor . Then he falls in love with the candidate 's secretary , Rhonda Fleming , it leads the plot mucks up even further . Innocent Rhonda has a crook , tipsy and ex-con sister , Arlene Dahl . Later on , Payne attempts to go straight and ends up running the dark business when De Corsia escapes town. Gang leader Payne meeting his comeuppance when he tangles with Rhonda's sister , Arlene Dahl , a hazardous Kleptomaniac . Out of the shadows of a vice-ridden city comes James M Caín most explosive drama ¡ James M Caín scorchingly frank expose of the operators behind big city graft.

A spiffy , thrilling and medium budget Noir Film drama based on the James M Caín novel titled "Love's lovely counterfeit" .James M Cain wrote the prestigious "The postman always rings twice" that had several cinematic adaptations and "Slightly scarlet" script was well written by Robert Blees . Being an effective and provoking studio about mafia , corruption , political messes and thunderous love relationships . This is a smart example of Allan Dwan's 50 output , a good and fine director who made a lot of films , many of them belonging to Noir genre . Although the story results to be some confusing , as forget the twisted plot and just watch the character actors and actresses interplay .Trío protagonists give nice acting . John Payne is frankly well as a gang leader tangled with two beautiful women. Rhonda Fleming is gorgeous as the good girl falling for gang leader and his sister Arlene Dahl is wonderful . Both of whom , Fleming and Dahl , steal the show as the two dynamic sisters . Support cast is very good such as : Kent Taylor , Ted de Corsia , Buddy Baer , Lance Fuller , Ellen Corby and many others .

Colorful cinematography in Technicolor and SuperScope by John Alton , a magnificent cameraman who along with Nicolas Musuruca are the main creators in Noir photography .As well as atmospheric and evocative cinematography by Louis Forbes and uncredited Howard Jackson . The motion picture produced by Benedict Bogeaus was competently directed by Allan Dawn . Even Martin Scorsese incidentally has tipped his cap to this great filmmaker and acknowledge him as an important influence . Dwan had a prolific career directing all kinds of genres as Westerns , Noir , drama , thriller , adventure, such as : Three musketeers , Iron mask , Pearl of the South Pacific , Heidi , Enchanted Island , Escape to Burma , The Gorilla , Rebecca of Sunnybrook farm , Passion , Brewster's millions , Cattle Queen Montana , Tenesse partner , Sands of Iwo Jima , among others . Rating 7/10 . Notable and decent Noir movie .

Anyone remotely interested in cinematography and art direction should see this. John Alton, chiefly famous for his work in black and white, here switches to livid colour and achieves some of the most daring and moody effects ever known in colour films. This was a decade before 'flashing' the film became popular (a technique developed by Freddie Young, who told me all about it at the time he began the trend, with Lumet's 'Deadly Affair'). Everything here is so vivid, and the games played with colour in choice of sofas, walls, carpets, not to mention hair, are so intense, that the film is really chiefly of interest for all of that. Alton had to work only with variations in lighting, not with film processing possibilities. What he did is incredibly audacious, worth watching over and over just to study it. He has whole figures in shadow, and faces often are eclipsed by darkness in a bright room. It is really an incredibly dazzling display of virtuosity and genius. The two lead gals have matching hair, which plays well on the sets. Rhonda Fleming was a notorious strawberry blonde, and although I seem to recall that Arlene Dahl was really a normal blonde and presumably had her hair died to match Fleming's for this film, here they are very like the sisters they play indeed, with matching peachy hair and bright blue eyes. It is all a symphony of light and dark and colour combinations, like a modernist painting. The story is tepid, diluted from a James Cain novel about city corruption and crime. Arlene Dahl is not very convincing as a kleptomaniac siren who is supposed to be deeply psychologically disturbed (that part only comes out at the end, though we know about the thefts from the beginning, as the film begins with her coming out of prison). Rhonda Fleming swings her hefty bust around with confidence, and glares with her blue eyes at people as she challenges them, which with her fiery nature she does a lot. Into this mix comes a very seedy character played by John Payne, who by this time was really getting a little too old for such roles, nice fellow though he was. However, a sufficiently noirish tale ensues which is worth watching, though it is not a proper film noir, but merely has certain elements of that left, as the mid-1950s were asserting themselves, and people were getting more interested in Debbie Reynolds and Doris Day, and the War was a fading memory, and even the Korean War was passé by this time. Yes, things were changing, people were getting cheerier and more bourgeois by the minute, and gloom was no longer so popular, or must be relegated to horror films instead. Time to lighten up! So this is an interesting historical curiosity, a lingering shadow cast over the smiling face of a complacent Middle America which was just settling down to a nice long afternoon nap which would last until the sixties.

First, let's be straight: this is a deliriously entertaining, venal and vampy exercise in melodrama. It's a ridiculous movie with a nonsensical script, awesome crazy quilt radioactive light bright technicolor and at times laughably non-motivated behavior. But it's also a tongue-in-cheek anti-noir mini masterpiece crammed with over dramatized scene chewing and pleasingly unintentional laughs. The set designs feature some of the biggest house interiors ever (how does Rhonda Fleming afford that mansion on her secretarial salary??) Arlene Dahl is a deliciously cheesy home run as the sex object du jour and gives Martha "The Big Sleep" Vickers a run for her money in the slutty and criminally irredeemable little sister department. Everyone is working some angle here (particularly John Payne), which is both intriguing and finally just dizzying. Fleming, Dahl, Payne and Kent Taylor take a love triangle and turn it into a quadralateral with little trouble. This isn't the calculated and sleek Double Indemnity James M. Cain, but it sure has the smoulder and desperation of The Postman Always Ring Twice JMC.

There's a political campaign thrown in and a big gangster (huffy and puffy Ted De Corsia) subplot for good measure, but this is ultimately a celebration of the campiest aspects of melodrama and what a party they throw! Definitely a date movie and highly entertaining for all the right reasons. If you can see it in the theatre, you may go blind from the glowingly phosphorescent crimson hues. "Slightly" Scarlet my ass!

James M. Cain's first Hollywood fusillade went off in the mid-1940s, with Double Indemnity, Mildred Pierce and The Postman Always Rings Twice, all adapted from his books, helping to set the tone and the parameters for the noir cycle just getting up steam. In the mid-50s, he had a second wind, with Serenade and, from Love's Lovely Counterfeit, Allen Dwan's Slightly Scarlet. While not one of Cain's better works or one of the better movies made from them, it has its ample fascinations. Legendary noir director of photography John Alton works in color here, and startlingly enlivens his customary dark trapezoids with bursts of lime green, flame orange and orchid. (The rare films noirs done in color seem even more decadent: see Leave Her to Heaven and Desert Fury). John Payne reprises his solid, sullen self as a fence-straddling minor mobster who sees his chance to take control of the machine in a mid-sized midwestern city. His twin carrot-topped temptations are sisters Rhonda Fleming, as the mayor's gal Friday, and Arlene Dahl, who has just been released from prison -- she's a loony, man-devouring klepto (and Dahl does her proud. There's even a scene when Fleming finds the message "Goodbye Sister" scrawled in lipstick on her bedroom mirror). Too bad there was a lot of (unnecessary) rewriting of Cain's story; the ending is sourly ambiguous. But this is late noir in garish overdrive, and movies aren't much more fun than that.

Any story by James M. Cain should automatically command one's attention. Though probably not as famous as his other stories, this one manages to hold the viewer's interest. A curious thing to me is that, once again, the male lead is playing a far from sympathetic character (Ben). John Payne does a good good job, though sometimes it is not easy to figure out what Ben is up to or why. The success of the film rests upon the performance of the two female leads, Rhonda Fleiming and Arlene Dahl, especially the latter, whose acting was way beyond what I expected and almost carries the film, the ending of which might be a bit surprising. A tad slow in spots, 'Slightly Scarlet' nevertheless is a pretty entertaining film.