Le fils du pendu

Really interesting photography and moody music sets the tone in this very stylish, excellent film noir about a troubled, bitter man who has a rather bad temper caused by the treatment he has received over the years based on the hanging of his father for murder. One youth who taunted him in childhood has now become a rival for a young lady he admires and in an act of violence and anger, he ends up killing this bully with a rock. But - during the crime he drops his pocket knife which is picked up by a local man who is deaf and mute.

This film is very dark and atmospheric, full of facial close-ups, shadowy rooms, and an interestingly photographed ferris wheel ride with cop and panicky murderer in separate seats as the wheel goes round and round. Well done performances by all, I thought Dane Clark very convincing in his role - he really comes across as broody and bitter. Ethel Barrymore really good in her small, but effective part as his grandmother and Harry Morgan very memorable as the deaf-mute young man. I saw this film on the big screen and the print looked really great, with very sharp black and white contrast. A first-rate film.

Dream-like dark film about a man driven to murder. Aside from the soundtrack and the lack of southern accents, this movie shines. A great b-movie with great visuals. Check out star Dane Clark goes eye to eye with a racoon, realizing they're both trapped with no escape. The film's not for everyone, but if you like b&w film noir you should dig this one up.

Although the story could have easily been adapted into a gritty film noir, director Frank Borzage turns it into a dreamlike, and even romantic, saga of guilt and expiation. The plot is simple and uncomplicated. No cynical, wisecracking dialogue; no hard-boiled detectives or double-crossing femme fatales. The small town setting with frequent rural scenes creates a world far removed from the unusual noir cityscape. The love story unfolds with both strong sexual attraction and delicacy. Imbued with a strong atmosphere and vision all its own, MOONRISE resists easy classification. Like THE NIGHT OF THE HUNTER, it succeeds in creating a drama of mythic resonance in an American rural setting.

Danny Hawkins is still suffering from a traumatic childhood where he was teased and bullied relentlessly because his father had killed a man and been executed. Decades after leaving school Danny is throw into a state of temporary rage when another man (Jerry Sykes) makes fun of him for this very reason and from the resulting struggle he kills Jerry. Instantly regretting it, he is placed under suspicion and tries to escape but only finds himself trapped in more than one way by his crime and that of his father.

From the title alone I had no specific hopes for this film other than just using it to fill a bit of time while I did some ironing. However, once it opens with a well-directed and atmospheric moment of madness crossed with flashbacks I was taken by it and held with it even if it never consistently reached that height again. The plot is straightforward but has some surprisingly dark elements within it that make it worth seeing. The haunted character of Danny is the main reason that it is interesting, whether it be in the dialogue or in the visual touches (such as Danny and the raccoon coming face to face with much shared emotion).

Of course a big part of this working was a great performance from Clark who really gets into his character and dominates the film in an impressive manner. His performance is also helped by the good direction that frames interesting shots throughout the film, is imaginative when it needs to be and uses shadows really well; only in the final few minutes did I feel it lost this tone and delivered a morally satisfying that was required by the period. Support playing from Russell, Barrymore and others is OK but nobody really gets close to Clark; that said, it is amusing to see early appearances from Bridges and Morgan in small roles.

Overall this is an enjoyable film that feels quite imaginative despite its rather straightforward narrative on the surface. The direction produces a good atmosphere and clever shots while the material has a moral darkness and complexity to it that works well even if it does tend to chicken out near the end. All this is delivered really well by Clark who eats up the scenery in some scenes while also being able to internalise a lot of stuff surprisingly well for what came across as a rather low budget affair. Worth seeing for what it does well.

Directed by Frank Borzage and adapted from the novel by Theodore Strauss, Moonrise sees Dane Clark playing Danny Hawkins, the son of a man who was hanged for his crimes. Tormented by his father's past and bullied about it as a child, Hawkins grows into a confused and resentful man. Striking out at anyone foolish enough to cross his fractured state of mind, tragedy is quick to strike, sending Hawkins deep into the Southern mire. Can solace come in the form of Gilly Johnson? (Gail Russell) or is it simply too late to rejoin the human race?

We open with a hazy reflection that merges into the feet of walking men, men walking to the gallows as Danny Hawkins' father is hanged. The mood is well and truly set for Borzage's dreamy film noir. It's something of an oddity in many ways for it most assuredly is film noir, certainly in texture and on the technical issues it is, yet an overtly poetic heart and a distinctly less than broody ending almost steer it to being fanciful fluff. Borzage and his cinematographer, John L. Russell (in one of his first prominent assignments), do wonders with the atmosphere of the piece. Set in the steamy South, shadows and darkness are a constant and rewarding part of proceedings, while swinging lights and conversations filmed at midriffs further enhance the skew whiff state of Dane Clark's protagonist. Also of note is that some scenes showcase why Borzage was rightly held in high regard back in the day, a Ferris Wheel, a car crash and a Racoon tree top sequence (that upset and engrossed me simultaneously) are just some of the reasons why this is a must see for Borzage enthusiasts.

Coming as it does out of the Republic Pictures house of "B" moviedom, it's natural to expect some low budgetary issues. However, this is a splendid production belying its "B" movie worth. The cast are fine, with Clark particularly doing well as his character battles with anger and warmth issues, and the sets and location work are effective and benefit the story greatly. Thankfully, and even though it has no restoration, the picture quality is very good, the sound mix is a bit down at times, but by and large this one has transfered well to prints being shown on British TV. With a support cast containing Ethel Barrymore, Allyn Joslyn (excellent), Henry Morgan, Harry Carey Jr and a brief Lloyd Bridges, this is a recommended film of course. But I can't, and will not, vouch for the ending appeasing all comers. 7/10