Gun Crazy: Le démon des armes

Peggy Cummins is the epitome of the bad dame.....in a word, terrific. The casting of this British actress was probably chancy for director Lewis but he hit paydirt. She comes across as a woman who wants it all and doesn't care how she gets it. Besides, she like to kill and wants to do "Just one more job." The choice of John Dall for the male lead was even more chancy. Dall, a stage actor, certainly wasn't very masculine and his acting revealed his stage background. But, again, Lewis hit the jackpot since it made the control that Cummins had over him even more believable.

The story has already been discussed on these boards so I won't repeat it except to say that it moves along at a rapid pace and keeps you enthralled from the beginning (well, not quite. Forget the sappy prologue and get right to the story.) A lot has been said about the one shot (from the back seat of the car) bank robbery but it is dynamite. It is said that Dall and Cummins' dialogue is improvised and that when you hear someone shout" The bank has been robbed", it is an actual pedestrian who did not know that a movie was being made. Now that's realism.

This little B thriller is as good as it gets and belongs right up there with "Detour", the gem of low-budget films. Enjoy!!!!!!!!!

Sharpshooters Ben Tare and Annie Laurie Starr, fall in love at a carnival sideshow, marry soon after and hope for a peaceful married life. When the money runs out Annie tells Ben that using the guns for nefarious purposes will the only way for them to survive. While placid Ben agrees to the proposal, trigger happy Annie soon gets them deeper and deeper in trouble with the law following robbery after robbery, stickup after stickup, until it becomes kill or be killed. Very daring and overlooked film, rises above the status of the B movie genre to which this film is delegated to. Cummins is perfect as the gun-crazed, as well the love-hungry Annie. Great cinematography by Russell Harlan, shooting all of the bank holdups from the back seat of the couple's car, making the audience feel a part of the getaway. Rating, 9 of 10

I have long been a fan of Film Noir. I consider this film to be unique and one of the best. The first and only time I saw it in a theater was in 1949 when I was 14. It was titled "Gun Crazy". I thought it was great but it didn't receive rave reviews or last long in hometown theaters. I understand they renamed it "Deadly Is The Female" in 1950 for its release in England, reason being that co-star Peggy Cummins was British and emphasizing the female star would be better box-office.

In the years that passed I wanted to see it again but it didn't appear on TV or later on any videotape that I knew of. In the 1983 Richard Geer film "Breathless" there is a chase scene where he is trying to escape by way of the stage behind a movie screen. On that screen was playing what I immediately recognized as "Gun Crazy". Over the years since then I have continued to look for the movie but was unable to find it. Less than a month ago I found it on DVD and purchased an excellent copy. I found that the movie is just as good as I remember it.

The film is essentially a story of a boy named Bart Tare (Russ Tamblyn) who loves guns for sport but refuses to harm any living being with them. After stealing one from a local store, he is caught and sent to a reformatory. The story continues four reformatory years plus one army hitch later when an adult Bart (John Dall) is discharged. He and some friends go to a cheap carnival where he sees and immediately falls for a trick shot artist, Annie Laurie Starr (Peggy Cummins). He beats her in a shooting contest but is offered a job in the act rather than the prize he was supposed to win.

Bart is unaware of her dark past, which includes hints of prostitution and the murder of a man in St. Louis. After a showdown with the jealous carnival owner they run off together and get married. When their money runs out, Bart wants to get a job but Annie Laurie's mind runs in a different direction, armed robbery. Reluctantly, Bart gives in and they set off on a spree of low paying stickups. By this time, Bart is increasingly aware that Annie Laurie has homicidal tendencies that he is barely able to keep under control. They plan a big-time robbery during which she kills two people without his knowledge. The rest of the movie deals with their flight from justice and ultimate payment for their crimes. In all, it is a classic scenario of "Bad Girl" leads a "Good Boy" into evil.

Personal opinion is that John Dall did a better acting job in this movie than he did in "Rope". In a bit of self-analysis I must admit that I have long been fascinated by "Wicked Women". This movie alone placed Peggy Cummins among my favorite "femme fatales", which included the queen of mean, Barbara Stanwyck, Marlene Dietrich, Beverly Michaels and other notables.

If you like classic film noir, it is a good movie to remember and see again.

No need to echo consensus points or plot details after a hundred or so reviews.

Yes indeed, much has been written about Lewis's little gem and deservedly so. What I get from it is how trapped Bart (Dall) is by forces he neither understands nor controls, until it's too late. On one hand there's Annie Laurie Starr (Cummins) whose raw sexuality is about as subtle as Mae West on aphrodisiacs. On the other, is Bart's natural talent with guns, the only thing he professes to be good at. So when the camera pans up from Laurie's thighs to the twirling six-shooters in the carny sideshow, Bart's in some kind of NRA heaven.

Then after he shoots out her last flame to show who's gun boss, their betrothal is sealed. At this point, they could retire to a Remington plant somewhere to live out conventional lives, except for one problem--- Laurie gets turned on by violence, especially with a revolver, while Bart's a converted pacifist, allergic to killing anything. So the problem is if Bart wants some of Laurie's white-hot sex, he's got to collaborate on her life of crime. Poor Bart, he'd like to be just another married couple, but temptress Laurie is just too much for his confusion. Plus, it's not a ring that bonds them, it's two clutching hands on a revolver that seals their love. For Bart, it's a spell he can't break until the mist finally swallows them both.

No doubt about it, Lewis has concocted a visual masterpiece that frames the story perfectly. However, I'm still wondering how Bart can shoot out a cop's tire through a glass pane without breaking it. Oh well, no movie's perfect.

Bart Tare (John Dall) had a fascination with guns from an early age, even getting sent to a reform school at the age of 14 for yet another gun related incident. Back home now as an adult, after a stint in the army, he falls for a sharp-shooting carnival girl called Annie Laurie Starr (Peggy Cummins) and promptly joins the act. But after a fall out with the boss, the pair hit the road and turn to a life of crime - with Annie particularly showing a thirst for gun-play.

No doubt inspired by real life outlaws Bonnie Parker and Clyde Barrow, "Deadly Is the Female" (AKA: Gun Crazy) is as good a "doomed lovers on the lam" picture that has ever been made. It may be a "B" movie in terms of production, but no doubt about it, this film is stylish, crafty and also very sexy. Directed by the unsung Joseph H. Lewis ("My Name Is Julia Ross/The Big Combo"), it's based on a story written by MacKinlay Kantor that was reworked by Millard Kaufman (AKA: the then blacklisted "Dalton Trumbo"), into one that links sex and violence whilst simultaneously casting an eye over gun worship and its place in the American way of life. Dall & Cummings looked on the surface an odd pairing, but under Lewis' direction they go together like gun and holster (ahem). He is well spoken, almost elegantly fragile with his musings, yet underneath there is still this twitchy gun fanatic. She is savvy, almost virginal in sexuality, but ultimately she's a wild cat who's practically un-tamable.

The work of Lewis here should not be understated, check out the quite sublime continuous one take bank robbery. While marvel throughout at his long takes, use of angles, deep focus and jerking camera movements - all of which dovetail with our protagonists as they go on their nihilistic journey. But perhaps his master-stoke was with his preparation tactics for his two leads?. Sending them out with permission to improvise, he fired them up with sexual pep talks, and the result, in spite of the inevitable "code" restrictions, is a near masterpiece, a true genre highlight, and a film that continues to influence as much as it still entertains. 9/10