Too Late for Tears

Lizabeth Scott sinks her teeth into the role of a ruthless woman in "Too Late for Tears," also known as "Killer Bait," a 1949 film directed by Byron Haskin and written by a man who later became a very popular TV writer-director and creator of some top series, Roy Huggins.

The film also stars Dan Duryea, Don DeFore, and Arthur Kennedy.

Scott plays Jane Palmer, the wife of Alan Palmer (Kennedy) - while driving one night, someone from another car throws a satchel into their car. It turns out to be $60,000 (the equivalent of $598,000 today). Alan doesn't want anything to do with it, preferring to take it to the police, but Jane wants to keep it and spend it. Finally she convinces him to hide the money and wait for a time.

Jane, it turns out, is one tough cookie, and without giving much away, let's say that getting her hands on that money becomes her full time job, and she's determined that nothing and no one will stand in her way. Unfortunately for a few people, they stood in her way.

Really terrific noir set in Hollywood, with Dan Duryea playing a sleaze, but actually less of a sleaze than Jane - he's more of an opportunist than evil; Don Defore is friendly and unassuming as a friend of Alan Palmer's, and Arthur Kennedy, one of the finest actors in film, is just plain wasted. Perhaps this was a film he had to do in order to fulfill a contract, or it was a loanout on trade - it was a waste.

It's Scott's film, and with her husky voice, lovely smile and pouty lips, she's able to, at first anyway, hide a core of steel underneath.

Very good. If you're a fan of film noir, see this one.

In Los Angeles, Alan Palmer (Arthur Kennedy) and his wife Jane Palmer (Lizabeth Scott) are driving to a party when a suitcase is thrown in the back seat of their car. When they open the suitcase, they find a large amount but they are chased by another car and they flee. Alan decides to deliver the money to the police, but Jane opposes and wants to keep it. So Alan decides to keep the suitcase with the money in a locker at the Union Station to decide what to do. A couple of days later, Jane spends a large amount in furs and other gifts for her. Then a man called Danny Fuller (Dan Duryea) comes to their apartment and Jane believes he is a detective and let him in; but soon she learns that he is also seeking the money. When Alan returns from his work and finds the shopping, he becomes upset and Jane does not tell anything about Danny. During the night, Alan and Jane go to a boat ride to make amends and she accidentally kills him with his pistol. Danny is forced to help her to dump the body in a lake and Jane reports to the police that her husband is missing. Her sister-in-law Kathy Palmer (Kristine Miller) that lives in the same floor snoops around Jane's apartment and finds the receipt of the locker. When she is sneaking out, she meets the stranger Don Blake (Don DeFore) that tells that is Alan's friend. Meanwhile Jane is seeking the receipt to get the money for her. Why the money was thrown to the backseat of the Palmer's convertible? Who will keep the money? Who are Danny and Don Blake?

"Too Late for Tears" is a great film with all the elements of the film- noir: there is the sordid motive, the femme fatale and many twists. This movie is probably one of the best roles of the gorgeous Lizabeth Scott. The DVD release by "Dark City" has a poor video that needs restoration. But it is worthwhile watching since the story is excellent. My vote is eight.

Title (Brazil): Not Available on DVD or Blu-Ray

Made in 1949 this is one of those films that is a must for all noir fans. Do be warned though as this fell out of copyright some years ago and was widely duplicated – often very badly – but this is the restored version and is an absolute gem.

Late one night a couple are driving to a party that is far from inviting when a slow car tosses a bag into their open top car. The bag is choc full f cash. The wife is Jane Palmer (Lizabeth Scott) and she decides that she is going to hang onto the cash – despite what her husband wants. So she decides to convince him to keep it. He is cut from a different cloth and it soon becomes apparent how far she will go to keep it.

Now Lizabeth Scott is a show stealer here and that is even though everyone else is great too. She is so convincing as the manipulative and self centred vixen and I just loved it. As I said earlier watch out for poor copies or better still get the restored version. For those of you that love fashion, there are some timeless and elegant gowns on display here too and the men all wear zoot suits so you can't win 'em all. This is a must for all fans of the genre and one that has aged with style.

No need to recap the convoluted plot. The movie's a sleeper among noirs, thanks mainly to an unpredictable and well thought-out screenplay from writer Huggins. Just when you think you've got things figured, you don't. I especially like the way Huggins subtly reverses Jane's (Scott) and Danny's (Duryea) competitive relationship. Watching the two circle each other is like watching two hungry sharks. Apparently, they want to mate but don't dare get too close. Note too, how effectively director Haskin uses the stylish wide-brimmed hats to veil the identity of men entering a room. I don't recall this clever effect in any other film. This is also one of the few noirs to make the central character a woman (Jane) instead of a man.

Then too, it's a very well cast movie. Duryea is of course Duryea, a major icon of noir. On the other hand, Scott was always more a presence than an actress. Still, her presence here is used to good effect as a greedy spider woman, even if she doesn't achieve much depth. But I especially like the underrated Don DeFore. His trademark nice guy is also used to good effect in what turns out to be something more than just a nice guy. (Be sure to catch ex-Dead End kid Billy Halop as the cranky boat manager.)

I guess the only missing element from classic noir are the angular shadows of moral ambivalence. Haskin does film a number of night scenes, but I don't spot the classic lighting. Perhaps that's because his specialty as a director was science fiction and adventure films. Anyway, I'm not sure why this withering little drama hasn't achieved more recognition. Maybe it's because it was an independent production without studio backing. But whatever the reason, the movie remains a gritty little noir worth catching up with.

Jane and Alan Palmer accidently receive a satchel containing sixty thousand dollars that was intended as a blackmail payoff. Alan wants to turn the money over to the police, but money loving Jane wants to keep it. Meanwhile the blackmailer confronts Jane about his absconded payment. Greedy Jane murders her husband and then pretends to make a deal with the blackmailer. However, a ghost from Janes past returns to be her undoing.

Considering that Byron (WAR OF THE WORLDS) Haskin was never a really good director of actors, this film is very well acted. The cast turns in first rate performances, so good in fact that the performers almost make the viewer not notice that this film has a very far fetched, convoluted plot.

I have seen a lot of these "film noirs" and of all of them, TOO LATE FOR TEARS is probably one of the most cynical. Few other films I have seen have this thick air fatalism hanging over it.

Kristine Miller who plays Alan's sister Kathy, is one of the most beautiful women to grace the screen. This the first time I noticed her, and it's a shame her film career was rather short, and rarely had large roles as she had here.

One note: If you pay close attention, you will see former "Dead End" Kid leader Billy Halop in small role as a boat attendant.