Gun Crazy

What is the quintessence of a film-noir? A good answer is: an evil strong woman that manipulates a weak, although basically decent, man, involving him in a crazy love, doomed to a tragic ending. Then we can safely state that "Deadly is the Female" is a perfect instance of film-noir.

The movie has outstanding merits. The cinematography, and especially the camera-work are excellent, and comparable to the best achievements in the film-noir genre. Justly celebrated are the scenes filmed with the camera inside the car, like that of the bank shot in Hampton, a true cinematic gem. John Dall and Peggy Cummins, in the roles of the doomed lovers Bart and Annie Laurie, make a great job. The story starts slowly (a minor drawback), but as soon as the two lovers cross the border of legality, the movie acquires a quick, exciting and ruthless pace and presents a powerful finale.

The psychology of Bart and Annie Laurie is studied with care. Annie Laurie is a systematic liar. With Bart she always looks sweet, deeply in love, even subdued to her man. To justify her shootings and murders, she always whines with Bart that she had lost her nerves, that she was scared. But when Bart is not present, the viewer gets from her body language and the cruel expression of her eyes that she just loves to kill. Great job by Peggy Cummins.

So does Laurie just make use of Bart for her dirty purposes, to satisfy her own depravity? Not at all. Oddly enough, in another famous scene we see that Laurie really loves Bart with all her heart. Only, she is bad and cruel, that's her inner core. And is Bart so stupid and bewitched not to realize that Laurie is going to ruin him? No, he knows it, and he deeply suffers, but ultimately he doesn't care. Only Laurie counts. Desperately crazy love... how fascinating! (at least in a film-noir).

The script offers several memorable lines, and the many subtleties give realism to the story. For instance, Bart and Laurie are not professional criminals, and they show it when they carelessly spend "hot" money, which will cost them dearly.

"Deadly is the Female" is an excellent film, a relevant nugget in the film-noir gold mine. Highly recommended.

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

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.

I had heard a lot about this when I first discovered "film noir," and I was not disappointed. It was very entertaining. I still enjoy watching this periodically, even after a half-dozen viewings.

John Dall and Peggy Cummins make one of the more interesting male-female pairings I've ever seen on film. Cummins is one of the prettiest women I've seen from the noir era and fascinating to view throughout this movie. I'm sorry her other films aren't on video. She didn't do many movies in the U.S.

The character Dall plays is good, too, although in the end his constant whining over the predicament he got into gets a little annoying. He plays the nice guy who is led astray by the bad woman. Yes, another classic example of the old Rabbinic saying that "a bad woman will always drag down a good man."

Innovative camera-work also make this fun to watch. At just under an hour-and- a-half, this is a fast-moving, always-entertaining film noir that lives up to its hype.