Viale Flamingo

FLAMINGO ROAD begins with a carnival being run out of town. Tired of life on the road, Joan Crawford stays behind and tries to settle down in this town with the help of the town's deputy sheriff. However, the political boss (Sidney Greenstreet) can't stand Crawford since she's "from the other side of the tracks" and he has plans for the deputy to enter politics. Instead of just telling Crawford and trying to gain her friendship or understanding, he sets her up and sends her to a short stint in the work farm. When she gets out, Crawford is determined not to run but pay Greenstreet back sooner or later. However, Greenstreet is a very wicked and calculating man and spends much of the movie biding his time until the end of the film--where there is a dynamite confrontation between them.

This film is a bit of an odd style, as in many ways it's like a trashy Soap Opera combined with Film Noir. The dialog is among the best I have heard and is very Noir-like--so many snappy comebacks and the dialog just crackles. And, fortunately, all the Soap elements are far less predictable than you'd think---as again and again, the characters did NOT do what you'd expect.

The bottom line is that this is a quality production with exceptional acting, script and mood throughout. Provided you like older films, it's hard to imagine a person not liking this movie.

Flamingo Road is directed by Michael Curtiz and adapted to screenplay by Robert Wilder from his own play of the same name (with Sally Wilder). It stars Joan Crawford, Sydney Greenstreet, Zachary Scott, David Bryan and Gladys George. Music is by Max Steiner and cinematography by Ted D. McCord.

When circumstance sees Lane Bellamy (Crawford) stuck in Bolden City, she quickly finds herself embroiled in a love affair and involved in a war with political tyrant Sheriff Titus Semple (Greenstreet).

The Moody kind always cause trouble.

Southern Gothic - cum - politico melodrama with noirish tints, Flamingo Road gets above average due to high tech credits and a superbly nasty turn from Greenstreet. Essentially the pic is about a girl from the other side of the tracks making her way up the social ladder, but she has to lock horns with a nasty piece of work and battle with affairs of the heart.

Flamingo - Affluent - Road!

It's strong on narrative terms, the screenplay neatly blending the greed of political posers with almost perverse social wiles. Curtiz (Mildred Pierce/The Unsuspected) and McCord (Johnny Belinda/The Breaking Point) keep it brisk and atmospherically moody, while the impressive Greenstreet - all sweaty, ambiguous and devilish, is surrounded by a more than competent cast of supporting players.

What of Crawford? Wisely "requesting" that Curtiz be given the director's job, she's compelling and classically committed to the role. It's true to say she is too old for the character, something which her fans are known to hate reading, while both the actors playing her love interests are almost 10 years her junior - which is a bit of a reality stretch for the era. However, such is her acting ability, she gets you on side quickly, with the makers shooting her in soft focus and the writer giving her good work to use off of the page.

A strange movie in some ways, but intriguing and sharp and it's never dull. While the quality on show from both sides of the camera is most pleasing. 7/10

In Boldon, the corrupt Sheriff Titus Semple (Sydney Greenstreet) rules the town and elects whoever he wants with the support of the powerful group led by the constructor Dan Reynolds (David Brian). Now he wants to elect his deputy Fielding Carlisle (Zachary Scott), who is the son of a former judge, to the Senate. When a carnival is forced to leave Boldon, the dancer Lane Bellamy (Joan Crawford) has no place to go and stays in a tent. Titus sends Fielding to the carnival and he helps Lane to find a job as waitress in a diner and a place to stay. They have a romantic relationship, but Titus sees Lane as a liability to the political career of his protégé. So he forces her boss to fire Lane; he does not let Lane get a job; and he frames Lane to send her to prison. When she is released, she finds a job working for Lute Mae Sanders (Gladys George) in her roadhouse. She meets Dan and soon they get married and move to the fancy Flamingo Road. But the ambitious Titus has different political plans from Dan and his group and wants to elect Fielding as Governor. Dan refuses the request and Titus uses blackmail to force Dan and his group to support Fielding. Dan does not accept and Titus decides to destroy Dan and Lane. Will he succeed?

"Flamingo Road" is a 1949 film that shows how politicians and corruption are a timeless combination. The story holds the attention but the conclusion is deceptive, with the situation being resolved too easily. My vote is seven.

Title (Brazil): "Caminho da Redenção" ("Path to Redemption")

Like a dry Martini with just a tad too much vermouth, garnished with an olive that hasn't been washed of its brine, this one can leave a nasty taste if you're looking for something that goes down smoothly. But if you're not too fastidious, this Crawford star vehicle is almost ridiculously entertaining. Joan might have been just a little long in the tooth to be playing a hoochy-coochy carnival girl in the film's opening sequence but it isn't long before she's on her way up, constantly being tripped on that inexorable climb by one of the slimiest villains that Sydney Greenstreet ever played. Warners trowels on the class "A" production values (except for some glaring back projections at a construction site) and Michael Curtiz's direction is, as usual, briskly efficient, getting the best from everyone in the cast, principal and supporting players alike, except perhaps for Greenstreet who really doesn't look well at all and seems to be struggling against imminent collapse in some scenes. (He made only one picture after this one and died from complications of diabetes about five years later.)

Max Steiner contributes his usual melodically overwrought score (with heavy reliance on the popular song, "If I Could Be One Hour With You [Tonight]"), lushly orchestrated by Murray Cutter, under the musical direction of that Warners stalwart, Ray Heindorf. It's almost too distracting but the frequently crackling dialogue keeps the audience's attention focused on the pulpy proceedings. Ted McCord's black-and-white cinematography is an outstanding example of why not every picture should be in color and I suspect that it was Travilla who was given the task of gowning Crawford once she'd finally crossed over to the right side of the tracks. (Sheila O'Brien, also credited, probably ran up those nifty waitress uniforms and the prison garb Crawford gets to wear not once, but twice!)

They really, REALLY don't make 'em like this anymore, and thank goodness Turner Classic Movies, for instance, trundles a tasty morsel like this out of their archives every once in a while for us to savor once again.

Over the top melodrama that works, under the steady direction of Curtiz. Crawford is an ex-carnie, and Greenstreet is the corrupt sherrif of a small town she's chosen as her haven. He gets her boyfriend to desert her for a more respectable marriage so he can make him a senator, and after she marries a political player he's associated with, he makes life hard on both of them with a combination of blackmail muscle and frame-up push. Greenstreet is wonderfully grotesque, and all the other leads also hold up well. Nice photography in stark toned B & W.