Sciacalli nell'ombra

Patrolman Webb Garwood (Van Heflin), called to the upscale home of a late night radio DJ to investigate a reported prowler, covets the man's wife (Evelyn Keyes) and lifestyle and proceeds, through seduction, manipulation, and murder, to attain them with ironic results...

Alain Silver, in his "Film Noir: An Encyclopedic Reference To The American Style", notes that "like most of Losey's American films, THE PROWLER is concerned with complex social issues, which make it marginal to the film noir series." I couldn't agree more that using Film Noir to enlighten dilutes the dark universe the cycle represents but in this case that's a moot point. THE PROWLER doesn't examine social issues, complex or otherwise, and isn't an indictment of America in the mid-twentieth century as much as it is an expose of modern life itself with all its banality and dull aspiration. Better yet, there are no explanations, causes, or, thankfully, remedies offered for the ultimately empty American Dream. Existentially, there's no escape for the outwardly normal anti-hero who is, ironically, a psychopath sworn to "protect and serve" the very ideals he doesn't share. Lonely housewives in unhappy marriages, failed dreams of stardom and college scholarships, soulless ambition for mediocre achievement hidden beneath deceptive outward appearances, and hopes for a future (linked to a motor court) that isn't much better than the past or present all serve to point up the futility of upward mobility. In a bitter irony, Garwood has perverted the American dream but, once attained, that very dream becomes inverted and its ultimate reward (creating a family) proves his undoing. That the birth takes place in a desert ghost town perfectly illustrates a wasteland where everyone is either unfeeling, unsuspecting or dull-witted ...and everything's nothing, really. In its depiction of a monotonous, gray world, THE PROWLER is pure Film Noir and Joseph Losey skillfully conveyed the often pervasive sense of dissatisfaction and ennui with bourgeoisie life but, because of his off screen politics, the film was unfairly tarred with the same brush that derailed the director's career in Hollywood.

One of the many great films noirs the director made in the fifties ,which would culminate in "time without pity" :and a very successful one, thanks to Van Heflin,who at first sight seems a helpful affable cop whereas he is actually a cupid embittered man:he was not given the chance to study at the university and he became a policeman by default.He must have gone through hard times :when the woman invites him for dinner ,he catches all that he can on his way to the dining room.

In its second part the movie recalls Fritz Lang's "You only live twice "(after "the prowler" ,Losey remade "M"),but with a big difference : Lang's heroes are both victims of an unfair society whereas Susan is completely innocent (as far as the crime is concerned)but her new husband is dangerous ,verging on paranoia (the scene when you hear the dead speak on the record is stunning).It's perhaps one of the rare movies in which a baby becomes a living threat.Even the wind ,in the shack -probably Victor Seastrom's silent movie influence- becomes an enemy .

The most unsettling thing about THE PROWLER is the way Van Heflin inhabits the role of a corrupt police officer who worms his way into the life of an innocent woman (Evelyn Keyes), a bored housewife trapped in a loveless marriage with a jealous older man.

From the very first scene, we know that Heflin is going to set a trap for this woman and that eventually she'll succumb to his dubious charm merely to break the cycle of loneliness she's used to. The plot sustains interest up until the cliffhanger of an ending in which all hell breaks loose.

But along the way, there are several glaring faults in the script. Keyes falls in love much too quickly, needing him at her side so desperately that he concocts an accidental shooting to get rid of her hubby. And from then on, her motivations for lying at the inquest are shaky, to say the least. Credibility begins to slip as we lurch toward a very effective ending which won't be revealed here.

In the meantime, the performances are professional, with John Maxwell excellent as a loyal friend and Wheaton Chambers fine as a reluctant doctor. Joseph Losey gets all the suspense he can out of the script, but in the end the bleak low-key photography and sparse sets gives it the feel of a hurried programmer rather than an A-film.

In this case, Susan Gilvray (Evelyn Keyes) sees a prowler standing outside her window and calls the police. She has the misfortune of one of those officers being whining scheming Web Garwood (Van Heflin), who sees Susan as not too hard on the eyes and also that she is the lonely young wife of a middle aged radio show cornball. Oh, and the cornball just happens to be wealthy.

Usually you can see some good or mitigating factors in a film villain, but Webb is bad to the bone. He thinks he's been the victim all of his life, and he hates being "just another dumb cop". And Susan buys his lines. Did he plan what happened all along? I don't know, but I don't see how he could have figured it any other way.

But then a monkey wrench gets thrown into his path that will tell the whole world what he is just when he thinks he is home free. But this is the production code era, so it had to be that way. But at least the way he is found out is rather unique. With John Maxwell as Bud Crocker, Webb's cop friend/partner who would drive anyone crazy with his endless dull talk about rocks.

Highly recommended for those of you who like film noirs.

Have seen a pattern in my recent classic film viewings. That being that many of them have been very good, if not quite outstanding, and interesting, with a lot of critical praise given to them but also not very well known today. Another pattern is high expectations, due to loving the genres and talented casts and crews. 'The Prowler' is another one of those films that had a promising premise and have liked Van Heflin in other things, his role here also sounded really intriguing.

'The Prowler' is mostly good with many truly great things, if not quite classic status. It does start out that way but it should have kept that all the way through. While it is understandable as to why it won't connect to some, the praise it has gotten here is every bit, perhaps even more, as understandable. While not loving 'The Prowler' and feeling that there are definitely better films in the genre, it is underseen and impresses in many ways.

It is very beautifully and atmospherically shot and tightly edited, although the sets are on the sparse side. While it is not exactly lavish or expensive-looking, 'The Prowler' also doesn't look cheap. The music looms ominously without being intrusive. Joseph Losey, have appreciated his output ever since his wonderful 'Don Giovanni', directs with a sure and stylish hand, that indicates somebody who knew what he was doing. The script on the most part is taut and intelligent, and it was amazing too at how daring and subversive it was for back then.

Did find the story engrossing on the whole, especially in the first half which is full of intrigue and suspenseful atmosphere. Especially the ending. The character writing fascinates, really liked its nuance and that it was not all black and white. Heflin is outstanding here, it's one of his best performances and he was seldom this nuanced and haunting. Evelyn Keyes doesn't look ill at ease, even with her suitably vulnerable body language and underplays beautifully yet also with the appropriate amount of steely edge. John Maxwell is rock solid support.

By all means, 'The Prowler' could have been better than it was. While Heflin and Keyes are spot on individually, the central chemistry felt on the bland and underdeveloped side. The ending aside, too much of the second half isn't quite as focused as the first, it loses tautness and parts do veer on implausible.

Also found myself frustrated by some of Keyes' character's behaviour and decisions, where they didn't make sense or seem silly.

Concluding, not a classic but recommended despite its unevenness. 7/10.