O Destino Bate à Porta

The original book published in 1934 by James M. Cain (author of "Double Indemnity") was a gritty unsentimental story of a low-class drifter and bum, Frank, who is taken in by a German immigrant, Nick, who owns a roadside café and his beautiful wife, Cora, who turns out to be much darker on the inside than the facade of her pure white skin. Cora, we learn, is dissatisfied with her life married to this older immigrant and the drifter becomes her catalyst to change her situation. The movie adaption of twelve years later is a slightly sentimentalized version of Cain's noir classic. That said, the movie still holds its own as a noir tale of betrayal and murder, but doesn't quite have the edge of Billy Wilder's adaption of "Double Indemnity".

Still, the movie works very well under its own terms, particularly because of the outstanding chemistry between the leads John Garfield and Lana Turner. In fact, the star of the show is really Turner who turns in a tour-de-force performance. Turner continually shows us the many faces of her character Cora Smith who is sometimes weak and vulnerable and other times resolute and stubborn, even unsympathetic, and yet oozing with unrealized sexuality. We gather that Cora is no ordinary woman, or at least not the soft sentimental Doris Day type. More like a cross between Eva Peron and Madonna. Sometimes hard and mean and other times sweet and feminine, she is the complex epitome of the Cain femme fatale of this era. She remains enigmatic from beginning to end which is I think what Cain would have wanted. Garfield, in probably the role of his career, is equally superb, at first rejecting the murder scheme and then later embracing it. Although lacking the enigmatic complexity of Cora, Frank is equally ambiguous and ambivalent to his life choices, and Garfield well conveys the multi-sidedness of Frank.

The story concerns a young man looking for work, finds a roadside café up a few hours north of Los Angeles, probably up the 101 freeway, and becomes the hired help. He is employed by Nick, a simple German-stock older-than-middle-age man, who simply wants to make enough money to be comfortable and occasionally play his little guitar. His wife, Cora, is about 40 years younger and wants to make something of their café instead of just eking out a meager living. But fleeing with Nick and beginning from ground zero is not what she wants. She would like to have the café and make something of it. And when the hired help Frank falls for her, she realizes he is the perfect means to get both of them out of their hellish existence.

A fine example of 1940's film noir with many of the stylistic considerations, such as the camera panning from feet-to-face when we first meet the woman Cora, the many unexpected twists and turns, and of course the dark desires of the leads. Every series of scenes leaves you guessing as to what will happen next. A couple of scenes were contrived that were superfluous to the book. Unfortunately, the film suffers slightly because of the stringent ethics codes that started to be imposed on films of that time. Probably film noir offerings suffered more than most because of their probing the darker sides of human nature. However, Postman still ranks as classic film noir.

Someone previously questioned the meaning of the title. In my view, it refers to the double twist imposed on the story's ending by the author--especially once the legal wrangling between opposing lawyers (near the conclusion) is exposed. Then, finally, after winning a victory of sorts, the unexpected happens--thus, the irony of the title. Anyway, this is as good as it gets--you won't find a better version of this story than this 1946 film. I'm always amused to read that someone on these posts "never looks at black-and-white films", a total putdown of all the great classics that came before color was even possible. How dumb can you get? For fans of complex, hard-bitten murder yarns with gritty background and suspense that tightens slowly like a knot, this is for you. Watch as the two leads get more and more entangled in their own web of deception and lies. Turner established herself as a strong actress who could play a role to the hilt when she identified with it. Garfield, of course, was always at his best in tough guy roles. Watch for my article on Lana Turner in an upcoming issue of FILMS OF THE GOLDEN AGE--much of the inspiration for it came from this particular film noir.

Lana Turner and John Garfield are great in this classic tale of deception and murder and its hard to imagine that another actress, save Barbara Stanwyck or Joan Crawford, could have played the role of the wayward wife as well as did Turner. Cecil Kellaway has a thankless role and it's hard to believe that he was as clueless as he was about the fires burning around him as Turner and Garfield carry on their affair. Kellaway seems more preoccupied with pinching pennies than noticing how his young, attractive wife is bursting with sexual energy. Turner is as beautiful as ever but she and Kellaway don't make a credible married couple. Hume Cronyn is good as the smug attorney but the courtroom drama is a bit of a letdown. Garfield brings a restless energy to his role and matches Turner's smoldering sexuality.

Drifter Frank Chambers applies for a job at a road side café belonging to Nick Smith, only to fall under the spell of Nick's wife Cora. He falls into desire which leads to deceit and eventually murder. Too late he falls in love but by then things have gone too far. He tells his story to us with the hindsight of a condemned man.

A classic bit of noir light. Based on Cain's sexual novel this underplays the explicit references but turns the subtle stuff way up - the film opens with a `Man Wanted' sign, while Cora is so well played that there's no doubt what she's offering. Without the explicit sex of the remake this story is a lot freer to be interesting rather than explicit. The court case and the mistrust between the lovers is as good as the early desire giving rise to murder.

Lana Turner is excellent as the femme fatale, she is smouldering and very, very desirable. Garfield is also excellent as the man trapped in her web. The two are the very center of the film and are both superb. If the film has any weakness then it may be that modern audiences need more than very subtle stuff, but that's probably our problem rather than the film's.

Overall this is very enjoyable, it has a great sense of mood and builds well to the inevitable conclusion.

It is wrong to compare this film with Visconti's masterpiece three years earlier, although they are both made on the same story. They are two totally different films. They start on an equal basis, but while Visconti concentrates on sticking to hard core realism and staying firmly on the ground with basics all the way, this film soon grows more romantic as a real noir feature and then turns into extensive complications of court procedures with two lawyers involved, one smarter than the other and both with agenda of their own. It is impossible to say which one is better, I haven't read book, but I presume both films follow the book rather accurately although they diverge into their own elaborations of the case. It's a great film with great actors and great music, the cinematography is superb, there can be no complaints, but the question is who makes the better performance, Lana Turner or John Garfield. They are both at their best, while my favorite actually is Cecil Kellaway as the adorable old fool Nick. Who could ever have the heart to kill such a nice and totally amiable guy?