Pris au piège

Dick Powell was one of those classic Hollywood actors who was so laid back, so cool, so quick with the one-liner that he made most other actors seem positively dull. Even in the tightest of corners, he could always manage a suitable quip – and in this outing (as Laurence Gerard), he has his fair share...

He's ably supported by Walter Slezak (as Melcior Incza – what a name!) who once again plays a double-dealing con artist always looking for the main chance – in this case, trying to make a few more dishonest bucks helping – or is he hindering? -- Gerard track down the dirty traitor Marcel Jarnac (a short but fine performance from Luther Adler) who is responsible for Gerard's wife's death in France towards the end of World War II.

So, the quest in on. Along the way, Gerard travels from London, to France, to Switzerland and finally to Argentina where he finally begins his search in earnest. From that point until the end, the twists and turns in the plot remind me of the confusion that permeated The Big Sleep (1946). Cornered, however, does arrive at a satisfactory conclusion, unlike the Bogart classic which still puzzles viewers today (I've read that even Bogart remained unclear about the plot of The Big Sleep also).

However, back to this one...

Overall, I liked this film for its great use of darkness, shadows, excellent mise-en-scene, as befitting film-noir, and the sharp dialog; I thought, however, the pacing of the story was a bit slow at times and that some of the cuts were often very jerky, thus resulting in uneven narrative transitions. And the really big omission is the absence of an effective femme fatale. The rest of the production was okay and, for 1945, was equal to other B-movies of the genre.

Dick Powell went on to do more film noir (Johnny O'Clock, Pitfall, Rogues' Regiment and others) until 1954 when he opted for the emerging TV juggernaut. So, if you've missed this one up till now, it's worth the 102 minutes out of your life just to listen to Dick Powell and watch him grimace while he cracks sardonic jokes...

It seems as if Dick Powell is almost forgotten today, which is a shame. A wonderful actor, singer, and incredible producer, he gave Sam Peckinpah and Aaron Spelling their starts, and his "Dick Powell Theatre" on TV was marvelously entertaining. Unfortunately, cancer would take him at the age of 59. But he packed a lot into those years.

Transitioning out of the Warner Brothers singing juvenile, Powell made "Murder, My Sweet" with the same director responsible for "Cornered," Edward Dmytryk, who would find himself blacklisted later on.

Here, Powell plays a Canadian flyer, Laurence Gerard, who goes to France after the war to find out who is responsible for his wife's death. He learns it is a Vichy collaborator, Marcel Jarnac, now dead himself.

Gerard doubts that Jarnac is dead, and his search for Jarnac takes Gerard to Argentina, where many Nazis have settled. Before long, Gerard realizes that he is unable to trust anyone, even those who claim to want to help him.

This is a very good movie, which also stars Walter Slezak as a man who sells information, as well as two Broadway stars, Luther Adler and Morris Carnovsky. Carnovsky was named as a communist by Elia Kazan but enjoyed a great stage career, dying at the age of 94.

Well worth seeing for the good performances, direction, and story.

Cornered (1945)

"You can't be serious," the cheerful man said to Dick Powell, playing an ex-soldier in post-war Argentina. "I'm always serious," Powell replies. And he is. This defines the actor, and the character, and the doggedness of this character's pursuit of some mystery in the movie. It's impressive and wearing--a little humor might make him more human, yes, and it would also make the move more watchable. The cheerful man is a mystery, too, played with usual irony and crossed agendas by Walter Slezak (seen in a similar role in "Born to Kill").

Director Edward Dmytryk is as usual just short of superb. I don't think he has a bad film, but he often worked with compromised material (the story here is an example) or he worked too quickly (my guess) to pull together something extraordinary. But putting it this way is meant to say this movie has lots of aspects that are great.

One strength is the section of shots of what looks like genuine war torn France made months after the end of fighting. Another highlight is the film noir style throughout--the lighting, the clipped dialog, the lone man against the world, the brooding depression. Powell is his own kind of attraction. As offputting as his anger can get after awhile, it's exactly what makes him good, bullheaded and bulldozing his way through a complex network of enemies (who would really just kill him in short order if this was a realistic film, which no noir is).

The plot is unusually hard to follow (though other noirs come close, like "The Big Heat"). And the antagonists are largely only talked about--Powell is searching for someone, and that person and his collaborators are either unseen or so duplicitous you don't know where he stands, and so the ominousness gets vague, but also beautifully diffuse and omnipresent. It is this oppressiveness that is part of the success here, even as you get lost with the details of the plot. There are some nice night shots (one briefly in the park is ominous) and many facial close ups. There is a terrific conversation on a subway platform with the noise of the cars drowning out the talk now and then, great audio effect. And so the filming is worth the ride alone at times. The music is intense and dramatic, the bit actors really powerful even if they sometimes do foolish things (the valet getting shot, or half of the things Powell does).

In the film noir "cycle" this is early--the core films come after WWII, so this, along with "Double Indemnity," is cutting edge in that sense. It's also definitive in its mood. It's not a crime film, not a gangster story (which is where the hard film style has its American roots). It's a plot about how a person tries to rearrange his life after having it messed up, internally and externally, by the war. Powell is a perfect early noir leading male (the other famous one in the 1940s is Bogart). So this is a critically important film, maybe more important than truly enjoyable, but if you like noir it'll be terrific enough to hold you. If you aren't predisposed to like this kind of story, you'll find it meandering and dull and confusing. Me? I'm predisposed to like it, and I did, and I'll even watch it again, probably figuring it out a little more and enjoying it better.

If it was post-war disillusionment that fuelled the booming film noir movement of the 1940s, then 'Cornered (1945)' might just be the most bitter, disillusioned noir of them all. Though I can't claim to be Edward Dmytryk's greatest fan, I enjoyed 'Murder, my Sweet (1944)' because of its evocative atmosphere and Dick Powell's cocky, swaggering Philip Marlowe. This film gets the atmosphere angle right, but is so utterly devoid of humour that there's little entertainment to be found through watching it. Powell, in his second and final film for the director, seems to be taking the role so seriously that he's almost bored with the material. His exceedingly grim performance has shades of the sleepy-eyed austerity that Robert Mitchum did so well – unfortunately, only Mitchum could ever pull it off correctly. Nevertheless, the shadowy photography of Harry J. Wild {who has many noirs to his credit, including 'The Woman on the Beach (1947),' 'They Won't Believe Me (1947)' and 'Macao (1952)} is predictably gorgeous and enigmatic, re-enforcing the murky themes at the film's heart.

When Canadian pilot Laurence Gerard (Powell) is released from captivity at the end of WWII, he is understandably grief-stricken to learn that his wife has been executed by Nazi conspirators. Though the man responsible, Marcel Jarnac, is presumed dead by authorities, Gerard suspects deception, and travels down to Beunos Aires to uncover the truth. What Gerard encounters is a party of dubious Frenchmen, whose continued loyalty to greed and corruption are keeping the Nazi spirit well-and-truly alive. Our hero's approach is not the most subtle of tactics – he never bothers to hide his true intentions, and so deliberately places his own life in constant jeopardy, rushing determinedly into danger without ever considering the possibility that he's walking straight into a trap. Is Jarnac's beautiful wife (Micheline Cheirel) really as innocent as she claims to be? Is the city's leading "tour guide" (Walter Slezak, in another terrific role) an impartial operator who can be trusted with secret information? Is the German collaborator Jarnac right before Gerard's very nose?

I've always found Dmytryk to be a very workman-like filmmaker, though there's little doubt that his 1940s noirs constitute the creative peak of his career. Clever stylistic touches, like the climactic bashing that slides out of focus in an adrenalin-charged delirium, complement the narrative nicely, and Wild's cinematography can do nothing but enhance the film's merits. However, the story itself dwells too long in gloomy territory, such that there's little of the usual entertainment or invigoration to be derived even from the richly-crafted atmosphere. Only in the blood-soaked climax is Dmytryk able to build up some degree of momentum, and Luther Adler's enigmatic cameo role is certainly memorable; he has a strong, deep voice that occasionally suggests that it is Satan himself speaking diabolically from the shadows. 'Cornered' is a worthwhile film noir, with solid craftsmanship throughout, but the unrepentantly dark tone makes for somewhat empty, unsatisfying viewing. Just like the story it depicts, I suppose. Once the adrenaline of war has worn off, there's nothing left but sadness, regret… and shadows where our loved ones once stood.

A lot of the Hayes code seems destined for the trash heap in this film. We see women who are obviously willing to sleep with our protagonist. There's blood. There are bodies, right out in the open. Burned up or riddled with bullet holes, there they are. One of our characters gets slugged in the mouth and we see a bloody drizzle escaping his lips.

Yes, the Hayes code took a beating with this one.

There are dark, sinister looks, from dark sinister people. Gerard (Powell) is surrounded by murderous people and we don't know who is for him or against him. At least not until the end of the film.

This one film is proof positive that the innocence of America is long gone. No one is smiling. No one is truly happy. Everyone is on edge because, even though the war is over, our cast is headed for a long torturous road to normalcy. We are all hoping they make it.

During the war, Gerard (Powell) is returned to friendly territory were he recovers from his wounds. While in hospital, he receives a letter from his wife's father, telling him that his wife is dead. Gerard knows something isn't right and that "Dad" isn't telling the whole story.

He applies for a visa and is told a background check (his) will take a month. He returns to France illegally, to get answers. And thus the fun begins.

This is excellent film noir told from the perspective of writers, a director, and producer who have been affected by real war.

It shows.