Johnny Angel

Johnny Angel was a movie that gripped me early and tightly, but when all is said and done left me wanting a bit more.

The characters are first rate: George Raft is plays your trademark noir good guy with rough edges leading role and does so very nicely. Claire Trevor plays a calculating woman with a heart of ice that only Johnny can melt. Both give very strong performances; I felt that they could have used some more development, but I almost always do with these types of movies. Hoagy Carmichael is a first rate supporting character in Celestial O'Brien, a quirky, musical taxi driver. He is right up there with my all-time favorite secondary characters. The rest of the cast is decent, not nearly as strong as the above three, but not weak enough either to really detract from the movie.

The overall feel of the movie is superb. The cinematography is generally dark and gritty (as is typical in the genre) and really draws you into the scenes and gets you emotionally involved. The scene where Johnny is searching the ship by himself was especially excellent, it had me on edge the whole time. The director, Marin, really did a first-rate job on the film, and it's worth watching just for the acting and the direction.

The story had good points and bad points. The basic plot line is quite good and fairly fresh, considering the usual formulaic plots noir often gives you (not that I mind terribly). Other comments will give you the basic plot outline, so I'll skip it, but let me say that it is, at first anyways, even more interesting than you might think. The problem is, the movie doesn't quite flesh out all of the aspects of it and leaves several loose ends and plot holes. It's really exasperating, and almost made me rate the movie even lower, but I won't spoil the plot here by mentioning the specific holes. It's hard for me to fathom why the movie starts out so strongly and then ends so sloppily! I believe it was based on a play, so perhaps the play script got a bit mangled as they tried to fit it into the feature film/noir mold, or there were budget problems. It is a rather short movie, they certainly had time for more plot and character development.

But, all that aside, it is a very solid film that is well acted and directed. Even if though the thought of what it could have been is frustrating at times, the plot still never fails to keep you interested for the length of the film. It probably won't go in my collection, but I would still recommend it to anyone who likes classic movies or noirs to give it a watch.

Put Humphrey Bogart in the title role and this would be remembered along with the likes of "The Maltese Falcon," and "The Big Sleep" as a true classic. With George Raft as the lead it's not quite a classic but still damn close. Frankly I was expecting a B movie and was simply knocked out by how good it was. I'm not going to dump on Raft the way some others have because, while unquestionably a limited actor, he did have a solid presence about him and is undeniably effective at times despite his obvious limitations.

Raft is at his best when he's asked to be tough, relentless and decisive. He gets into trouble during those scenes where he's required to be scheming or thoughtful; saying one thing while thinking another. Let's just say he's not real big on nuance. That hurts the latter half of the film where the audience really needs to FEEL his escalating outrage, impatience and thirst for revenge (such as Dick Powell is able to convey in the classic 1945 film noir "Cornered.") The way Raft plays it, what you see is what you get. Everything is on the surface. You assume he's only romancing Claire Trevor's femme fatale to find out more about his father's murder, but Raft doesn't give you the subtext. It just seems like a lackluster and rather puzzling liaison, considering how angry and anxious he had previously been to uncover the truth.

But Raft is much more inspired throughout the first portion of the film and actually does register true pain and regret over his beloved father's death as he's roaming the - supposedly - deserted ship. (A Nosferatu-like premise that sets a truly eerie, haunting tone which never lets up.) And his no nonsense, take no prisoners search to find the killer showcases Raft at his very best. An early scene with fragile Signe Hasso where he brutally interrogates/romances her absolutely crackles, and culminates with a great film noir line. Just before Raft wipes away a tear from Hasso's face he growls, "Looks like rain."

But the true star of this film is director Edwin Marin. Talk about painting with light - this is one of the most gorgeously photographed, most visually arresting films I've ever seen. It just OOZES mood and atmosphere - not to mention some serious post-war disillusionment. And Marin's camera work is equally stunning as he tracks and pans and zooms and frames each shot in fresh, exciting ways. It's one of those movies where "The Past" is almost an actual character always lurking in the shadows that NO ONE can escape. But what else would you expect from something with a quintessentially cryptic noir title like "Johnny Angel"?

In fact I wouldn't be surprised if Alan Parker wasn't paying homage to this little gem with his not dissimilar, equally unsettling "Angel Heart", also set in New Orleans. Mickey Rourke's character in that 1987 film was also named, I believe, Johnny Angel.

Early on a floozie throws herself at Raft and he brushes her off. She complains to no one in particular with a shrug - "Looks like Angel is wearing his halo tonight."

You want noir? THAT'S noir.

Almost everyone says the same thing about this very-well-done noir mystery. they wish someone other than George Raftrhad performed the part. He played the son of a sea captain., When his father's ship drifts into port with no one aboard, he does not accept that his father had absconded or committed a crime; he goes into action trying to find out what really happened, stay alive, and clear his father's name. Of course the company's owners deny any knowledge of what had happened. So Raft has to end up romancing one of their women and enlisting the reluctant help of a frightened girl who knows more than she is telling before he can ferret out the murderers, who were robbers on a grand scale as well. Frank Gruber and Steve Fisher were responsible for this taut and fast-moving screenplay; the film was directed in B/W by Edward L. Marion, and he deserves most of the credit for the excellence it achieves in many departments. He is helped bu the cinematography of Harry J. Wild, art direction by veterans Albert S. d'Agostino and Jack Okey, the fine set decorations by Darrell Silvera and William Stevens, costume designs by Reni and Leigh Harline's jazz film score counterpointed by Paul Francis Webster's songs and Hoagy Carmichael's prior compositions used in the film. In the very good cast, the viewer should note besides Raft, who as some reviewers have noted, tends not to have nuances but does well as a one-note line reader, Marvin Miller, Margaret Wycherly, Signe Hasso, Hoagy Carmichael as a cabdriver named Celestial O'Brien, Claire Trevor, Lowell Gilmore, J. Farrel MacDonald and Mack Gray. Much of the movie was shot in low light, or simulated night, or fog or cramped quarters. This makes Marin's directing achievement all the more impressive. The pace works like a stopwatch; and the relationships between strong characters is carried out well in dialogue, in actions and in interactions of a peaceable or a violent sort. With a great lead, the film would be a classic; but Trevor and Hasso are very good indeed and Miller has an interesting character to play for once. Catch this one.

Johnny Angel (George Raft) finds his father's ship abandoned and adrift. He assumes that his father, as the Captain, would not abandon ship and is probably dead. He sets out to investigate. He tracks down surviving passenger Paulette Girard who tells him about a secret gold shipment being stolen by a gang of killers.

This is a standard noir. Raft is very ordinary as a leading man. The most memorable part is Paulette's flashback. There is a lack of spark in the performances and story. I have to attribute it to Raft as a performer. He's trying to be Bogie but it's not in him.

George Raft made a lot of films I enjoyed. However, despite enjoying the pictures, I must admit that he had almost no emotional range in films and was prone to appearing wooden. He was at his best when playing a thug...other roles were a bit more problematic, especially love stories. It just wasn't his forte. But somehow, despite his range, I almost always liked his movies...so when I found "Johnny Angel" on TCM, I was sure to watch it as it's one of his pictures I haven't seen.

When the film begins, Johnny Angel (Raft) is the captain of a merchant vessel that comes upon a derelict ship in the sea. It turns out that it's his father's ship...but there's no trace of anyone aboard nor any indication where they'd gone. However, the ship was a mess...as if there was some violent altercation. When the ships arrive back in New Orleans, the tacitern Johnny goes through the French Quarter looking for clues...as well as the woman whose shoe he found aboard the derelict ship. Perhaps she was hidden and managed to slip off the boat and she could explain what happened to the ship and crew. See the film to find out the rest of the story.

Like so many other Raft films, despite his wooden performance, the story was enjoyable and worth seeing. I especially liked the femme fatale role played by Claire Trevor. Worth seeing.