La tigresse

No need to recap the convoluted plot. The movie's a sleeper among noirs, thanks mainly to an unpredictable and well thought-out screenplay from writer Huggins. Just when you think you've got things figured, you don't. I especially like the way Huggins subtly reverses Jane's (Scott) and Danny's (Duryea) competitive relationship. Watching the two circle each other is like watching two hungry sharks. Apparently, they want to mate but don't dare get too close. Note too, how effectively director Haskin uses the stylish wide-brimmed hats to veil the identity of men entering a room. I don't recall this clever effect in any other film. This is also one of the few noirs to make the central character a woman (Jane) instead of a man.

Then too, it's a very well cast movie. Duryea is of course Duryea, a major icon of noir. On the other hand, Scott was always more a presence than an actress. Still, her presence here is used to good effect as a greedy spider woman, even if she doesn't achieve much depth. But I especially like the underrated Don DeFore. His trademark nice guy is also used to good effect in what turns out to be something more than just a nice guy. (Be sure to catch ex-Dead End kid Billy Halop as the cranky boat manager.)

I guess the only missing element from classic noir are the angular shadows of moral ambivalence. Haskin does film a number of night scenes, but I don't spot the classic lighting. Perhaps that's because his specialty as a director was science fiction and adventure films. Anyway, I'm not sure why this withering little drama hasn't achieved more recognition. Maybe it's because it was an independent production without studio backing. But whatever the reason, the movie remains a gritty little noir worth catching up with.

Lizabeth Scott did her best remembered work in film noir (more than half of her only 21 screen credits fall within the noir cycle), and became one of its iconic faces. Rarely, however, was she called upon to play the fully-fledged femme fatale, and there's probably a reason for this: She couldn't bring off duplicity.

Her smile had no shadings into wry, or ironic, or smirky; it had but one setting – a fresh, guileless grin that lit up like a Christmas tree. F. Scott Fitzgerald (in his sad screenwriting days) observed of Joan Crawford that you couldn't give her a simple stage direction like `telling a lie' because then she'd give an impersonation of Benedict Arnold betraying West Point to the British. But Scott can't manage even that, which results in confusingly mixed signals when her characters are motivated by malice, like Coral Chandler in Dead Reckoning: Her smile keeps convincing us that she's on the up-and-up.

Her damn smile keeps switching on in Too Late For Tears, even though there's no doubt that she's one hard, cold case. She and husband Arthur Kennedy are bickering one night en route to a party in the Hollywood Hills when suddenly a suitcase crammed with cash lands in their roadster. He wants to turn it over to the police, but she persuades him to think it over, so they check the valise at Union Station. When she starts buying clothes and furs against the checked capital, it's clear she has no intention of surrendering the windfall; we learn that her background was `white-collar poor, middle-class poor,' and that she'd made a previous marriage solely for money.

Strange men start ringing her doorbell. First Dan Duryea shows up, a blackmailer for whom the payoff was intended. He slaps her around playfully (`What do they call you – besides stupid,' she taunts him. `Stupid will do – if you don't bruise easily,' he purrs back). Quickly Scott maneuvers Duryea into helping him murder Kennedy but still won't tell him where the money's stashed. Though wary, he falls for her, starts hitting the bottle, and grows careless. Meanwhile, Kennedy's sister (Kristine Miller) harbors suspicions about his mysterious disappearance. When the next caller (Don DeFore) shows up, claiming to be an old Air Corps buddy of Kennedy's, she makes an alliance with him to find out what's really going on. And the claim ticket for the money keeps changing hands....

The plot is none too simple, and in consequence director Byron Haskin spends a lot of time trying to keep it clear rather than addressing some questions about character and logic that inevitably arise. Why did the avaricious, manipulative Scott marry Kennedy in the first (or second) place? Why does the sister live so conveniently close? How did Duryea, and for that matter DeFore, find Scott so easily? But few thriller plots are so tightly constructed that they survive rigorous analysis. Too Late For Tears passes muster as hard-boiled, late-40s noir and as one of Scott's hardest, strongest performances, inappropriate smile and all.

My 6th Noir in a self-managed study of Noir.

The web of deceit weaved by this crazy blond is a marvel to behold. Her brazen disregard for common sense, and the way she controls people around her, make her quite hate-worthy, which would make the actress Lizabeth Scott pleased to know.

Kristine Miller stole my heart with her grace and femininity as the innocent in-law, trying to make sense of the mad house of characters dropping in and out of her brother's apartment.

The toxic, manipulative love/hate relationship portrayed by Dan Duryea and Lizabeth Scott radiated sparks of electricity. See if *you* can figure out where that thing is headed. Only one of them can get the upper hand in this caper.

As I watched the version on Archive.org, I found myself wondering, "How are they going to wrap this up with only a few minutes to go?" knowing the clock is running out only heightens the tension of this nifty Noir.

Why aren't more people suspicious around such toxic characters? Maybe we all dread looking behind that curtain. Classic tragedy speaks to this.

This is some excellent story-telling, and is highly recommended.

Lizabeth Scott sinks her teeth into the role of a ruthless woman in "Too Late for Tears," also known as "Killer Bait," a 1949 film directed by Byron Haskin and written by a man who later became a very popular TV writer-director and creator of some top series, Roy Huggins.

The film also stars Dan Duryea, Don DeFore, and Arthur Kennedy.

Scott plays Jane Palmer, the wife of Alan Palmer (Kennedy) - while driving one night, someone from another car throws a satchel into their car. It turns out to be $60,000 (the equivalent of $598,000 today). Alan doesn't want anything to do with it, preferring to take it to the police, but Jane wants to keep it and spend it. Finally she convinces him to hide the money and wait for a time.

Jane, it turns out, is one tough cookie, and without giving much away, let's say that getting her hands on that money becomes her full time job, and she's determined that nothing and no one will stand in her way. Unfortunately for a few people, they stood in her way.

Really terrific noir set in Hollywood, with Dan Duryea playing a sleaze, but actually less of a sleaze than Jane - he's more of an opportunist than evil; Don Defore is friendly and unassuming as a friend of Alan Palmer's, and Arthur Kennedy, one of the finest actors in film, is just plain wasted. Perhaps this was a film he had to do in order to fulfill a contract, or it was a loanout on trade - it was a waste.

It's Scott's film, and with her husky voice, lovely smile and pouty lips, she's able to, at first anyway, hide a core of steel underneath.

Very good. If you're a fan of film noir, see this one.

Jane and Alan Palmer accidently receive a satchel containing sixty thousand dollars that was intended as a blackmail payoff. Alan wants to turn the money over to the police, but money loving Jane wants to keep it. Meanwhile the blackmailer confronts Jane about his absconded payment. Greedy Jane murders her husband and then pretends to make a deal with the blackmailer. However, a ghost from Janes past returns to be her undoing.

Considering that Byron (WAR OF THE WORLDS) Haskin was never a really good director of actors, this film is very well acted. The cast turns in first rate performances, so good in fact that the performers almost make the viewer not notice that this film has a very far fetched, convoluted plot.

I have seen a lot of these "film noirs" and of all of them, TOO LATE FOR TEARS is probably one of the most cynical. Few other films I have seen have this thick air fatalism hanging over it.

Kristine Miller who plays Alan's sister Kathy, is one of the most beautiful women to grace the screen. This the first time I noticed her, and it's a shame her film career was rather short, and rarely had large roles as she had here.

One note: If you pay close attention, you will see former "Dead End" Kid leader Billy Halop in small role as a boat attendant.