Gun Crazy: Le démon des armes

What is the quintessence of a film-noir? A good answer is: an evil strong woman that manipulates a weak, although basically decent, man, involving him in a crazy love, doomed to a tragic ending. Then we can safely state that "Deadly is the Female" is a perfect instance of film-noir.

The movie has outstanding merits. The cinematography, and especially the camera-work are excellent, and comparable to the best achievements in the film-noir genre. Justly celebrated are the scenes filmed with the camera inside the car, like that of the bank shot in Hampton, a true cinematic gem. John Dall and Peggy Cummins, in the roles of the doomed lovers Bart and Annie Laurie, make a great job. The story starts slowly (a minor drawback), but as soon as the two lovers cross the border of legality, the movie acquires a quick, exciting and ruthless pace and presents a powerful finale.

The psychology of Bart and Annie Laurie is studied with care. Annie Laurie is a systematic liar. With Bart she always looks sweet, deeply in love, even subdued to her man. To justify her shootings and murders, she always whines with Bart that she had lost her nerves, that she was scared. But when Bart is not present, the viewer gets from her body language and the cruel expression of her eyes that she just loves to kill. Great job by Peggy Cummins.

So does Laurie just make use of Bart for her dirty purposes, to satisfy her own depravity? Not at all. Oddly enough, in another famous scene we see that Laurie really loves Bart with all her heart. Only, she is bad and cruel, that's her inner core. And is Bart so stupid and bewitched not to realize that Laurie is going to ruin him? No, he knows it, and he deeply suffers, but ultimately he doesn't care. Only Laurie counts. Desperately crazy love... how fascinating! (at least in a film-noir).

The script offers several memorable lines, and the many subtleties give realism to the story. For instance, Bart and Laurie are not professional criminals, and they show it when they carelessly spend "hot" money, which will cost them dearly.

"Deadly is the Female" is an excellent film, a relevant nugget in the film-noir gold mine. Highly recommended.

At the time, such an idea of having the heroes being the criminals was un-heard of, but Joseph H. Lewis's film deservedly has its claim of being the little B-movie that could (forgive the mechanical analogy) by inspiring the French new-wave and other films like Bonnie & Clyde. The idea of having a tragic love story pitted in the middle of noir facade was also seen in the equally powerful low-budget They Live by Night. But while Nicholas Ray's film is more impressive on its emotional stakes, Gun Crazy rakes up points for some of its technical achievements. The style implemented by Lewis and DP Russel Harlan (also responsible for the great photography in Red River) adds excitement to the more suspenseful, even violent scenes, and adds some sentiment to the softer ones involving the couple. And I love the scenes where young Bart can't seem to put away his fascination with guns.

Bart (John Dall) starts off as a boy, and in some of these early scenes (some of the best in the film), we see how he is changed by an unfortunate act, and then the story skips ahead suddenly. Now Bart is an adult, out of the army, and gets re-introduced to guns once he meets his soon-to-be love and partner in crime, Annie, played by Peggy Cummins. From there, after getting married and needing (or rather wanting) money, they start robbing banks across country, but soon to meet their demise. But more than anything, the film's focus isn't one where 'crime doesn't pay' or some kind of typical, of-the-period nonsense. Like the Asphalt Jungle, we're given these conflicted, emotional beings who may meet their own ends with each other before the law. And in the film-noir tradition, it's the woman here who will act as a main catalyst for the end of them. It's psychological side of danger, pathological lies, and the pattern of a downward spiral in having to commit violent acts (even un-intentionally), becomes what really pulls in the viewer into the picture, aside from the more loose, on-location 'real' style and interesting camera-work.

Under more 'B-movie' conditions, Lewis sneaks in plenty of chances to look past some of the more cardboard cut-out forms the characters could have been. The acting by the leads is also very good, the script mostly by Dalton Trumbo is one of his best, and both understand how one reflects the other. Cummins is perfect in her part, even if Dall isn't quite as much a stand-out (though, of course, he's the sap to her more wicked side). Also out of the script comes cool lines like the one listed in the summary. It's a notch above many other B-noirs of the period, and should be seen by most serious fans of the 'mood' that came in noir films. A bit cynical, fatalistic to be sure, but it's smart too.

Bart Tare (John Dall) had a fascination with guns from an early age, even getting sent to a reform school at the age of 14 for yet another gun related incident. Back home now as an adult, after a stint in the army, he falls for a sharp-shooting carnival girl called Annie Laurie Starr (Peggy Cummins) and promptly joins the act. But after a fall out with the boss, the pair hit the road and turn to a life of crime - with Annie particularly showing a thirst for gun-play.

No doubt inspired by real life outlaws Bonnie Parker and Clyde Barrow, "Deadly Is the Female" (AKA: Gun Crazy) is as good a "doomed lovers on the lam" picture that has ever been made. It may be a "B" movie in terms of production, but no doubt about it, this film is stylish, crafty and also very sexy. Directed by the unsung Joseph H. Lewis ("My Name Is Julia Ross/The Big Combo"), it's based on a story written by MacKinlay Kantor that was reworked by Millard Kaufman (AKA: the then blacklisted "Dalton Trumbo"), into one that links sex and violence whilst simultaneously casting an eye over gun worship and its place in the American way of life. Dall & Cummings looked on the surface an odd pairing, but under Lewis' direction they go together like gun and holster (ahem). He is well spoken, almost elegantly fragile with his musings, yet underneath there is still this twitchy gun fanatic. She is savvy, almost virginal in sexuality, but ultimately she's a wild cat who's practically un-tamable.

The work of Lewis here should not be understated, check out the quite sublime continuous one take bank robbery. While marvel throughout at his long takes, use of angles, deep focus and jerking camera movements - all of which dovetail with our protagonists as they go on their nihilistic journey. But perhaps his master-stoke was with his preparation tactics for his two leads?. Sending them out with permission to improvise, he fired them up with sexual pep talks, and the result, in spite of the inevitable "code" restrictions, is a near masterpiece, a true genre highlight, and a film that continues to influence as much as it still entertains. 9/10

Gun Crazy (1950)

The clumsy original title, Deadly is the Female, is surely accurate. Boy was Peggy Cummins perfect in this role, and it's odd she did little else with her career. She's no searing dame as in other noirs, but she's a kind of regular, cute girl who attracts not men, but one particular man, played by John Dall. Dall is a perfect victim. He plays the innocent ordinary American guy perfectly, better than even a James Stewart because he has no charisma, no ability to inspire those around him.

So Annie and Bart form a pair of misfits who fit together. And they both love guns, and are really really good with them.

The plot is pretty straight forward from here, but it's fast, and photographed with more vigor than most better films. The dialog pushes the artifice of noir-speak a bit hard, but I swallow it whole and love it as style. And besides, these are two unsophisticated people who might just talk a little corny and dramatic at times. And Annie is truly unpredictable, and her ups and downs are a thrill for us as much as a worry for poor Bart.

Yes, a femme fatale and a noir hero, isolated and doomed. And some riveting long take photography including the now legendary camera view from the back seat of a car, on and on, and on, showing them driving, getting out, waiting while they rob a bank, swerving out a little to look out the window, pulling back, and following them on their escape. It's about as good as B-movie camera-work innovation gets. Cinematographer Russell Harlan was an A-movie quality guy from the studios, later to do "Witness for the Prosecution" and "To Kill a Mockingbird." The angles, the close-ups on their sweaty faces, the moving camera. Check it out.

This is a great movie, in all. Legendary for many reasons. It has flaws if you want to see them that way. Or it has all the raw energy of a scrappy fighter who is determined to win, and does.

No need to echo consensus points or plot details after a hundred or so reviews.

Yes indeed, much has been written about Lewis's little gem and deservedly so. What I get from it is how trapped Bart (Dall) is by forces he neither understands nor controls, until it's too late. On one hand there's Annie Laurie Starr (Cummins) whose raw sexuality is about as subtle as Mae West on aphrodisiacs. On the other, is Bart's natural talent with guns, the only thing he professes to be good at. So when the camera pans up from Laurie's thighs to the twirling six-shooters in the carny sideshow, Bart's in some kind of NRA heaven.

Then after he shoots out her last flame to show who's gun boss, their betrothal is sealed. At this point, they could retire to a Remington plant somewhere to live out conventional lives, except for one problem--- Laurie gets turned on by violence, especially with a revolver, while Bart's a converted pacifist, allergic to killing anything. So the problem is if Bart wants some of Laurie's white-hot sex, he's got to collaborate on her life of crime. Poor Bart, he'd like to be just another married couple, but temptress Laurie is just too much for his confusion. Plus, it's not a ring that bonds them, it's two clutching hands on a revolver that seals their love. For Bart, it's a spell he can't break until the mist finally swallows them both.

No doubt about it, Lewis has concocted a visual masterpiece that frames the story perfectly. However, I'm still wondering how Bart can shoot out a cop's tire through a glass pane without breaking it. Oh well, no movie's perfect.