marilynhenry

Dark Corner is one of my all-time favorite film noir movies. Mark Stevens was my reason for seeing it the first time--I was sure he was going to be a major dramatic/romantic star. I had first seen him in a cheap little B called Within These Walls, and wrote to him immediately, telling him he was definitely going to be a star in a year. He wrote back and thanked me and adolescent me was thrilled. I still have the photo he sent. In a year's time he was cast opposite Olivia De Haviland, and I was sure he was on his way. There were other good dramatic parts, then he started doing the light technicolor musicals, often with June Haver, and this was a let-down to me, a dedicated Stevens fan. Lat time I saw him was on Murder She Wrote--recognized the voice instantly. He was still devastatingly handsome. But The Dark Corner remains my favorite of his work, peopled with an excellent cast and with lots of marvelous noir atmosphere. Now that TCM has their own Noir program and host (2017), this fine quality, well acted and produced noir film should show up often there. Mark Stevens should have gone on playing this sort of role, leaving the musicals out of his resume. I admit I was not a big fan of the movies Lucy. But I really did like her in this, a different role for her. She was still the brittle, wise-cracking dame, but softened and a bit vulnerable and more real than the chorus cuties she too often played. A good cast, impressive stars, atmospheric music...this film is far, far better than anyone seemed to think at the time of it's release...

This remains one of my all-time favorite movies. I had read the Caspary novel first, and knew I had to see the movie when it first came out in the late 1940s. (I was in high school and was a life-long avid movie goer.) The film starred two of my favorite actors, Gene Tierney and Dana Andrews. I was already an artist who loved fashion, and the wardrobe in this film really impressed me and still does on repeated viewing. Tierney standing there in the white raincoat and that marvelous rain hat was stunning! Bonnie Cashin won much acclaim for her hats for Laura.

It is nearly impossible to talk about the plot without committing spoilers so I won't. Just know it is one of the best of film noir mysteries with puzzlers, plenty of drama, and surprises at nearly every turn. The dialogue is witty and revealing and the actors handle it superbly. The haunting musical theme enhanced the romantic drama and later became a major song hit with lyrics by Johnny Mercer. I guess my biggest problem with the story is how Laura, apparently a beautiful, bright, capable girl, could have taken up with so many losers and a such a shallow group of friends.

Another problem for me was the casting of Vincent Price as Laura's fiancé--I could never imagined him as a leading man. He was also Tierney's fiancé in a later film, 'Leave her To Heaven', but the role was brief and without romantic scenes. And of course, Clifton Webb is also very obviously a man unlikely to fall for a woman--but if you consider that the much older Waldo was simply controlling and obsessive it works.

This film turned out far better than anyone might have supposed, since at least two prominent directors turned it down because they didn't much care for the script. Gene Tierney worried her part would suffer because she wasn't in the film right away and then only as a recollection. The studio first considered Laird Cregar as Waldo, but Preminger said no-- the audience would see him as a villain the moment he appeared because he had played so many villains. Instead, Preminger wanted a middle-aged stage actor who had no movie experience, Clifton Webb, which at the time seemed a chancy choice. But he was perfect and the part made him a star. His waspish tongue and effete delivery did Waldo to a turn. In the book there is a scene where Waldo and Mark go into an antique shop where Waldo admires and wishes to buy a vase. It is not for sale says the shop owner, and somehow before they exit, the vase gets tipped and shatters to the floor. Considering Waldo's pattern of disposing of Laura's men and friends, it is a telling moment. (The moment is not in the film.) He seemed to feel he created her, owned her, taught her all she knew--that is his obsession with the exquisite creature that was Laura.

It is easy to see Mark becoming drawn into that fascination as Waldo obssesses. That gorgeous portrait over the fireplace was not actually a painting--it was a photograph which was touched up with oils to look like it was painted. The studio had commissioned a painting, but it didn't satisfy them. After all, much is focused on that portrait, so it had to be right.

Once you have seen the film, you may want to read the novel. Oh, and the movie won one Academy Award--not sure what for. Likely the camera work which is evocative film noir.

This was the kind of film that was the bottom bill and I saw it when I was a teen. I don't recall precise plot points, but I remember the actors, and especially one, Mark Stevens. When he came on, I sat up straighter in my seat. Here was someone who I felt was going to be a star. He had that magnetism, that thing with the camera. Thomas Mitchell was a decent character actor who did good work in this and while I was not a fan, Edward Ryan was good as the rebellious son. And Mary Anderson, who did so many Bs, was okay, too. But Mark really stood out.

When I got home, I immediately wrote a fan letter to Mark Stevens, telling him I was sure I'd be seeing him starring in movies soon, that he was destined for stardom. I received a very friendly, appreciative letter from him and included was a gorgeous 8x10 photo of him, personally signed. (the studios seldom sent photos of that size.) And I was right--Mark was co-starring with Joan Fontaine a year later. And with her sister a year after.

That had to have been at least 68 years ago and I still have that photo. One evening I was watching a 50-some rerun of Murder She Wrote, not paying close attention, and I heard a voice. I knew that voice and I stared at the actor. He looked so familiar, an older, white haired man--and it dawned on me. Mark Stevens! I waited for the credits and yes, it was Mark.

So this film has been embedded in my brain all these years