“There oughta be a law against dames with claws.”
Straight out of Poverty Row, what Detour (1945) lacks in budget, it makes up for in style. Written by Martin Goldsmith (The Twilight Zone) and starring Tom Neal and the inimitable Ann Savage, Detour is to film noir what The Public Enemy (1931) is to the gangster flick: it isn’t the first in its genre but it’s certainly one of the most definitive and influential. In A Pictorial History of Crime Films (1975), author Ian Cameron calls Detour “well in the running to being the cheapest really good talkie to come out of Hollywood.”
There’s no Public Enemy-style grapefruit in Detour but if there was, it would undoubtedly be Ann Savage smashing the breakfast fruit into Tom Neal’s face and not the other way around. As Vera, the unhinged hitchhiker whom our wide-eyed protagonist Al Roberts (Neal) has the misfortune of picking up, Savage is the most dangerous of all film noir dames: the femme who puts the “fatal” in femme fatale.
Continue reading “A Savage Detour into Hell: Review of Detour (1945), the (Tough) Mama of Film Noir.”
By Heather Babcock
The odd one out in a sea of perfect cheekbones and symmetrical faces, Bette Davis was the closest thing to an “every-woman” that classic Hollywood ever got. Dismissed early on in her career by studio heads who didn’t find her “sexy” enough, the feisty trailblazing Davis went on to become one of the most popular, iconic and enduring figures of film and pop culture.
In some ways, Davis was the female Lon Chaney, “The Man of a Thousand Faces”. In films like Of Human Bondage (1934), Mr. Skeffington (1944) and What Ever Happened to Baby Jane? (1962), she portrayed unlikable characters with a relish that bordered on sadomasochism and insisted on using “ugly” make-up to look more hideous than her directors thought necessary. In her breakout role as Mildred Rogers, the vile wretch who cruelly toys with poor, sensitive Philip Carey (Leslie Howard) in Of Human Bondage (1934), Bette, in her own words, “made it pretty clear that Mildred was not going to die of a dread disease looking as if a deb had missed her noon nap.” During the filming of Mr. Skeffington (1944), when her director Vincent Sherman balked at the over-the-top make-up she insisted on wearing to play Fanny Skeffington, a deteriorating socialite who has lost her looks to diphtheria, Bette shrugged. “My audience likes to see me do this kind of thing,” she replied.
Those large, infamous eyes were like that of a doe but onscreen Bette Davis often possessed the look of a startled rattlesnake. Like a razor blade hidden inside a tube of pink lipstick, her kiss – and words – had plenty of bite. In films such as The Letter (1940) and All About Eve (1950), Davis delivered cutting and suggestive lines with her own signature blend of caustic sensuality. Here is a look at some of Bette’s most unforgettable on-screen quotes (with a fabulous off-screen one thrown in for good measure):
Continue reading “Blood and Kisses: Ten Fabulous Bette Davis Quotes”
By Heather Babcock
“One should never look for admirers while at the same time one is falling to bits.” – Fanny Skeffington (Bette Davis)
Mr. Skeffington (1944) is kind of like a granola bar – it looks super healthy and good for you but in reality it’s filled with about as many empty calories as a chocolate bar.
Released during World War II, Mr. Skeffington spans thirty years, beginning in 1914 and ending during the film’s present day of 1944. This means that the film’s star, the inimitable Bette Davis, gets to wear lavish period costumes designed by Orry-Kelly. All of the silks, feathers, furs and frills are enough to make any fashion enthusiast’s mouth water. Continue reading “Before there was Baby Jane, there was Fanny Skeffington…(Review of Mr. Skeffington, 1944)”