THAT GIRL (Inspired by the 1942 movie Cat People)

Selfie and fiction inspired by Cat People (1942)

THAT GIRL

Flash Fiction by Heather Babcock, 2022

Even before they found the body, we talked about that girl. 

“She looks like a cat,” my husband said, the day that Lola arrived in Gaslight Gables. 

He had said it casually, almost dismissively, like the way you’d say “the sun’s come out” or “it’s gone cold outside.” But Lola did look like a cat, with her yellow hair, moon shaped eyes and sharp little teeth. And the way she moved! It was as though her body didn’t really belong to her, like it was just some exotic, fantastically shaped instrument hanging from her neck. 

Lola liked to stare – she was always staring at everyone around her and if you smiled at her she’d never smile back, she’d just keep staring. I did see her smile once, only once, and I’d swear to you that when she did, razor blades fell out of her mouth.  

On the day that the body was discovered, we clapped our hands to our cheeks like that kid from Home Alone and arranged our faces into Edvard Munch masks of horror. 

“Shocking!” we cried, stuffing our fists into our mouths to keep from laughing. “It’s all so shocking!” 

And long after the body had gone cold and the reporters went away, we still talked about Lola.

We talked about that girl until the blood dripped down our chins. 

***

(This flash fiction was inspired by one of my favorite movies, Cat People (1942). I may eventually turn this into something longer…a novella perhaps.)

Film Noir Review: Quicksand (1950)

“I feel like I’m being shoved into a corner”, Mickey Rooney (as Dan Brady) says during the final half of Quicksand (1950), “and if I don’t get out soon it will be too late.”

This one line neatly encapsulates the situation of most leading men in the film noir genre.

Sharply directed with flair by Irving Pichel, Quicksand tells the story of Dan Brady (Rooney), an aw-shucks, apple pie eating auto mechanic who’s biggest problem at the beginning of the movie is that his gorgeous girlfriend Helen (Barbara Bates) is getting too serious. “I spent four years in the Navy fighting for freedom, why get anchored down now?” he whines to his unsympathetic pals. “Some dames are sure hard to shake off,” his friend Buzz replies. Cue sexy blonde bombshell Vera (Jeanne Cagney) and the jazz saxophone soundtrack. With her trench coat, platinum Harlow locks and that quintessential Cagney swagger, she turns Dan away from his apple pie. Surprisingly, she agrees to a date but now Dan has another problem: it’s five days until payday and he’s flat busted – how’s he gonna show a swell dame like Vera a good time? Desperate and horny, Dan “borrows” twenty dollars from his employer’s cash register. The stolen dough leads him down a rabbit hole of crime and depravity.

In many ways, Quicksand is a Catholic parable: sexual desire leads to stealing and stealing leads to murder. But never mind the moralizing – Quicksand is a fun movie with a standout cast, making it one of the most enjoyable film noir films I have seen thus far.

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Red Lipstick Made Me a Criminal (and a few other fun facts about your favorite cosmetic)

By Heather Babcock, 2021

Red lipstick made me do it.

The sleek, white plastic tube of flame-orange wax called out to me from the bowels of the Zellers’ cosmetic aisle.

The year was 1988 and I was ten years old. At home, a large poster of Madonna, in character for Who’s That Girl (1987), hung over my bed: clad in fishnets, a leather jacket and fingerless gloves. More intimidating than the revolver in her hands was the stark red lipstick on her face. Fierce. Fabulous. I didn’t understand why the other girls at my school didn’t like her. I didn’t understand why I wasn’t allowed to wear lipstick too.

Every Saturday, my mother would go grocery shopping at the Kipling Queensway Mall and my dad would give my sister and I a dollar each to buy either trash or a treat at the mall’s dollar store or Zellers. But this Saturday, I didn’t feel like a chocolate bar or a bag of chips. I didn’t need another whoopee cushion or copy of Tiger Beat magazine.

I wanted that lipstick.

It didn’t matter that it cost a little more than the dollar my dad had given me. To my ten-year-old mind, that was an unfairness that could be easily corrected. And so, taking advantage of my then-mousy invisibility, I quietly slipped the coveted tube into the pocket of my Levi’s. I don’t remember feeling nervous or even giddy about it and I certainly didn’t feel guilty – that red lipstick belonged to me. It was mine. I did however make the colossal mistake of boasting to my sister about the steal, in proud whispers, on the ride home.

Hey Daaaa-dddd,” she called out smugly. “Heather stole a lipstick!

And so, before I knew it, I was back in the Zellers department store, handing over my swag and stammering out an apology to the bored teenage clerk whose only response to my foray into crime was a glassy-eyed shrug.

Continue reading “Red Lipstick Made Me a Criminal (and a few other fun facts about your favorite cosmetic)”

Once Upon a Time…Fritz Lang Made a Romantic Comedy (You and Me, 1938)

you and me

“The Big Shots aren’t little crooks like you. They’re politicians.”

If Karl Marx baked a birthday cake and laced it with marijuana, the results would probably be very similar to You and Me (1938), a delicious grab bag of a movie which combines humour, film-noir, romance, musical numbers and a social message all to delightful – and dizzying – effect.  But what did Paramount expect when they asked Fritz Lang, the German director best known for his Weimar-era expressionist films such as Metropolis (1927) and M (1931), to direct a romantic comedy?

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A Savage Detour into Hell: Review of Detour (1945), the (Tough) Mama of Film Noir.

detour middle

“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.”