Barbara Bel Geddes

Blood on the Moon

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Robert Mitchum and Barbara Bel Geddes

Blood on the Moon sounds like it might be sci-fi. It’s directed by Robert Wise, who’d later do The Andromeda Strain and Star Trek: The Motion Picture. Without any other clue that would be a fair assumption to make. Until you learn it’s from 1948. Bit early for sci-fi. It’s a western, in fact, and a good propulsive one, even if character is occasionally sacrificed to the need to get on and tell the story, almost as if this were an episode in a western serial. The dynamic is homesteaders versus ranchers, with neither side over-demonised as they square off over who’s going to get control of a big swathe of fertile land … Read more

The Long Night

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A contemplative Joe

The Long Night is a remake of Marcel Carné’s Le Jour Se Lève hoping to do for American audiences what Carné’s film had done for the French – wow them. It was a flop, in spite of having a good cast, a fine director and top flight technical team. In case anyone wanted to make a direct comparison, before it came out RKO took the precaution of buying up all the prints of Carné’s film and destroying them. Luckily, not absolutely all of them, so now we can enjoy the Carné original and watch it alongside the remake to work out what went wrong. I’ll just say it here – timidity is the … Read more

Panic in the Streets

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Dr Reed explaining that it's plague

Steve Soderbergh’s Contagion seemed to be required viewing during Covid, Panic in the Streets not so much. But Elia Kazan’s film from 1950 has much to say about epidemics, why nipping them in the bud is important, how government can be a force for good and why scepticism needs to be countered not with shrillness but facts, reason and the force of argument. All this wrapped up in a tense, noirish thriller starring Richard Widmark and handing Jack Palance the first of a long string of “mad dog” roles, which he was uniquely suited to playing. As Soderbergh, so Kazan – realism and immediacy are the key concerns. Panic in the Streets is … Read more

Caught

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Leonora is consoled by Dr Quinada

Revenge would be a better title but Caught it is, director Max Ophüls’s broadside against Howard Hughes, who’d fired him from Vendetta only days into shooting a film that was meant to launch the career of Faith Domergue, a Hughes “discovery” (booty division). Vendetta ended up with five directors’ names attached to it so clearly the launch needed more grease on the slipway than anticipated. Hughes’s treatment of women, it turns out, is what Caught is all about, a reworking of the Libbie Block novel Wild Calendar also incorporating the stories Ophüls and screenwriter Arthur Laurents had heard about the infamously philandering studio boss. Naive and nice young thing Leonora (Barbara Bel Geddes) … Read more