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Author Topic: Crime Wave (1954)  (Read 1367 times)
cigar joe
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« on: March 25, 2012, 04:10:47 PM »

Couldn't put it better:

Quote from

 The Professor Back Alley Forum http://www.backalleynoir.com/showthread.php?2042-Crime-Wave-(1952-1954)&highlight=Crime+Wave

Crime Wave (1952 / 1954)
Noir 101. The Essentials. Crime Wave.

Really?

If this little policier from Warner Bros. (filmed in 1952, released in 1954) isn’t part of your vocabulary then it needs to be; and considering it was finally released on DVD a few years ago, there’s no excuse not to see it. Crime Wave doesn’t stand out from a narrative point of view (despite a bucket of writers); the plot is routine, like a million other second features cranked out during the fifties. Although the story and characters are heavily steeped in noir tropes, it’s André De Toth’s sharp direction that sets it apart from other low budget crime pictures and demands that it be seen by any enthusiast. It can be argued that no other film noir is as influential as it is unknown.

The story is old hat: Ex-con tries to go straight. His old crew breaks out of the Q and comes knocking. When he refuses to help, they hold his fresh new wife in order to force him to take part in one last caper. All the while, the cops are along for the ride, except they don’t believe for a second that our boy is on the up and up.

The cast here is special, and although Sterling Hayden isn’t (necessarily) the protagonist, he dominates the film. This is the sort of role the movie gods had in mind when they placed Hayden in front of a camera: LAPD Detective Lieutenant Sims, bigger and tougher than any hood in the mug book. For my money this is the role of Hayden’s career — not the meatiest or the most well known, but the one in which he leaves the impression of having been the part, rather than merely having played it. (Put it this way: during the DVD commentary, author James Ellroy asserts that Hayden in Crime Wave simply is Bud White.) There are those that prefer him in The Asphalt Jungle or The Killing, but Hayden has a distinct vibe as a cop that isn’t there when he’s playing a crook: you can cross to the other side of the street and dodge a hoodlum (and it isn’t like you won’t see Hayden coming from a mile away) but you can’t avoid the police. With the force of law behind him, the prospect of cop Hayden looking for you is scary as hell.

At a beefy six-and-a-half feet tall, Hayden towers over everyone else in the film. André De Toth and cameraman Burt Glennon keep the camera low, catching the big fellow from underneath but looking down on all of the other actors, as if from Hayden’s point of view. He has to slouch, unkempt, a toothpick in his mouth, scruffy hat, tie perpetually twisted backwards — almost too big to be allowed. The film has numerous stellar sequences, but for Hayden one in particular stands out; it begins at around the eleven-minute mark and finds the cop in his homicide division office, interviewing an eyewitness about the Quentin breakout suspects. The scene opens with him at his desk, then it follows him around the bureau, moving shark-like among a half-dozen routine interviews. Ostensibly the purpose is pure semi-documentary storytelling, providing audiences with an up-close look into the inner workings of the LAPD: A middle-aged broad is rambling on about how she and her guy (replete with bandaged head) don’t really fight — she didn’t mean to conk him, they were just kidding around. At another table, a hang dog B-girl dripping with mascara and dime store jewelry sobs about some chucklehead boyfriend from her past, while at yet another a career stool-pigeon chastises a junior cop about bracing him in front of his neighbors. What makes the whole thing work is the extraordinary authenticity: pay attention to what is going on in the frame away from subject, almost as if the extras forgot for a moment the cameras were rolling. And this ain’t no soundstage — most of the scenes in Crime Wave, interiors and exteriors alike, are filmed in real Los Angeles locations. And if Hayden wasn’t so utterly believable as a 1952 LAPD homicide detective, none of it would work — he’s the glue that holds the entire movie together. If part of the allure of these old films is seeing things as they actually were way back when, this is a scene (and a film) that will keep you in goose bumps.

Then there’s Gene Nelson, of nimble feet and Oklahoma! fame, who plays Steve Lacey, ex-con. Nelson rightly underplays his part. His performance doesn’t offer much beyond matinee good looks and rolled up shirtsleeves. Like I said, this is Hayden’s movie, and Nelson stays out of his way. Whether it was his idea or De Toth’s, Steve Lacey is Lieutenant Sims perfect foil. From a noir perspective, Lacey is a protagonist in the classic mold: trying to make good after doing some hard time: employed, married, permanent address. Crane Wilbur’s story puts him in the classic bind: when his old cellmates come looking for help, he knows that helping them puts everything he’s worked for at risk, yet failing to do so is even more dangerous. Damned if you do, damned if you don’t, and you can't outrun the mistakes of your past: the rock and the hard place of classic film noir, with only fate to decide whether or not a man comes out clean on the other side.

The wife is model-turned-actress Phyllis Kirk. Kirk did most of her work on television, but if you remember her at all it’s probably as the damsel in distress in De Toth’s most famous picture: House of Wax. Kirk and Nelson are well matched — and the mature depiction of their relationship is surprising for a film noir, and rather progressive when we consider typical gender depictions in similar crime films. Ellen Lacey wears the pants in the family; her assertiveness perfectly balances her husband’s diffidence — yet she’s neither a nag nor a shrew. Steve Lacey’s time behind bars has wrecked his ability to function outside the walls. He needs this strong woman to prop him up and constantly assure him that he has a future. That he had been, of all things, a fighter pilot during the war especially heightens the unusual nature of their relationship. Gone is the recklessness and bravado typically found in screen characterizations of such men, while the wife is equally surprising — a strong, modern woman who is neither a femme fatale nor perky a June Allyson. The film gives us an ideally matched couple, each offering what the other needs.

continued....

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« Reply #1 on: March 25, 2012, 04:11:18 PM »

The crooks. Ted de Corsia: Eddie Muller says he looks like he was born in a boxing gym. James Ellroy: he “oozes Pomade.” Iconic in The Naked City, de Corsia shines reliably here as the brains behind the breakout. Crime Wave’s theatrical audience was familiar with him in heavy roles dating all the way back to The Lady from Shanghai. De Corsia’s screen persona was as hard-boiled as they come —*like an old-school Raymond Burr. His young partner is Charles Buchinsky, who also worked for De Toth in House of Wax. Of course Charles Bronson would go on to be one of the icons of seventies crime films, and one of the biggest movie stars in the world, but it’s always jarring to see him this young. His face is somewhat lined, but nowhere near as weather-beaten as it would become. Crime Wave offered the young actor one of his best early roles: he actually gets to act a little, and even has a few moments where his physicality is on display. The juxtaposition of a studio era character actor as traditional as de Corsia with someone as contemporary as Bronson gives the pair an unusual chemistry. Then there’s Tim Carey, the wild man of the American movie scene. There’s not enough room in any film review to dig into the strange case of Tim Carey, though on the strength of his appearance alone this one is worth the price of admission. His few brief moments of screen time are so bizarre — whether he’s at the center of the shot or mugging from the corner of the frame — that Crime Wave would be notable if for no other reason.

Enough about the cast, as good as they are, there are more worthwhile reasons to watch this, especially if you appreciate how a film looks, even more if you can feel a film. Usually when a noir essayist digs on cinematography, he’ll discuss the lighting and composition of individual shots — I’m not going to do that. From top to bottom, Crime Wave is a beautifully and thoughtfully staged movie, yet it’s not a one-trick-pony when it comes to visual style (check out Witness to Murder). Instead, it’s a movie that employs a variety of techniques depending on what individual scenes call for. The sunlit exteriors are pure documentary naturalism: showing LA locales (Burbank, Glendale, downtown) in a straightforward “this is the city” fashion. It’s difficult to follow the movie during these scenes; one’s inclination is to instead focus on signs and landmarks, trying to get a feel for the way the streets, the people, and the cars looked during those spectacular post-war years. At night, Glennon goes for drama, placing klieg lights in off kilter spots to create a chiaroscuro effect that seems as contrived as the day shots seem real; yet somehow it works, and the transitions barely register.

However the scenes are staged, the greatest thing about Crime Wave is where they are filmed: on location all the way through — and not just the exteriors. De Toth somehow swung access to city hall; the homicide bureau scenes are the real deal. Crime Wave is a superlative example of the way in which a low budget feature could be extraordinary: without money to build sets or dictate production values, De Toth was forced to find locations for the film, and it’s clear after just a single viewing that he had a peculiar talent for doing so: it’s is one the most attractive, even exhilarating, film noirs ever made. Pause on almost any frame and you’ll find something to linger on. De Toth successfully captured all of the content tropes and moviemaking techniques that had become germane to film noir in this tiny little film, and he did it with only half of his promised budget, and in a shoot of only thirteen days. The location work of The Naked City, the backseat point of view from Gun Crazy, the tones of John Alton, the jittery handheld cameras, semi-professional actors, and the quagmire of the ceaseless urban landscape. This a mean, unglamorous movie — populated with Dudley Smith cops ready to shoot a suspect in the back, hard-boiled killers, damaged goods, floozies, stool pigeons, strongarms, and professional losers. The good, the bad — even the insane — all trying to claw their way through a world that no longer gives a damn. It’s a cheap, but delicious buffet of everything noir buffs hunger for — and the final few frames make for one hell of a dessert. It should be on many of those ubiquitous top-ten lists, but the guy beside you probably still hasn’t seen it.

Crime Wave (1954, filmed 1952)
Directed by André De Toth
Screenplay by Crane Wilbur
Adaptation by Bernard Gordon and Richard Wormser
Original Story by John and Ward Hawkins
Produced by Brian Foy
Cinematography by Burt Glennon
Art Direction by Stanley Fleischer
Starring Sterling Hayden, Gene Nelson, and Phyllis Kirk
Released by Warner Bros.
Running time: 74 minutes

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« Reply #2 on: March 26, 2012, 03:45:26 AM »

Couldn't put it better:

Well, a rating could do.

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« Reply #3 on: March 26, 2012, 04:13:42 AM »

I just had a short blurb in the Film Noir & DVD Discussion Thread about it and there I gave it a 10/10, but since I posted the above of course the search engine can bring it up, lol.

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« Reply #4 on: May 30, 2012, 08:22:05 PM »

I just saw Crime Wave;  it's the kind of film that a hardcore noir enthusiast like cj would love: it's gritty; has lots of real  noir characters, including Charles Buchinsky soon to be known as Bronson; uses real LA locations; has a cop (Sterling Hayden) who is at least as detestable as the criminals, and is often shot from below to make him look even more imposing than he is (Hayden does not need that to tower over everyone else!), has the good guy caught in a bad situation not of his own doing, forced to cover up and commit a crime to protect the misdeeds of others, almost all night scenes, wtc. Basically everything noir except for a femme fatale; the one woman here is actually the straightest character in the movie. The story is the sort of shit we must have seen 100 times, so this is the kinda film that the hardcore noir enthusiast like cj would love, but for those like me who don't really give extra points for noir stuff, and basically just consider it in the same way as I do other crime dramas, this one is nothing special. (Recently, there are times I have been watching some of these movies where I think to myself, "No doubt this is 10/10 for cigar joe  Wink)

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I have to mention the dvd commentary here, by James Ellroy and Eddie Muller: Ellroy has to be one of the single most annoying human beings alive, and I don't give a fuck how much he knows about noir. He apparently thinks it is amusing to make dog sounds every time there is a mention of something he likes. I am not exaggerating in the least. Every time a -- drumroll -- REAL LOS ANGELES LOCATION! shows up on the screen, or the name of a (not so) hot woman is mentioned, he actually pants or growls like a dog. I swear that I wish I could say I was kidding. Maybe Ellroy thinks it's funny to do it once, but he must have done it no less than seven times in the first 20 minutes before I shut off the commentary, I just couldn't stand it. At one point during the growling, Muller himself seems irritated, but rather politely says to Ellroy, "you are hurting my ears." I kept telling myslf, "I'm sure he'll stop at some point; no human being can actually think it's funny to continue that; I am sure this pant or growl is the last one. But NO -- it kept happening, over and over and over. I give huge credit to anyone who actually sat through it. Without knowing anything else about Ellroy or giving a shit about his knowledge of noir, all I can say is that he is one of the biggest assholes in the history of the world, this is the most annoying commentary in the history of commentaries, and it never should have been released. (Now I need a puke icon). It makes John Carpenter's narration "commentary" on OUATITW seem like a pleasure cruise in comparison.


« Last Edit: September 27, 2012, 04:40:46 AM by drinkanddestroy » Logged

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« Reply #5 on: September 27, 2012, 04:23:02 AM »

So Hayden is such a smart cop that, though he is able to figure out what has happened after the gas station hold-up, he doesn't leave a watch to both the Nelson's and Doc's houses And the two escaped convicts can go in and out at their will. Yeah, Hayden is frightening, De Corsia his usual great, Bronson has an awful, thin voice (that's what kept him out of the stardom, I guess, until it deepened) but Gene Nelson is anonymous: and would he leave his wife under Tim Carey's surveillance? He should have told De Corsia to change warden otherwise nix. Anyway, great photography especially in the police offices. 7\10   

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