cult film freak: gene tierney

Showing posts with label gene tierney. Show all posts

Written by James M. Tate / 2/19/2025 / No comments / classic , clifton webb , cop , crime , dana andrews , film noir , forties , gene tierney , mystery , otto preminger , vincent price

DANA ANDREWS AND GENE TIERNEY IN OTTO PREMINGER'S 'LAURA'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimd-Hf86aZKkNUPDYRjFrE9YcsaKCFHfoEmcjk94MGlr4L5d2eNFPD_H-O6g0TFh-yHnxwQqdmgtc8jzW2W4aywHTNBKimwKjuCy6Ig0z8Wp3_IAz-O5QUH7DAaVV4ieiYCwP0oXpmlqGiRmGizGrewO2nhti3iYbN7abBfaD4FdSHpbmL9dNpP2ntJI98/s1846/Screen%20Shot%202025-02-24%20at%2010.06.02%20PM.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1364" data-original-width="1846" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimd-Hf86aZKkNUPDYRjFrE9YcsaKCFHfoEmcjk94MGlr4L5d2eNFPD_H-O6g0TFh-yHnxwQqdmgtc8jzW2W4aywHTNBKimwKjuCy6Ig0z8Wp3_IAz-O5QUH7DAaVV4ieiYCwP0oXpmlqGiRmGizGrewO2nhti3iYbN7abBfaD4FdSHpbmL9dNpP2ntJI98/w400-h295/Screen%20Shot%202025-02-24%20at%2010.06.02%20PM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Year: 1944 Rating: *****</u></td></tr></tbody></table>Dana Andrews as Det. Lt. Mark McPherson
 has fallen in love with a ghost, kind of, and that's
 not to be spoiled for anyone who hasn't seen LAURA with its particular 
dreamlike camera panning from a sleeping McPherson, and we get the 
murderous yarn, spun all over again in a different fashion and with a 
twist that could be something else entirely as our hero deals with two 
creeps connected with the ingenue: especially a cerebral "sugar 
daddy" in a sophisticated Clifton Webb...<br>
<div style="text-align: right;">
</div>
<br>
Word is the producer frowned on this important 
casting because of... well... what's pretty apparent about the futzy 
fella, and he can't shake that aspect from his character of a character,
 Waldo Lydecker. But Webb is perfect as LAURA seems to be the only girl 
who can rid the sophisticated and manipulative Lydecker from his daily 
uptight uptown lunch, all by himself with a contented life all 
mapped-out...<br>

classic, clifton webb, cop, crime, dana andrews, film noir, forties, gene tierney, mystery, otto preminger, vincent price

DANA ANDREWS AND GENE TIERNEY IN OTTO PREMINGER'S 'LAURA'

Year: 1944 Rating: ***** Dana Andrews as Det. Lt. Mark McPherson has fallen in love with a ghost, kind of, and that's not to be spoile...

DANA ANDREWS & GENE TIERNEY IN 'WHERE THE SIDEWALK ENDS'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJhPb8JjRRH1wWt-iiX7FYG10-nzeRLO8EErcY5OVLHm6Cx7A09fIsAMDqJaGjP7rFsUpKG6V4hzwku6nWNYwKWUAjyLP5cCaXulAmaqn5QhZwvwexT3oKaoEHFX9v8ft1uGBpVPgDzMLzv_9qg9KkC0f5a9XRzOcLIkzOE3WKZVtI3oaUUeJbyFQoZFy0/s1270/Screen%20Shot%202024-08-02%20at%202.50.48%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="972" data-original-width="1270" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJhPb8JjRRH1wWt-iiX7FYG10-nzeRLO8EErcY5OVLHm6Cx7A09fIsAMDqJaGjP7rFsUpKG6V4hzwku6nWNYwKWUAjyLP5cCaXulAmaqn5QhZwvwexT3oKaoEHFX9v8ft1uGBpVPgDzMLzv_9qg9KkC0f5a9XRzOcLIkzOE3WKZVtI3oaUUeJbyFQoZFy0/w400-h306/Screen%20Shot%202024-08-02%20at%202.50.48%20AM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Dana and Gene a third time YEAR: 1950</u></td></tr></tbody></table>A sort of Film Noir in reverse as a downright bad and brutal cop does something accidental and pretty awful, covers it up and then, a bit later, gets half-a-heart, which is how Noir leading men usually start: this after he falls for the Falsely Accused Wrong Man's daughter in Gene Tierney's gorgeous, as usual, Morgan Taylor... Even her name is lovely...<br>
<br>
Dana Andrews, who resembled a hybrid Sean Connery before there was one famous enough to resemble, and Steve Martin had he been a tough and tall leading man type, stole scenes in the post World War Two classic, <a href="http://www.cultfilmfreaks.com/2016/05/BYOOurLIVES.html">THE BEST YEARS OF OUR LIVES,</a> and, brother of Steve Forrest, has the same square-jaw and no-nonsense style, and is a lot more edgy and desperate than his snoopy cop in the previous, more lavish and high-budgeted crime melodrama, <a href="http://www.cultfilmfreaks.com/2016/05/Loir.html">LAURA</a>, with the same director and gorgeous co-star...<br>

bert freed, british film noir/melodrama, cop, craig stevens, dana andrews, fifties, gary merrill, gene tierney, karl malden, otto preminger, suspense

DANA ANDREWS & GENE TIERNEY IN 'WHERE THE SIDEWALK ENDS'

Dana and Gene a third time YEAR: 1950 A sort of Film Noir in reverse as a downright bad and brutal cop does something accidental and pretty ...

DANA ANDREWS AND GENE TIERNEY DEFECT IN 'THE IRON CURTAIN'

<p>
</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNwjuzN9LFGZnmJc9JFmzn2zN5YpVwyiK7kD02cc5fat09xOHGHdPzy3L1A4driJF2-U-YhDGh-u9ZNaoyRgVp7eNA4sS28Ikxz055wdaub4QzmuKI2XZKgOXZRTrYAgwRl4gMNMGzyyLB_5SY2A7Jf6YvQ2d2sOFUKl3hLq-WtdHHbWaxmS22mtT_-vhZ/s1538/Screen%20Shot%202025-10-18%20at%202.56.45%20AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="870" data-original-width="1538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNwjuzN9LFGZnmJc9JFmzn2zN5YpVwyiK7kD02cc5fat09xOHGHdPzy3L1A4driJF2-U-YhDGh-u9ZNaoyRgVp7eNA4sS28Ikxz055wdaub4QzmuKI2XZKgOXZRTrYAgwRl4gMNMGzyyLB_5SY2A7Jf6YvQ2d2sOFUKl3hLq-WtdHHbWaxmS22mtT_-vhZ/s16000/Screen%20Shot%202025-10-18%20at%202.56.45%20AM.png"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Dana Andrews in THE IRON CURTAIN Year: 1947 Rating: ***1/2</u></td></tr></tbody></table><p>Between the famous Otto Preminger Film Noir <a href="http://www.cultfilmfreaks.com/2016/05/Loir.html">LAURA</a> and <a href="http://www.cultfilmfreaks.com/2016/05/WTSends.html">WHERE THE SIDEWALK ENDS</a> and almost a decade past TOBACCO ROAD is the sublime pair-up of Dana Andrews and Gene Tierney under the direction of William A. Wellman in a Cold War Thriller at the rudimentary stages of that very thing... </p><p></p><p>Taking place during and right after The Second World War, and was released only three years after the war ended, based on the "true story of Soviet cypher-clerk Igor Gouzenko, posted to the Soviet Embassy in Ottawa, Canada, 1943... to reveal the extent of Soviet espionage activities directed against Canada," where Dana Andrews takes a reverse risk since nothing's worse than an American actor badly attempting a foreign accent, especially one as thick as Russian...  </p><p><span></span></p>

berry kroeger, biopic, cold war, dana andrews, espionage, film noir or melodrama, gene tierney, june havoc, peter whitney, thriller, war

DANA ANDREWS AND GENE TIERNEY DEFECT IN 'THE IRON CURTAIN'

Dana Andrews in THE IRON CURTAIN Year: 1947 Rating: ***1/2 Between the famous Otto Preminger Film Noir LAURA and WHERE THE SIDEWALK ENDS ...

JACQUES TOURNEUR'S 'WAY OF A GAUCHO' WITH RORY CALHOUN

everette sloane, fifties, gene tierney, jacques tourneur, richard boone, rory calhoun, western

JACQUES TOURNEUR'S 'WAY OF A GAUCHO' WITH RORY CALHOUN

Rory Calhoun rarely looks behind Year: 1952 Rates: *** Jacques Tourneur makes stylish Westerns, from CANYON PASSAGE before to WICHITA af...

GENE TIERNEY COLORS THE FILM NOIR 'LEAVE HER TO HEAVEN'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkbFzqJqa7pIkgGwMlXjepsgA3p35c6b5RUBlBDDsB2RSYbOj58dqBdl6mm6_FX3DtaRwU6O4rte0lS28fNDPt0kRGmwyP2OBmQwHqt-2rxTwTBxyP9e9ZzLpMJ4KOhLeleWYNL6Mqx2p/s1600/010.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="458" data-original-width="613" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkbFzqJqa7pIkgGwMlXjepsgA3p35c6b5RUBlBDDsB2RSYbOj58dqBdl6mm6_FX3DtaRwU6O4rte0lS28fNDPt0kRGmwyP2OBmQwHqt-2rxTwTBxyP9e9ZzLpMJ4KOhLeleWYNL6Mqx2p/s400/010.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Intentionally flowery artwork for LEAVE HER TO HEAVEN Year: 1945</u></td></tr>
</tbody></table>
Surprisingly enough, given the Cult Film Freak spotlights from the last two months, this isn't a Film Noir review centered on either Dana Andrews or Otto Preminger...<br />
<br />
Although it<i> is</i> connected to both the actor and director: a partial LAURA reunion with Gene Tierney in the leading role and Vincent Price given an initial cameo with a stormy 11th hour courtroom monologue: in her favor... But most important are two beautiful actresses that appeared in over three or more films with <a href="http://www.cultfilmfreaks.com/search/label/dana%20andrews">Andrews</a>: the first is LAURA ingenue Tierney, who (for the most part) began with him in John Ford's TOBACCO ROAD and would continue together in several other projects — as well as his other starlet, Jeanne Crain, as Gene's younger cousin who's more of an adopted sister.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDZ0-CNtSdwyGUp68dQrh0x9w-TsHm8G1ZOON5Xuu7-azm7CsPL0ljr7BK5MU1T9_K9RCdMvPPQ4_BWYCTya7tegmqsGNxGzI9ekN4u7edJssuWvqnrd7Ox6nvpdkDIQ_1gz18RB0cwYvO/s1600/Screen+Shot+2020-05-27+at+3.40.18+AM.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="876" data-original-width="921" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDZ0-CNtSdwyGUp68dQrh0x9w-TsHm8G1ZOON5Xuu7-azm7CsPL0ljr7BK5MU1T9_K9RCdMvPPQ4_BWYCTya7tegmqsGNxGzI9ekN4u7edJssuWvqnrd7Ox6nvpdkDIQ_1gz18RB0cwYvO/s320/Screen+Shot+2020-05-27+at+3.40.18+AM.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Just Wilde about Tierney</u></td></tr>
</tbody></table>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
</div>
Both are smitten with ROAD HOUSE stud Cornel Wilde, the true lead and overall vulnerable, deer-caught-in-headlights protagonist. Tierney, usually prone to sweet and lovely, delicate types, breaks out with venomous finesse as the manipulative heavy — a rural, weaponless, surreptitious Femme Fatale! In a movie that's one of "modern day" ultra-violent guru Martin Scorsese's personal favorites, she takes the proverbial spiked baton and runs with it, but not without an even-keeled, monotone, slow-burn buildup.<br />
<br />
<div style="text-align: right;">
</div>
<div style="text-align: right;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcyhLf9dZoAJ9LSaJTLGSD-Jkv6cuuQ2hYiFUbBpygQyKJaDc_cnQLfDTdIx8HvEExgh8yGXOgYYYfVOsEUizkG7yvUEjhY5xm0q5cON97uQUr7rNLS46rk_aThXogUDAE2SKjIczJbYpL/s1600/Screen+Shot+2020-05-27+at+3.45.45+AM.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcyhLf9dZoAJ9LSaJTLGSD-Jkv6cuuQ2hYiFUbBpygQyKJaDc_cnQLfDTdIx8HvEExgh8yGXOgYYYfVOsEUizkG7yvUEjhY5xm0q5cON97uQUr7rNLS46rk_aThXogUDAE2SKjIczJbYpL/s640/Screen+Shot+2020-05-27+at+3.45.45+AM.png" width="241" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Insert Poster</u></td></tr>
</tbody></table>
<span id="goog_1022571722"></span><span id="goog_1022571723"></span>"If you lived in Salem a hundred years ago," Cornel Wilde says to this mysterious woman, "they would have burned you." And this ironical compliment would alter its meaning by the film's near-conclusion — a blazing stake would be getting off easy...<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsDokZhSGeNti7a3w74EC406UKxGHlVszBOIMmAEGK__344DQuzBT-t1B5w4tob8DHe0b_oEtQij_szVjYGKaBAoXdBdpL0sIWIw-ZtMF7H0TCIZCkBP5CnJwpNpC9pue4lPMPlElCKta6/s1600/14666311_209722079456976_5109232453042059125_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsDokZhSGeNti7a3w74EC406UKxGHlVszBOIMmAEGK__344DQuzBT-t1B5w4tob8DHe0b_oEtQij_szVjYGKaBAoXdBdpL0sIWIw-ZtMF7H0TCIZCkBP5CnJwpNpC9pue4lPMPlElCKta6/s320/14666311_209722079456976_5109232453042059125_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Welcome to Camp Tierney... avoid the water sports</u></td></tr>
</tbody></table>
For what Tierney eventually does, or lets be done, is beyond awful, and while it's somewhat impossible to not — at the very least — divulge a hint or two about the wretched act itself, her literally overboard action shouldn't be spoiled completely. It's a shock such a lovely lass would become so wicked. Although, in re-watching (recommended) LEAVE HER TO HEAVEN, derived from a Shakespeare line — within the first few minutes of an introductory conversation between Tierney's classy, brooding Big City to New Mexico rich girl, Ellen Berent, and the man she sets her narrowed eyes on, it's the subtle expressions that count...<br />
<br />
First on a train on the way to where he's visiting and she lives (with his lawyer and her friend, played by a semi-narrating Ray Collins, in common) — look closely at not only the expressions but the haunted reactions and distractions on her porcelain-smooth face. Meanwhile, Cornel Wilde's Richard Harland, a smooth and successful author, is such a clean, naïve slate he's simply begging to be pushed to the limit. As usual in these kind of "Women Stalking Men" vehicles, the reality of how long it takes for the nice guy to start catching on almost becomes annoying, or at least, unrealistic — it seems intentional, though, since this is what yields the most palpable suspense...<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7BbwZrDExRH0ZFqcRTjpQH8u5AXN0YPP9hb14MYCn2lQv61KI9lefSg2zCsugQGkgZDMRwvTniIuKoOVnydy-Yy7GgxIDZmruLc7g7or0DC2-z9UF79Rdu0QzbAceHaCTEFryzraNMbz2/s1600/22632938446.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="441" data-original-width="149" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7BbwZrDExRH0ZFqcRTjpQH8u5AXN0YPP9hb14MYCn2lQv61KI9lefSg2zCsugQGkgZDMRwvTniIuKoOVnydy-Yy7GgxIDZmruLc7g7or0DC2-z9UF79Rdu0QzbAceHaCTEFryzraNMbz2/s400/22632938446.jpeg" width="135" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>A fitting image here</u></td></tr>
</tbody></table>
<div style="text-align: right;">
</div>
<div style="text-align: right;">
</div>
It's an all-out tour-de-force performance by Tierney — playing a psychotic woman in a subtle fashion, going beneath the usual overboard stereotypes, which, having been made in 1945, decades before popular vehicles like PLAY MISTY FOR ME, THE BABYSITTER or FATAL ATTRACTION, any comparison is like saying CITIZEN KANE's time-shifting, non-linear approach borrowed from PULP FICTION: She's one of the first otherwise docile, good girl starlets to break from a sweet and predictable rhythm to portray a woman seething with an under-current of monstrous jealousy. And, as an adored and (seemingly) adoring wife instead of the usual jilted lover or one-night-stand, her "stalking" is far more intriguing, bizarre, and meaningful...<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBcRikI4FzkyRLbaAgmJPuebMQBScf-EwxovLr5_MFXwouGB15_3pc6vsfYK9TfWho6DbUkU7-dG5AiOgN5XdET-hZt3u7G2LbzT2utUt7KwNin-gNhSUpWBxYLM21I6X3Ub4PZ2gLtv4m/s1600/14590324_209719632790554_2486932142953643956_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBcRikI4FzkyRLbaAgmJPuebMQBScf-EwxovLr5_MFXwouGB15_3pc6vsfYK9TfWho6DbUkU7-dG5AiOgN5XdET-hZt3u7G2LbzT2utUt7KwNin-gNhSUpWBxYLM21I6X3Ub4PZ2gLtv4m/s320/14590324_209719632790554_2486932142953643956_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Tierney spreads dad's ashes in a melodramatic stride</u></td></tr>
</tbody></table>
As for the other tall and beautiful actress: Jeanne Crain doesn't do much but look pretty. She was a lot busier with her and Gene's reoccurring co-star, Dana Andrews, in STATE FAIR — the biggest difference is, she's a tomboy here, and looks even better dressed-down. The most important factor is how different she is in style and tone than Tierney, who, as both are equally attractive, through Crain we're able to see what really pulls Wilde in — to making the wrong choice...<br />
<br />
<div style="text-align: right;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZMZdUviQcechl6akLGHzJRdlohrnM7GaALiVLyN6sRZ_VKjaSrnTE2rmNeYTHVDo3rkAMSGxbTz2FteaGGG5TV_vvRLqy7sXtUmR2pfuDd7E1Tk8PvUds9gNosdIdYwbopUIp2jN9RUsV/s1600/Screen+Shot+2016-10-20+at+12.59.49+PM.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZMZdUviQcechl6akLGHzJRdlohrnM7GaALiVLyN6sRZ_VKjaSrnTE2rmNeYTHVDo3rkAMSGxbTz2FteaGGG5TV_vvRLqy7sXtUmR2pfuDd7E1Tk8PvUds9gNosdIdYwbopUIp2jN9RUsV/s320/Screen+Shot+2016-10-20+at+12.59.49+PM.jpg" width="132" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>SCORE: ****</u></td></tr>
</tbody></table>
For in this hellish HEAVEN, whether she's holding back or letting go — it's about Tierney, fully backed by a roaring, melodramatic soundtrack extenuating her character above and beyond the scene it represents — in particular, an unintentionally funny moment as she, stone-faced yet fervent, rides a horse (obviously in a studio) while spreading her father's ashes: And throughout, Tierney absorbs the two important factors differentiating this particular melodrama from the usual Film Noir template...<br />
<br />
<div style="text-align: left;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLnV967w4DUrZekTIBf6ISZjR4dMSLXl8DwxAoPjde8s1n8MCuLjup6YZZ0gZv2Yj60JHOhMkWbViyr_OHS1y0wrCqXsuFc1aU94H9eTpu2MvhDqSkahtI529Bz2FAGWIBe0KkFxqT4fsy/s1600/38689603_541105452985302_6515955649958903808_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="756" data-original-width="938" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLnV967w4DUrZekTIBf6ISZjR4dMSLXl8DwxAoPjde8s1n8MCuLjup6YZZ0gZv2Yj60JHOhMkWbViyr_OHS1y0wrCqXsuFc1aU94H9eTpu2MvhDqSkahtI529Bz2FAGWIBe0KkFxqT4fsy/s320/38689603_541105452985302_6515955649958903808_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Vincent Price storms out to the storm outside</u></td></tr>
</tbody></table>
Not without a touch of corny camp value, this visually postcard-perfect <i>Fancy Film Noir</i> strays miles from the usual sparse B&W cinematography as every frame's splashed with rich, vibrant colors — a hybrid of a vintage fashion ad and a Norman Rockwell magazine cover: a delicate, dressed-up, intentionally borogue package harboring sinister contents...<br />
<br />
In-place of the typical shadowy alleyways and sizzling neon motel rooms, the amount of time spent under bright sunlight, in either the desert or forest/wilderness, accentuates the plush and organic, soap operatic spender that, for a motion picture adapted from a novel and, after the starting credits, opens up with a book cover followed by sporadic chapter titles, LEAVE HER TO HEAVEN is a delicious and vicious, pulpy, page-turning experience.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7gB61YWPhEpLb-9jr6gBqHS-zhmSM3esFHC2OXKMZQTx4mCiJKxcEkLvP4hM4LA1pKBRxxjiVqr9kC6eLmLmG3IKYylzhyGZjJ-PfRF0zlnPsrnxwL2_jOJNbx0VgXqCORstQ1fOT7TMU/s1600/Screen+Shot+2020-05-27+at+3.37.49+AM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1011" data-original-width="1451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7gB61YWPhEpLb-9jr6gBqHS-zhmSM3esFHC2OXKMZQTx4mCiJKxcEkLvP4hM4LA1pKBRxxjiVqr9kC6eLmLmG3IKYylzhyGZjJ-PfRF0zlnPsrnxwL2_jOJNbx0VgXqCORstQ1fOT7TMU/s1600/Screen+Shot+2020-05-27+at+3.37.49+AM.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Jeanne Crain eyes Cornel Wilde who's wild for Gene Tierney</u></td></tr>
</tbody></table>

color noir, cornel wilde, film noir or melodrama, gene tierney, jeanne crain, ray collins, vincent price

GENE TIERNEY COLORS THE FILM NOIR 'LEAVE HER TO HEAVEN'

Intentionally flowery artwork for LEAVE HER TO HEAVEN Year: 1945 Surprisingly enough, given the Cult Film Freak spotlights from the last...

Written by James M. Tate / 5/28/2016 / No comments / ann-magret , anthony franciosa , brian keith , carol lynley , comedy , europe , gene tierney , melodrama , pamela tiffin , remake , romance , sixties

GROOVING WITH 'THE PLEASURE SEEKERS' WITH PAMELA TIFFIN

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj2tfehelxa1Zd3UOb_SpMDgwPEZT5ptLap3lMxKXElaQ6VdJfBP4sPz29eh-Iuin2MJLrJGqo7MSP1RUzOKrKAmORpelwtTmuD695kmwP12ph1xRM5p_afl2jBJGGZdWmOWwy-insAA0ERtJGA0hk0QIZu0kVq6eDtaUgx_c1emy8zKHWhEhMgUcFqFQ=s928" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="378" data-original-width="928" src="https://blogger.googleusercontent.com/img/a/AVvXsEj2tfehelxa1Zd3UOb_SpMDgwPEZT5ptLap3lMxKXElaQ6VdJfBP4sPz29eh-Iuin2MJLrJGqo7MSP1RUzOKrKAmORpelwtTmuD695kmwP12ph1xRM5p_afl2jBJGGZdWmOWwy-insAA0ERtJGA0hk0QIZu0kVq6eDtaUgx_c1emy8zKHWhEhMgUcFqFQ=s16000"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Lovely young genuine actress Pamela Tiffin in THE PLEASURE SEEKERS Year: 1964</u></td></tr></tbody></table>
Described as centering on "three American lovelies in Madrid," when in fact, first-billed Ann-Margret is merely a sporadic songbird as the main story belongs to buried lead Carol Lynley. And while Ann and Carol are in fact quite beautiful, the new girl in town is... well... beyond beautiful, and then some!<br>
<br>