The Blue Gardenia - 1953
Posted: June 27th, 2008, 9:26 am
Fritz Lang's stylish film noir keeps getting better with each viewing. My only reservation about it has been Ann Baxter's performance which sometimes feels a little over-the-top, especially in her guilty reactions. But what never palls is the way Lang depicts the circumstances and relationship of the three female roommates. The way they live in that tiny apartment is very realistic, especially with the three beds in the "living room" (there is no bedroom) and how they unsuccessfully try to follow a schedule of taking turns with different chores. It's also interesting how each girl in her own way tries to create her own reality because the truth is so hard to deal with. "Crystal" (the most clear headed of the three, played by the wonderful, chain smoking Ann Sothern) dates her ex-husband, which is pretending in a way (she even says that while before he "had a husbands faults, now he has a boyfriend's virtues"); "Sally" (Jeff Donnell) reads and lives vicariously through her beloved, lurid "Mickey Mallet" (i.e., Spillaine) novels and then of course there's "Norah" (Ann Baxter) who plays house with a boyfriend who's in the service overseas and who soon sends her on a path that will cause her to deny "reality" in earnest.
I never noticed these character defining details until yesterday's viewing and they've made me appreciate the movie much more, quite apart from the actual murder plot. Lang is fairly ascerbic about his depiction of post-war American characters and lifestyle I see. I find it funny how he places that kitchy little ceramic knick-knack so prominently by the phone in the girls' apartment. It stands out so glaringly. And it's so 1950s, I love that detail. I bet it's worth a lot of money on Antiques Roadshow today. And even though Norah can't afford her own place she will splurge on Champagne and roasts for her solitary celebrations and on black taffeta evening gowns. So familiar......
Another thing I noticed about The Blue Gardenia, Harry Prebble's (Raymond Burr) ex-girlfriend who keeps calling him is named "Rose".
It was nice to see George Reeves as the detective. The part where he has his secretary phone Richard Conte pretending to be the "Bue Gardenia murderess" was very funny.
Conte is as always very good but his character, "Casey Mayo," needed more development I think. He was so hard boilded for most of the time and then suddenly he falls for Norah. Why? Just because she had mustard on her nose and looked cute? He seemed too cynical to fall that quickly, especially when his feelings would endanger his making a good story and that's all he seemed to live for until that moment. Hmmmm. I wonder if some scenes were deleted that might have beefed up his part?
Mirrors are prominent throughout the film and I'm still figuring out why. Maybe someone can clarify what they signify here?
Any other admirers of this film who can point to more details I may have overlooked?
I never noticed these character defining details until yesterday's viewing and they've made me appreciate the movie much more, quite apart from the actual murder plot. Lang is fairly ascerbic about his depiction of post-war American characters and lifestyle I see. I find it funny how he places that kitchy little ceramic knick-knack so prominently by the phone in the girls' apartment. It stands out so glaringly. And it's so 1950s, I love that detail. I bet it's worth a lot of money on Antiques Roadshow today. And even though Norah can't afford her own place she will splurge on Champagne and roasts for her solitary celebrations and on black taffeta evening gowns. So familiar......
Another thing I noticed about The Blue Gardenia, Harry Prebble's (Raymond Burr) ex-girlfriend who keeps calling him is named "Rose".
It was nice to see George Reeves as the detective. The part where he has his secretary phone Richard Conte pretending to be the "Bue Gardenia murderess" was very funny.
Conte is as always very good but his character, "Casey Mayo," needed more development I think. He was so hard boilded for most of the time and then suddenly he falls for Norah. Why? Just because she had mustard on her nose and looked cute? He seemed too cynical to fall that quickly, especially when his feelings would endanger his making a good story and that's all he seemed to live for until that moment. Hmmmm. I wonder if some scenes were deleted that might have beefed up his part?
Mirrors are prominent throughout the film and I'm still figuring out why. Maybe someone can clarify what they signify here?
Any other admirers of this film who can point to more details I may have overlooked?