Misfortunes of Imaginary Beings: 04/25/24

A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Thursday, April 25, 2024

The File on Thelma Jordon (Robert Siodmak, 1950)

Wendell Corey and Barbara Stanwyck in The File on Thelma Jordon

Cast: Barbara Stanwyck, Wendell Corey, Paul Kelly, Joan Tetzel, Stanley Willis, Richard Rober, Minor Watson, Barry Kelley, Gertrude Hoffman. Screenplay: Ketti Frings, Marty Holland. Cinematography: George Barnes. Art direction: Hans Dreier, A. Earl Hedrick. Film editing: Warren Low. Music: Victor Young.

The chief problem with The File on Thelma Jordon is casting. Barbara Stanwyck's performance is terrific, of course, Robert Siodmak keeps a complex plot from snarling, and George Barnes's lights and shadows are eloquent. But Stanwyck is paired once again with Wendell Corey, who was her ineffective leading man in Anthony Mann's otherwise splendid The Furies, also made in 1950. Corey has no charisma and no depth. The screenplay may be at fault in not letting us see why Cleve Marshall's antagonism to his father-in-law is driving him to drink -- and into the arms of Stanwyck's scheming Thelma Jordon -- but Corey's hangdog manner doesn't help. Nor does he bring much visible intelligence to Marshall's scheming to undermine his own defense of Thelma when she's brought to trial for killing her aunt -- a murder he helped her cover up. The ending is also a bit of a muddle, largely because the Production Code meant that Thelma's crime had to be punished. What could have been a classic film noir ends up only a passable one.