23 May 2012

DVD Quality Very Good

This review is from: The Postman Always Rings Twice (DVD) If you are worrying about the quality of the transfer to DVD, worry about something else. It looks terrific! The studio used excellent source material. Very few, if any, film scratches. Contrasts good. Audio very good. In short, the studio has done this classic film its just dues in this release. Supplemental material is also interesting. Sometimes we buy DVD's and fine the quality is not as good as our VHS versions. In the case of this release, I think you will be very satisfied. Although it probably could not be called a "digital restoration" (although some studios claim to do this routinely), the transfer has obviously been handled carefully from very good source material. I've not commented on the movie itself, but it goes without saying that this classic is a must-have for film-noir fans.

Terrell-4

22 May 2012

Love and lust, love and murder. James M. Cain, John Garfield and Lana Turner make fine, tawdry story

With platinum hair, dark eyelashes and pouty lips, Cora Smith is a slutto dream about. Or maybe she's just an ambitious, dissatisfied wife,married to Nick, the fat older owner of a greasy roadside diner. Ormaybe all those banked flames of hers are getting too much fresh oxygenfrom tough, dumb Frank Chambers, who drifts into her life and watchesCora's lipstick roll across the diner floor to his feet. It doesn'tmatter. Fate is walking slowly down the highway toward Cora and Frank.Nothing is going to change what passion and murder will bring them, andthe twist of ironic justice sets them up for a great ending. There are so many good things about this movie. The four obvious onesstart with the story by James M. Cain. We're talking hot lust, dumblove and the kind of ironic inevitability that always comes infirst-class noirs. There's the cynical display of the legal process,not quite corrupt -- what does justice have to do with the law? -- butrewarding to those who can best manipulate it. There's Lana Turner asCora, no actress, but who makes believable the kind of blood-thumpingsingle-mindedness that can turn a not-so-smart drifter into a willingparticipant in murder. She can offer sex and she can offer love, andneither we nor Frank is sure which has any truth. Frank will settle forthe sex, but then he realizes with Cora he might have both. And there'sJohn Garfield as Frank in a perfect performance as this flawed,gullible sap who thinks he can commit murder and call it love. All hewants is Cora on a hot night. He winds up wanting Cora for eternity,and is comforted that she'll be there for him. Do many people remember John Garfield now? He made a name on Broadwayand an even bigger name in Hollywood. He was a committed liberal whowas ruined during the Commie witch-hunts. By the late Forties hecouldn't find work in Hollywood. All those studio heads who made moneyfrom his films didn't want to touch him. He was no Communist, just tooliberal for the frightened suits. Garfield's film career was intatters. He was a first-class actor but naive when it came to politics.He couldn't understand what was happening to him. He died of heartfailure in New York in 1952 while trying to reestablish himself on thestage. He was 39. To see just how good he was, watch his reaction shotsin this movie...when he first sees Cora...when he has to get in the carnext to Nick right after he's smashed Nick's skull with a bottle...whenat the end of the movie he reads Cora's note and listens to the DA.Garfield's last major movie was Force of Evil in 1948. These two filmsdemonstrate just how powerful a screen actor John Garfield was and howmuch this nation lost through expediency and intimidation.

Boba_Fett1138

20 May 2012

Such a fine, daring and unique story.

"The Postman Always Rings Twice" always had had the reputation of aclassic and I think it's fair to say that's one of the best movieswithin its genre. For a film-noir it shows some serious guts but notwithout featuring all of the ingredients to make a great film-noir withas well in it.You can say that the story and the way it's being constructed andbuild-up really makes this movie. It's a movie that jumps from the onething to the other, with still managing to make it all feel coherentand connected to each other. There is quite a lot happening in thismovie story-wise and the movie throws a couple of unexpected twists init, that makes the story go into many different directions throughout.Whatever direction the movie goes into though, it's always good enoughto provide the movie with something fresh and intriguing, which alwayskeeps you hooked on what's going to happen next within the movie.But it's also really quite a daring story for its time, since it veryprominently features the theme of infidelity. Marriage was still verymuch a sacred thing at the time and this movie its plot that featuresthe idea of killing a wives husband so the two young lovers can be witheach other much had been quite controversial at its time. It's thereason why the book didn't got turned into a movie any earlier.It's a movie with a story that brings out the best of the genre. It hasa great femme fatale in the form of Lana Turner, an original murderplot and lots of backstabbing characters, as well as a rough, scrubbymain character, played by John Garfield, who died way too early in1952, not too long after this movie.An unique movie for its time and still a great as well as originalmovie to watch now days!9/10

Rodrigo Amaro

19 May 2012

A Sensual Version of James M. Cain Story

One of the most exciting and provocative film noir of the 1940's (andof one of the most simplest also) "The Postman Always Rings Twice"brings the bittersweet love story between a drifter and a married womanthat turns out into a plot of murder, tragedies and deceptions. JohnGarfield plays Frank Chambers, the mysterious man who entered in aalmost abandoned restaurant conduced by Nick (Cecil Kellaway) and hiswife Cora (Lana Turner), who is the main factor of why he takes a jobin the place just to be near her. They want to be together and in orderto fulfill their lustful desires they decide to kill Cora's husband.But the plan and its executions (yes, the guy just don't die thateasily) has its problems, imperfections, complications and they mighteven forget their original plan when things start to become badly forthem.Based on a novel by James M. Cain (who also wrote "Double Indemnity",story very similar as this one), "TPART" follows the book at parts,changes some of the names (Nick's Greek last name in the book wastranslated as Smith in the film, Hollywood had those xenophobicfeelings sometimes) and situations (Lana's Cora is way moreaggressive/controlling/smart than the one of the novel while Frank isquite well-mannered opposed to the dirty one of Cain's book), improvingother suitable for a story considered scandalous in its time but thebasis of the book is present here and is brilliantly presented. Therelationship between Frank and Cora is precisely well made, deliveringlots of sensuality by showing less than we want to see and this wholething made the film a perfect stage for Turner and Garfield to showtheir acting abilities. One must consider two things: 1) in 1946, filmshad to pass the strict Hays Code to be allowed to pass on theaterswhich means they couldn't show much in terms of sex and kisses (whichcould only last for five or ten seconds, and somehow, a tongue kisspassed the censors view in these film) and 2) the remake made in 1981with Jack Nicholson and Jessica Lange, who had the advantage ofdisplaying more than just looks and kisses on the screen, it was aexplosive sexual encounter. As Lana Turner pointed out her task wasmore difficult given what she and Garfield had to work, and the waythey built their relation in the film without showing sex and bodyparts was more effective than the one of the remake, which was quitegratuitous at times (but I like both versions). But the film is not just a love story, it's also a noir and Tay Garnettdirected a wonderful film noir, wise in setting the musical score in agood way (musics were excessive in films those days played all thetime) creating tension not only between the attempts of murdering Nickbut also during the heated discussions between Frank and Cora, when oneturned against the other when things didn't happened the way theyplanned. Coming as a strange fact the movie decides to explain thetitle (which never happens in the book) as something like the Postmanringing twice being something like a warning for things, in this case,a warning for bad things that should be avoided before they turn intosomething difficult or impossible to unmade. Notice that almosteverything important in the story happens twice: two attempts to killNick; two trials; and the list goes on. The explanation worked as amorality device for the film, things very common in that era(thankfully, the remake avoided this).Great performances by the cast which also includes Hume Cronyn playingFrank and Cora's lawyer, who always keeps repeating to them "I'llhandle it" referring about the case; great plot and a great film, thisis a really must see for film noir fans out there. 10/10

17 May 2012

Welcome to the Twin Oaks

Postman's plot centers around drifter Frank, and his relationship with the beautiful Cora. Cora and husband, Nick, run the Twin Oaks -- a roadside service station/diner -- and Nick has hired Frank to help around the place. Cora and Nick are May/December, but there is no romance whatsover between them. The reason for their marriage is cryptically revealed during one scene, but, in the end, one never can quite figure out why they are together. Frank and Cora quickly fall for each other and desire a life together -- a desire that requires removing Nick from the picture. The urgency reaches fever pitch when Nick announces his intention to sell the diner and move Cora to nothern Canada where she will care for Nick's recently paralyzed sister, who, in Nick's words, is going to live for a long time. As other reviewers have mentioned, the DA and defense attorney stand out in this film as well-conceived characters, the defense attorney played to perfection by Hume Cronyn. Over the years, Postman has been lauded as perhaps the quintessential piece of film noir -- an intentionally bleak genre that experienced its heyday in the forties and fifties. Although Postman is undoubtedly a precise work of film noir, it's reputation may be based as much on it's mold-shattering relationship with MGM as on its artistic merit. Released by MGM, Postman was so far out of character for the studio that MGM had to borrow John Garfield to cast the leading role. That said, one is hard pressed to envision Frank as having been played by anyone other than Garfield. The same can't be said for Lana Turner's Cora, though. Yet, while other actresses may admirably have filled Cora's sultry shoes, Turner does indeed sizzle in this role. Both Garfield and Turner play their parts to perfection -- their acting is simply terrific. Somehow, though, the chemistry between the two leaves a little something wanting. For me, this was underscored by the instant chemistry that exists between Frank/Garfield and the "other woman" he picks up at the train station during Lana/Cora's absence. That said, the little something that is wanting between Turner and Gerfield contributes, in its own way, to the bleakness of the plot.Technically, the dvd presentation of Postman is quite good. The transfer here is not as pristine as other Warner releases and there are digital artifacts and noise noticeable in many scenes. However, they are not severe enough in effect or number to detract from the film. Although the audio on this dvd is fine, the score for Postman is really just mediocre. Heavy on suspense motifs, one is left feeling as though they've heard much of this music before. The highlight of the dvd is the Garfield documentary that Warner has included as an extra. For fans of the noir genre, and for fans of Garfield in particular, this extra transforms a good dvd into a must-own dvd.All things considered, this is a title for confirmed noir fans, and, for them, it is highly recommended. Even if you're not a noir fan, though, Postman is a work of broader cultural significance and is well worth owning even if its the only noir on your shelf.

17 May 2012

Lana Turner vehichle should please her fans

This review is from: The Postman Always Rings Twice (DVD) The DVD transfer is good but not excellent.Lana Turner looks like a million bucks but the part called for about a hundred. A movie with a similar plot, "Double Indemnity" was released 2 years prior to 'Postman' and set the standard which this movie does not equal. Direction is poor, aimed more at displaying Miss Turner in provocative poses than building a good storyline and creating suspense for the audience. I point to the scene where Lana is climbing away from the beach in white patent leather high heels. Did anybody else find this distracting? It really took a lot of sincerity away from the character.I'm sure this was box office magic in 1946, owing it's success to sensational posters and trailers and, of course, Miss Tuner, looking as good here as I've ever seen her. The GI's were back from WW2 and one of their favorite pinups was on the screen. The line to see this film probably stretched around the block at some of the original showings of this film.John Garfield had his fans too and the two leads did look good together but not always. I've seen better film noir released both before and after 'Postman'. This one is hard to get into and is dated as well. Cecil Kellaway is wasted in what could have been a much better role but he was limited by script and direction. Hume Cronyn brings the best character to the screen as a slick and deceptive criminal lawyer. Cut the price in half and then I would say buy it. Recommended for: Lana Turner fans, film noir fans. This is not a family film.

moonspinner55

15 May 2012

Excellent, if watered-down version of James M. Cains steamy novel

Hard-bitten drifter comes upon a diner run by a friendly, middle-agedcoot and his glamorous, sinister-eyed spouse; soon, the dangerous femmefatale is conspiring with the handsome stranger to bump off herhusband. Glossy but still potent film noir was--due to the times--asoftened variation on James M. Cain's bestseller, yet is helped by theexciting star-performances from John Garfield and Lana Turner.Occasionally overwrought, but tightly-wound, absorbing and enjoyable.Remade in 1981 as an R-rated noir featuring Jack Nicholson and JessicaLange in the leads, and who proved to be a surprisingly dull screenduo. Stick with the taut original. *** from ****

15 May 2012

This is second to none version.

This review is from: The Postman Always Rings Twice (DVD) A masterpiece was due to the original as well as the powerful combination of charismatic persona, Lana Turner and John Garfield, Impressive acting, fine directing. Lana Turner plays typically calculating femme fatale. However mysterious sensual unique. Postman as doom-ridden victim, John Garfield delivery catastrophe while the harvest of evil affairs causes inevitable retribution. This is a serious crime drama, but the other side a cynical justice drama.

SonOfMoog

12 May 2012

Awesome film noir!

The Postman Always Rings Twice is simply the best film noir ever done. Lana Turner, who got billing above John Garfield in this movie, anddeservedly so, is stunning as Cora, the most alluring woman I've everseen on screen, the quintessential femme fatale. John Garfield gives abravura performance as Frank Chambers, the drifter, who can't keep hishands off another man's wife. The story is by James M. Cain, whoseDouble Indemnity is another memorable film noir adapted for the screen.Cain's stories are a mix of lust and crime and deceit anddouble-dealing.But, this movie belongs to Lana Turner from the moment we and Frank thedrifter first see her to that fateful moment .. and I won't say whenthat moment arrives .. when Frank's and Cora's dreams and schemes areforever dashed. Frank says several times in the movie, "I just wantedto look at her..I just wanted to see her..It was horrible to be awayfrom her.." and Frank wasn't the only one who had those feelings. That first time we meet Cora is simply one of the most erotic, powerfulscenes ever filmed. Frank is sitting at the restaurant counter, Cora'shusband, Nick, has gone to see a customer, and we see a tube oflipstick rolling on the floor. The camera follows Frank's gaze from thelipstick, to the path it took on the floor, to its owner and the reasonit fell to the floor. The camera stops - as Frank's gaze does - onCora's shapely legs, shown in all their splendor from mid-thigh toheel, because Cora is wearing shorts. We see Cora's face, and thenFrank's, and we can literally see Frank's breath being taken away.Ours, too. It doesn't take long before nature takes its course with Frank andCora, but that creates the problem of what to do with Nick? First, theysimply decide to leave him, but that doesn't work, because of the threeof then, Nick is the only one with money. There is a botched murderattempt which Nick recovers from. Nick isn't the brightest bulb in thearray since he never realizes that his wife and the drifter he hiredjust tried to kill him. Some parts of this first attempt aremasterfully done, and some aren't. Frank and Cora's sexual tensionbuilds, along with the fear that they'll be found out for what theytried to do. They succeed in killing Nick on their second attempt, but are sooncaught. These aren't master criminals, you see. Cora and Nick areplayed against each other by the Prosecutor, and we soon see them fortheir true selves, as they turn on one another. Hume Cronyn playsCora's attorney here in a role evocative of Billy Flynn in Chicago some55 years later. This defense attorney has it all under control. Hemanages to razzle-dazzle the prosecution - and the court, and get bothFrank and Cora off! Cronyn is so good here he nearly steals the movie!It's not necessary to say more about the story. We know in a film noiruniverse that evil schemes never succeed. Frank and Cora will never getaway with Nick's murder. Even though they are free, things soon beginto unravel for them. Their relationship is undermined by all the deceitand legal manuevering of the prosecuting attorney and Cora's lawyer.Neither trusts the other. Things go from bad to worse, and ultimatelyboth Frank and Cora pay for killing Nick.This movie is not perfect. There are some plot points that do not hold:Nick's stupidity, the sudden discovery of the life insurance policy, astupid housecat, and others. It is tedious in spots, especially themiddle.The botched first murder attempt is not essential, the legal wranglingtakes too long, and the tension that builds between Frank and Coraafter they are free takes too long to build. Frank has a dalliance witha waitress that either should have been cut or expanded. But, for allits faults it is quintessential film noir. Frank and Cora for all theirgood looks are rotten at their core, and that's why we love them. Welove the movie because in the end they get what they deserve: justicetriumphs over hormones and greed. 9 out of 10.A footnote: the newly released DVD has a bonus feature on the life ofJohn Garfield. He died in 1952 at the age of 39, a victim of the HouseUnamerican Activities Committee. Garfield was a prominent target, whomthe committee sought to discredit and destroy, in an attempt to gaincredibility with the American people. How very sad that so many livescould be shattered with such implacable malice emanating from Congressitself. Let us pray it never happens again.

NewEnglandPat

12 May 2012

A solid murder mystery with star power

Lana Turner and John Garfield are great in this classic tale ofdeception and murder and its hard to imagine that another actress, saveBarbara Stanwyck or Joan Crawford, could have played the role of thewayward wife as well as did Turner. Cecil Kellaway has a thankless roleand it's hard to believe that he was as clueless as he was about thefires burning around him as Turner and Garfield carry on their affair.Kellaway seems more preoccupied with pinching pennies than noticing howhis young, attractive wife is bursting with sexual energy. Turner is asbeautiful as ever but she and Kellaway don't make a credible marriedcouple. Hume Cronyn is good as the smug attorney but the courtroomdrama is a bit of a letdown. Garfield brings a restless energy to hisrole and matches Turner's smoldering sexuality.

DKOSTY

12 May 2012

Film Noir Chemistry 101

John Garfield and Lana Turner had the chemistry which sold tickets tothis movie. What is interesting is the support they get which makes itinto a solid film. Crudos should go to the men who play the Lawyers asthey bring off their small roles quite well.The book must do better than this film as there are times where therealism is very much lacking. In particular the story line with Turnerscharacter confession and the 2 idiots who later try to blackmail hermakes no sense. Why would she offer them money for a piece of paper shecan't be penalized for? There are some other flaws in the plotting thatring out as recommendations to read the book too. The strength of thefilm is the acting which makes you want to watch in spite of the holesin the script. Age makes these holes look gaping more to todaysaudience than the 1946 ones.

Jem Odewahn

11 May 2012

Smouldering noir is slightly glossed-over, but very worthwhile

'Postman' is an entertaining film noir that features smolderingperformances from it's two central stars, John Garfield and LanaTurner.They play the lovers, Frank and Cora, who conspire to kill Cora'sblustering, older husband Nick in order to gain financially. It's afairly straightforward plot typical of the noir genre, but it's doublysurprising and sizzling all the same. This has been given the glossystudio treatment by MGM, with the characterization of both Cora andNcik vastly different from Cain's novel. Nick is a Greek and younger inthe written work, and Cora is less beautiful and more of a tramp inCain's work. Still, Cecil Kellaway's old but good-natured innocentbuffoon Nick is effective, and Turner's femme fatale still reeks ofsex, although she has been glossed-over considerably. Garfield'sdrifter remains much the same, providing the voice-over to the eventsin the film.'Postman' has an exciting, live wire script that is just as crisp asany film in the noir genre. The use of shadowy photography isexcellent, and the performances of it's two stars are magnificent intheir contrast. Garfield, the earthy actor way beyond his time andpre-dating Brando and Clift for bring naturalness to the screen, is thecomplete opposite of Turner in terms of acting style, and it's a goodset-up. Turner was never a great actress, but she had a few goodperformances in roles that suited her limited capabilities. Here shedoes well as the ambiguous femme fatale who deceptively wears white andis kitten-like one minute and cat-like the next.Bearing more than a passing resemblance to 'Double Indemnity','Postman' is good in it's own right and has some nice cinematictouches. The symbolism of the 'Man Wanted' sign outside Frank'sroadside café that draws Frank Chambers to the place, finding it meansmore than just an employee wanted when he meets the sensual Cora (inTHAT entrance, with Turner's lipstick rolling at Garfield's feet), isprovocative and intelligent. Every steamy encounter between the illicitlovers is filmed superbly and handled terrificly by director Garnett.The suspense flows nicely in this one, although it tends to draghorribly during the courtroom scenes where Frank and Cora arecross-examined by wily prosecutor Keats (Hume Cronyn) for their crimes.It also has a lot of problems with pacing towards the ending, and isperhaps 5-10 minutes too long.Still, a worthy product of the 'noir cycle', and a very nicelypresented film.9/10.

carvalheiro

08 May 2012

Dreadful Depression time and small business for great consequences

"The postman always rings twice" (1946) directed by Tay Garnett was atthe time the third of four later adaptations from the known and famousnovel written by James Cain, explaining just after the economic crisisof 1929 in why democratic values and corrupted minds or institutionswere affected by the lack of capability for change. Whilst if otherfactors were more increased at the time and not as obstacles then inroute even when were in social evolution, but simultaneous too muchslowly for a new deal of the basic and instinctively people. A smallrestaurant near an exterior mountain road at countryside, nowhere inCalifornia during the Depression era, it is the involuntary stage of apassionate turmoil. Isolated from the normality of surviving life, inthese times of unemployment and migration among states, with socialhungry and obliging people taking unthinkable actions. The novel ismuch more rich than the story itself, because of several detailsomitted in this third screening version barely made fourteen yearsafter its first printing in 1932. Two moments are interesting over all in this movie for the viewer, aswhile the employee gives a match for lit her cigarette and another whenthe woman sings with a guitar as if anyway he already belongs to thesame family but in an undercover love affair. The husband is like ahappy drunken man out of his capacity for this kind of marriage, as ifshe was bought like a young woman for the kitchen, as well for this newemployee in such a promiscuity for surviving inside an abandonedrestaurant from the road. Their common conscience is low and theirlives are like that, there for the strange cohabitation and it was notimplied that the scene must be other than it seems to be, without anybravery expelling it to the boring side of any young life, as here bynecessity of things and attraction between ages - him and her out ofcontrol from the owner -, by blood, money and illicit love opportunity. Jumping outside of misery without modern instinct from the husband,barely somnolent and even not autocratic enough to understand that hispity is his condemnation by the new couple of potential and frustratedcriminals. In a kind of fatalism that took the fascination of thisstory of young people, aside the bitter end of the less fortuned at thetime of sensuality, fighting poverty in Twin Oaks random of destiny.Even when in this case circumstances and ethnicity or vulgarity ofhuman backgrounds acted as apparently non sense and where in a magictriangle of characters destiny as a supposed retroactive determinismexplains why institutions were so in debt for Manicheism. FrankChambers was the individual in question and as man without specificqualities he needs an occasional wage and Cora is the young wife of theowner, in a Greek tragedy with two turnabouts and a bitter end.

07 May 2012

Lana Turner is Ssssssmokin

I've yet to see the perfect noir movie - I'm not saying that it isn't out there, I just haven't run across it yet. This film, the original 'Postman', comes about as close as any, other than a couple of Bogart and Bacall's efforts from the same time. I can't say what it is I'd consider perfect in a noir film (I guess it's one of those things that I can't define, but I know it when I see it). I do know that one ingredient is a lovely leading lady, and for that reason alone, if nothing else, 'Postman' outscores much of the competition. I can't remember seeing Lana Turner in anything else, and a quick search of her movies didn't turn up anything I'm likely to watch anytime soon, but while watching 'Postman', I was amazed at just how attractive she was. That, in and of itself, isn't really a reason for watching 'Postman', but it sure didn't hurt.I've always thought that films of this era generally skirted a lot of reality in order to appease the censors, but this film holds up well over time - both my fiancée and I were caught up in the story till the end, though we are both liable to give a movie several chances before giving up. Like other films of the period, more is suggested than is shown (those looking for something more explicit might enjoy the Nicholson/Lange remake from a few years ago), but director Tay Garnett skillfully handles the material, and both John Garfield and Lana Turner are more than capable of playing the sympathetic, but flawed lovers. (I will say that I thought Ms. Turner's acting abilities were showcased best when she played the icy vixen or calmly aloof. When the scene called for heated emotion, I thought she may have been overmatched). Too often, films from the forties and fifties don't age well, especially dramas, which can seem more campy than dramatic. Some viewers find this unbearable, but 'The Postman Always Rings Twice' should appeal to fans of films from this time as well as those who are still on the fence. Special features in this edition include an image gallery, a introduction by Richard Jewell, trailers for both the original and the remake of the film, and the John Garfield Story - an original production by AMC. I enjoy watching the trailers, especially for older films like this, just to see the difference in how films are marketed, so this was an interesting inclusion, as was Richard Jewell's points about the film and the principle people behind it, but I generally get bored looking through all the production stills. 'The John Garfield Story' was actually a pretty thorough documentary, and even though I'm not a big fan of hagiographic remembrances of film stars, I gained quite a bit of respect for Garfield. Much of his popularity came from his acting, but it was as a human being that he had his greatest successes. Recommended for the film noir enthusiast, fans of wartime cinema, and for the lovely Ms. Turner.

05 May 2012

Yawn...

Sure Lana Turner looks great in this film but truly that's about all it has going for it. The plot was so thin and predictable I started fidgeting in my chair 10 minutes into it. First of all Mr. Smith all but allowed this affair to happen and in some scenes seems to encourage them. Then the constant attempts at murder bordered on comedy. I have a feeling that the book is better than this production but then if viewers from the 40's just wanted to drool after Ms. Turner then I can see why this was such a big hit.

fleapit_fred

05 May 2012

See you in hell, darling!

MILD SPOILERS AHEADSurprised that no-one else has noted the strand of queasy religiosity thatruns through the last few reels and, remarkably, makes Cora and Frank evenless sympathetic than they were to begin with. Between the pregnant Cora'sbizarre remarks about giving a life back for the one they took and Frank'sspinechilling last wish that he and Cora can be together in death "whereverit is!", they turn from pretty much your standard white-trash alley catsinto truly terrifying self-justified sinners, guilt-free psychopaths.Can't be sure whether this is part of the script's intentions or a misjudgedattempt to inject a note of redemption into the proceedings - probably thelatter - but Frank and Cora make the miserable, nerve-wracked lust-and-moneykillers of Double Indemnity seem quite cuddly in comparison. I've watchedthis film often, and its hard-boiled dialogue and fiendish plot never ceaseto entertain, but its central fascination is absolutely reptilian.Incidentally, can anyone think of a film noir that offers an innocent victimless pity than this one offers Cora's husband Nick?

28 April 2012

Bad casting, bad sets, bad costumes

So disappointing. Hardly a dark/noir film, in my opinion. Just a proper Hollywood murder mystery. And there's no sex, except brief kissing which Lana always cuts short! I'm a James M Cain fan, and this doesn't even try to be faithful to his great noir novel. Everyone's too decent. Cora (Lana) doesn't have a treacherous or naughty bone in her body, and she's always costumed like a perfect fashion model, fingernail polish and all. Frank (Garfield)is never lustful, never mean, never desperate. Always polite and decent. Not a gas station (except for one pump that looks planted) not a single oil can or wrench. Not a greasy spoon or diner, Twin Oaks looks like a tidy clean beach cottage or B&B, fit for Donna Reed & family. The 80's Nicholson/Mammet version is much better in all these areas and actually dark. Much more faithful to Cain.

28 April 2012

A milestone Noir!

This anthological Noir remains as one the most ambitious exponents of this genre. It 's by itself a kaleidoscopic vision about the human condition `s miseries. Greed, ambition, murder, betrayal and double moral carried until its last consequences. The inspiration belonged to James Cain but the superb approach of Tay Garret, the towering performance of John Garfield and the alluring presence of the captivating Lana Turner in that unforgettable first plane that constitutes his first appearance on the screen still remains as one the most supreme erotic moments in the story of the Cinema.A film that engages to any kind of viewer due its vibrating and high voltage tension.

stang4

23 April 2012

Film-Noir Classic

This film is taut and aesthetic. If you can confront the evil, you'lllikethe story. It's simple and very dark. Lana Turner's performance as thefemme fatale is one of the best -- it rivals Barbara Stanwyck in DoubleIndemnity. When she is talking closely to John Garvin and decides to "getdown to business" with him, the evil turns on in warm chocolaty waves thatare as hard to resist as they are repulsive. As John Garvin, you want toignore the issues with her plans and go with the flow. It's just easiersomehow.

SimonJack

22 April 2012

Crime, Mystery, Morality, Love, Justice the Drama of life

Most viewers who comment on this film see it as a noir mystery withmuch sensuality between the two leads. That adds up to considerableentertainment for many. I enjoy good mysteries as well, but there ismuch more in this film than that. And the more is what makes "ThePostman Always Rings Twice" a very good movie. I won't rehash the plotor the outstanding acting that Lana Turner and John Garfield give totheir roles – or that of Cecil Kellaway, for that matter. Some find ithard to accept the "dupe" of the older husband. But who can say thatsuch a marriage is implausible – especially when the author of the bookcreated the character? Some of us have known just such types ofmarriage that existed in our family pasts – or have read about them inreal-life stories.So, what are some of the "more" that the Postman has to offer? To beginwith, the fear, worry, angst and paranoia the leads show after theirfirst botched attempt. Can we not imagine – most of us who are notcold- blooded killers – that we would be like Frank and Cora? Wouldn'tour consciences bother us as it did them on and off? Both characterswere very conflicted about committing murder. First, they think it'stheir only way out, and then they have regrets and second thoughts?Would that not be the way most people – most humans would be and reactin such circumstances? Modern movies with all their mayhem havecharacters who emote about as much as robots after mowing downcountless opponents – good or bad. But the Postman gives us a much morereal portrayal of human nature and our understanding of right and wrongand knowing that killing is wrong.Of course, most of us would probably not get to such a circumstance inthe first place. But the story is about two people who do. They beginan adulterous affair. The male character, Frank, truly is a drifter whochases after women. Cora is tempted when he comes on the scene. Bothknow they should be apart, and both try to leave to end therelationship. There is morality at work here. Adultery always involves deceit. Can true love come of such, or last?The film shows so realistically the distrust that arises between Frankand Cora. Finally, when Cora leaves to be with her dying mother andthen returns pregnant, she has a resolve to start again, with love forher man. Only, justice has not yet been served. So the drama plays outwith an unusual twist that confirms the age-old adage that crime doesnot pay. The very final scene may seem a little hokey, but for Frank'scharacter – who actually was NOT very bright or smart, a glimmer ofhope in love lost seems to be a fair deal in return for payment for hiscrimes. All-in-all a very good film, very entertaining, and very satisfyingwith its conclusion. This film was so well done by all, that the viewerdoesn't root for the stars to triumph in their illicit love affair.