Vintage Pulp Jan 27 2016
TORTURED ARTISTS
If only their taste in mates matched their taste in music.


The Noir City Film Festival continues its challenging 2016 slate when it screens another pair of classics tonight—Love Me or Leave Me and Young Man with a Horn. Both are musical dramas, and though neither is a noir, both take viewers to dark places. In the 1920s period piece Love Me or Leave Me velvety-voiced Doris Day stars as a struggling chanteuse given a break by gangster James Cagney. He quickly becomes her manager and uses force to launch a national career, blind to the fact that she has real talent and can succeed with no strongarm man to back her. But Cagney doesn't see her talent—show business is gangsterism for him, and bullying is how he operates. When he finally bullies his way into marriage with Day his constant rage transforms her into an indifferent and isolated woman.

This is one of those movies that will, especially in a full house in San Francisco, trigger groans of distaste as Cagney ticks all the worst boxes of reprehensible human beings—treating women like meat, slapping them around, trying to obtain sex by force, dispensing emotional abuse, and using violence as a tool in every situation, against both women and men. But the audience may be just as hard on Day by the final reel forpossessing a level of forgiveness that is alien to people circa 2016. Love Me or Leave Me is an excellent movie—cringe inducing in parts, but deeply involving, and perhaps destined to be the most discussed film of the festival.
 
Day stars in Young Man with a Horn as well, singing again, this time with Kirk Douglas, who plays a gifted child musician who grows up to be an ace trumpet player thanks to the tutelage of an elder jazzman. Unfortunately he has a congenital inability to conform, particularly when it means playing dance band music over improvisational jazz. The arrival of a femme fatale—in the person of the awesome Lauren Bacall—brings a whole new set of troubles. The gender roles are reversed from Love Me or Leave Me, but the films each explore how a bad relationship saps the joy from the soul of an artist, and Day is winningly sweet in both.
 
Perhaps by now you’ve noticed the theme that has emerged with this year’s Noir City offerings—they are all about artists or their artistic output. In Rear Window and The Public Eye it’s photographers, in The Two Mrs. Carrolls it’s a painter, In a Lonely Place and The Bitter Stems deal with a screenwriter and journalist, Deception and Humroresque look at classical musicians, and The Dark Corner and Crack Up deal with art ascommerce and contraband respectively. The theme is nice, but once again two films will be screening tonight that present yet another challenge to noir purists attending this year’s fest. Both films are great, but we’ll be surprised if organizers stray this far from the form next year.

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History Rewind
The headlines that mattered yesteryear.
October 20
1947—HUAC Hearings Begin
The House Un-American Activities Committee begins its investigation into Communist infiltration of Hollywood, resulting in a witch hunt that destroys lives, ruins careers, and makes Senator Joseph McCarthy the most feared politician of the era.
1968—Jackie Kennedy Marries
Former First Lady Jacqueline Kennedy marries Greek shipping tycoon Aristotle Onassis. The marriage comes as a total surprise to the American public, and results in a terrible backlash against her and also makes her the number one target of paparazzi for years.
October 19
1989—Guildford Four Exonerated
The men known as the Guildford Four, who were imprisoned for a series of bombs attacks on British pubs that left five dead and 100 injured, are decreed not guilty after an investigation reveals that police colluded in doctoring statements that appeared to incriminate the defendants.
October 18
1968—Olympic Committee Suspends Carlos and Smith
The U.S. Olympic Committee suspends African-American track & field athletes Tommie Smith and John Carlos for saluting the crowd with raised, gloved fists during a medal ceremony at the Mexico City games. The salutes represented the black power and civil rights movements in the United States. Both athletes also received their medals shoeless to represent black poverty.
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