|Femmes Fatales||Aug 10 2022|
She's dressed for a funeral—yours.
U.S. actress Bonita Granville appears to shoot from hip in this fun promo image made for her 1946 film noir Suspense, in which she starred with Barry Sullivan and Belita. In addition to the unusual pose and the shiny black dress, which we love, the lighting on this creates the illusion of the gun being fired. Granville was an acting prodigy. She began her career on stage at age three, was successful in cinema by age ten, and received an Academy Award nomination for Best Supporting Actress in 1936's These Three at age fourteen. We talked about Suspense several years ago, so if you're interested you can read about it here.
|Vintage Pulp||Jun 15 2022|
Suspense so thick you could cut it with a sword.
Above: an alternate poster for the 1946 film noir Suspense. This one is similar to the one we showed you before, except Belita gets to be front and center by herself. Swords—it looks like a knife but it's definitely a sword—feature prominently in the movie, so the use of one as a central element on the art is mandatory. You can read a little more here, and see a lovely image of Belita here.
|Vintage Pulp||Jun 15 2017|
Proceed carefully—ice may occur at major plot points.
The thriller Suspense featured the unusual promo poster you see above, which we think really captures the visual feel of film noir in a way posters more typical of the genre do not. Those posters are amazing, but this one is a nice change of pace. The movie stars Olympic ice skater and sometime magazine model Belita, alongside Barry Sullivan, an incredibly prolific actor who appeared in scores of films. Sullivan plays a hustler who weasels his way up from lowly peanut vendor to fast living impresario at a wildly popular Los Angeles ice skating extravaganza. The catalyst for his ascent is his radical suggestion that Belita leap through a circle of swords. Only in old movies, right? “Hey, that circle of swords gag was a great idea! How'd you like to manage the joint!”
Belita's ice skater is a riff on the standard film noir chanteuse, except instead of doing a few a nightclub numbers she does a few skate routines. She's as good as advertised, too. But the success of any film romance hinges on the chemistry between the boy and girl and here it feels contrived. Both Belita and Sullivan are decent actors, but he's a little too charisma challenged, in our view, to attract someone whose life is going as skatingly as Belita's. But it's in the script, so okay, she likes the schlub. What Suspense does well, though, is visuals. For instance, if you check out the film watch what director Frank Tuttle does near the end when the shadow of the aforementioned sword contraption appears outside Sullivan's office. Beautiful work, suggesting that karma may indeed be a circle.
It occurred to us that on the whole, Suspense uses ice the same way Die Hard uses a skyscraper. The entire film is improved above the norm by the freshness of the unusual backdrop. Add expensive production values and visuals worthy of study in a film school and you have a noir whose many plusses cancel out its few minuses. We recommend it.
As a side note, the ice show is staged in the Pan-Pacific Auditorium, one of the most breathtaking art deco structures ever built, which was of course eventually demolished because that's what they do in Los Angeles. Actually, a fire gutted it before a wrecking ball was brought in to finish the job, but the building had been abandoned for seventeen years, which would not have happened if anyone important in the city cared about historically significant architecture. Suspense brings the Pan-Pacific, just above, back to life, and that's another reason to watch it. It premiered in the U.S. today in 1946.
I'm going to stand right here in your personal space and repeat myself until you say yes.
We're supposed to do a screen kiss, but I'm totally gonna slip you some tongue.
Wow, these are razor sharp, but you'll be fine. Unrelated question—how's your insurance coverage?
Los AngelesPan-Pacific AuditoriumSuspenseBelitaBarry SullivanBonita Granvilleposter artcinemafilm noirmovie review