|Vintage Pulp||May 23 2021|
Social critique lurks in the dark corners of Evelyn Keyes film noir.
This unusual poster was made for the film noir The Prowler, which premiered in the U.S. today in 1951 starring Evelyn Keyes and cinephile fave Van Heflin. When a woman reports a prowler one of the cops that responds to the call becomes infatuated with her and decides to make her his own, despite the fact that she's married. The process of claiming her involves him forcing himself upon her, but this being a mid-century drama, after the fade to black we fast forward a few weeks and the two are now having an affair.
This is the set-up of the film, not its story arc, so we haven't given anything anyway in terms of major plot points, however we wanted to mention the preamble because it's uncomfortable viewing—though we should note that the film doesn't present this behavior as normal. It also seems clear that Heflin is able to pull this off specifically because a fizzled Hollywood career has made Keyes' character vulnerable, and she's unhappy in a marriage that she agreed to for reasons of security. So if you watch the film don't get your hackles up. In order to condemn behavior it's useful to show it, and that's what Heflin's manipulations are all about.
But there's more going on here than just a noir drama about a bad man and a targeted woman. The movie was written largely, if not wholly, by blacklisted writer Dalton Trumbo, and he always has a deeper message. Here's a notable line of dialogue concerning bad police officers: “It depends on what you think a cop's job really is. I figure that the job of a cop is to protect lives. Now some of these trigger happy guys, they think they have to protect things.”
Hmm. Relevant to today? Quite possibly.
Often you can identify a film noir by the simple fact that the lead male is screwed, and gets progressively more screwed as the movie unfolds. The Prowler reverses the formula and places Keyes in the screwed role and makes Heflin a sort of homme fatale, a sociopathic manipulator determined to get what he wants no matter the cost. What he wants is Keyes, and he'll destroy her marriage, her self respect, her mental stability, and any other pillar of her existence to have her. And of course, in so doing, he'll risk losing what humanity he has and descending into soulless desolation.
Evelyn Keyes was a talented performer. We've seen her several times now and she always kills it. Thanks to her and others The Prowler is a well acted movie. It's also beautifully shot. It was directed by Joseph Losey—soon to be blacklisted along with Trumbo, so presumably they were on the same page concerning social critique as cinematic subtext. Millions of average Joes made the same gripes as Trumbo and Losey, and millions of average Joes still do today. But when filmmakers weave a narrative tapestry that calls America broadly corrupt, trouble with the empty suits in Washington D.C. always looms.
Here's a parting shot from Trumbo: “So I'm no good. But I'm no worse than anyone else. You work in a store you knock down on the cash register. The big boss, [he cheats on] the income tax. [Politician] sells votes. The lawyer takes bribes. I was a cop. I used a gun.”
Don't criticize America like that! People will think you're a communist.
I have been re-educated by the House Un-American Activities Committee. I am happy. America is perfect.
The ProwlerLos AngelesEvelyn KeyesVan HeflinDalton TrumboJoseph Loseyposter artcinemafilm noirmovie reviewcommunism