Criss Cross (1949)

criss_cross_1949_trailer_2Aesthetically, Robert Siodmak’s roots in German Expressionism are crucial to the formation of the film-noir world as we know it today and Criss Cross has to be one of the most diverting additions to his repertoire. Once more he’s paired with his star from The Killers (1946) Burt Lancaster with another raging score from Miklos Rozsa and yet again there is a heist involved. However, whereas the film inspired by Hemingway’s original story was a story about a washed-up boxer — a humble Citizen Kane if you will — with some criminal elements mixed in, Criss Cross is all thriller. It represents the subset of film-noir that is the heist film, but it would hardly be film-noir without something going terribly wrong. This event is integral to the plotting as is the love triangle that becomes the main axis of the ensuing action.

The location shooting throughout L.A. is put on display in the opening shot when the camera swoops down on a parking lot right outside a lively nighttime watering hole known as the Round Up. In these early stages, Siodmak reels his viewers in with a seductive close-up of Yvonne De Carlo looking straight at Burt Lancaster, her lover, except in looking at her man she’s also staring directly at the audience as well with those earnest eyes of hers. And from that point on her role as a femme fatale is cemented for good.

We know she’s undoubtedly nothing but trouble and yet we cannot help but be strung along with Lancaster. After all, someone that beautiful cannot be all bad, right? They never are, right? And we spend the rest of the film grappling with these questions, although the worst is always inevitable. So it goes with Criss Cross.

However, for the audience to try and understand the stakes of the story, most of the great film noirs develop the character’s pre-existing life as much as they magnify the moments of immense conflict. Criss Cross begins in the middle but soon flashes back to when Steve Thompson (Lancaster) first returns to Los Angeles, the sparkling city where his family lives as well as his former wife Anna (De Carlo). And despite the sirens going off and the chiding of friends and family including his mother and his concerned cop friend (Stephen McNally), he finds himself attracted to her once again like a moth to a flame.

He’s soon infatuated once more, embroiled in passion and at the same time petty bickering, tied up in complicated knots as Anna is also seeing the gangster Slim Dundee (Dan Duryea) who doesn’t take kindly to having another man around. In immaculate fatale fashion, Anna plays everyone off with a certain degree of vivacity and at the same time deadly innocence. One moment lively and carefree, the next biting and selfish. You can never pin her down and Steve never does. Still, he’s devoted to her. He goes half-way on a heist with his bitter rival just to save face and subsequently finds himself knee-deep in corruption that he never dreamed of, all because of a girl.

But aside from dealing with a guilty conscience, he still must survive a vengeful gangster.  The number of crisscrosses isn’t all that important, only the fact that they happen and on numerous occasions. The film finishes up with a gloriously fatalistic ending that while abrupt, in typical Classic Hollywood fashion, still delivers a satisfying final conclusion, going out just as it came in, with a rewarding dose of noirish intrigue.

Echoing the words of Proverbs, “The lips of an adulterous woman drip honey, and her speech is smoother than oil; but in the end, she is bitter as gall. Her feet go down to death.” That about sums up Criss Cross: an exhilarating and altogether deadly exercise from Robert Siodmak. Those questions still burrow into the back of our mind to the very end. Was Anna really insidious or just misunderstood? We’ll never know exactly. But perhaps the results speak for themselves. Anyways, that’s for each individual to judge on their own.

4/5 Stars

Brute Force (1947)

BruteForceImage873Potentially one of the weaker Jules Dassin films noir, Brute Force is still a worthwhile film exploring the dynamics of a prison during the 1940s. The inspiration comes from the rebellion at Alcatraz in 1946 and this film was shocking at the time for the amount of violence it portrayed. It stars Burt Lancaster as the glowering leader of a group of prisoners in block K17. His main antagonist and the villain of the entire yard is the authoritarian Captain Munsey (Hume Cronyn in an especially icy role).

The story follows the inmates as they make due with prison life and bide their time waiting for parole. However, Joe Collins, who is fresh off a spell of solitary confinement, seems bent on escape. The prison warden is an older fellow struggling to keep tempers from boiling over. The likable but often inebriated doctor (Art Smith) can see the writing on the wall. Things are reaching the end of the line if Munsey continues to hike up his tactics that are making the men resent him more and more every day. It’s positively a powder keg and it’s not going to be a pretty sight if the pressures get to be too much.

The entirety of the film takes place within the confines of the prison except for a couple flashbacks as four men recall the women they left outside in the real world. They are played by Anita Colby, Ella Raines, Yvonne De Carlo and Ann Blyth respectively, reflecting the hope, memories, and loved ones who are pulling at these men and ultimately led them to get into trouble. Perhaps it’s a stretch, but you might even be able to call them the femme fatales in an otherwise very male-centric film.

One man hangs himself afterward from Munsey and another gets it for causing problems for Joe. Neither of these men is looking to stand down anytime soon as Joe cautiously begins enacting plans of escape with another prisoner named Gallagher (Charles Bickford). Munsey continues to hound prisoners for information while halting all privileges.

Ultimately, the finale turns into the most electrifying moment of the film, while simultaneously Munsey is made the new warden and Collins puts his plan in action. Guards are waiting for him and his crew, but Gallagher has plans of his own in the compound. It leads to a handful of explosions, endless mayhem, and more than a few deaths. This is what happens when you use brute force.

4/5 Stars

Criss Cross (1949) – Film-Noir

c8a9b-crisscrossStarring Burt Lancaster and Yvonne DeCarlo, this Robert Siodmak-directed film-noir revolves around a heist and a love triangle gone bad.

The film opens with Lancaster secretly meeting with his lover with plants to eventually run away together. Then he enters the bar and fights with his love’s gangster husband. However, when a policeman friend comes in, Lancaster will not press charges and non one talks. Little does the policeman know what is really going on. The next day Steve drives an armored car full of money to its destination. As he nervously drives, in a flashback he recalls how it all began.

He had finally returned home after a long absence. His main reason was to see his former wife and yet although they still had feelings for each other, she had remarried a gangster named Slim. Despite the circumstances  both lovers began meeting more often. In order to save himself and Anna, he suggested a robbery of the armored car with Slim.

Then, back in the present the wheels begin to turn and the armored car is ambushed. However, Slim does not stick to his word and there is a firefight. Steve is called a hero but he is left helpless in the hospital. After bribing the man who was to betray him, Steve rendezvous with Anna. However, all is not well and she is ready to leave him behind since Slim is obviously on his way. But she is not quick enough. This film reveals the nature of two double crosses which ends in a deadly criss cross.

4/5 Stars