The Window (1949) and Black Angel (1946)

Toronto Film Society presented The Window (1949) and Black Angel (1946) on Monday, August 19, 2024 as part of the Season 76 Fall Series, Programme 10.

THE WINDOW (1949)

Production Company: RKO Radio Pictures.  Producers: Frederic Ullman Jr., Dore Schary.  Director: Ted Tetzlaff.  Screenplay: Mel Dinelli, based on the 1947 story “The Boy Cried Murder” by Cornell Woolrich.  Cinematographers: Robert De Grasse, William O. Steiner.  Music: Roy Webb.  Editor: Frederic Knudtson.  Release Date: May 17, 1949. Running time: 73 minutes.

Cast: Bobby Driscoll (Tommy), Barbara Hale (Mary Woodry), Arthur Kennedy (Ed Woodry), Paul Stewart (Joe Kellerson), Ruth Roman (Jean Kellerson).

The Window tells the story of Tommy Woodry, a boy from a crowded New York City tenement. One night, he witnesses a murder in the apartment above his, but the adults around him are not interested in his attempts to alert them of what is going on. Tommy is known for his habit of telling tall tales, and his pleas are dismissed as just another one of his fantasies. As the murderers realize that Tommy knows too much, they begin to close in on him, turning the tenement into a claustrophobic trap.

The Window not only entertains but also offers a deep commentary on childhood innocence, urban isolation, and the struggle for truth in a world clouded by mistrust in the post-World War II era.

The effective use of light and shadow certainly comes from Ted Tetzlaff’s expertise as a cinematographer, working on such films as Alfred Hitchcock’s Notorious. He creates a visual style that is both stark and suspenseful. The film’s noir aesthetic is enhanced by Tetzlaff’s ability to manipulate the visual elements, making the tenement building itself feel like a character that traps and endangers the young protagonist.

The claustrophobic apartments, narrow corridors, and ever-present shadows that the New York City tenement provided create a sense of suffocating isolation that is essential to the film’s atmosphere. The fire escapes, narrow stairwells, and small apartments all contribute to the feeling of entrapment that Tommy experiences as he tries to escape his pursuers.

The residents are disconnected from one another, unaware or indifferent to the horrors occurring just a few feet away, despite living so close to each other. This urban setting reflects the broader themes of alienation and paranoia that were prevalent in post-war American society, where the familiar could quickly become sinister.

The decision to shoot on location in New York City adds to the film’s authenticity. The realistic setting, combined with the detailed set design, heightens the sense of danger that permeates every scene.

Like many films of its time, The Window delves into moral ambiguity, presenting characters who, while not evil, are flawed in ways that have serious repercussions. Tommy’s parents, played by Arthur Kennedy and Barbara Hale, are caring but ultimately fail to protect or believe him when it matters most. This ambiguity reflects the post-war disillusionment of the era, where clear-cut notions of right and wrong were increasingly questioned.

One of the most compelling aspects of The Window is its exploration of perception versus reality. Tommy’s struggle to convince the adults around him of the truth underscores how easily perceptions are shaped by preconceptions. The adults dismiss Tommy’s story because of his reputation, revealing how biases can cloud judgment and lead to dangerous consequences. The film challenges viewers to question how much they trust their own perceptions and those of others, a common thread in the film noir genre.

At the heart of The Window is the theme of childhood innocence, set against the dark and dangerous world of adults. Tommy’s innocence is depicted as both a strength and a vulnerability. His honest and imaginative nature is what leads him to the truth, yet it is also what causes others to doubt him. This theme resonates with the audience as it highlights the precarious position of children, whose voices are often ignored or misunderstood, even in critical moments.

Bobby Driscoll’s performance as Tommy is a standout, capturing the fear and determination of a child thrust into an adult world. Driscoll, who was already a well-known child actor under contract with Disney, delivers a performance that is both believable and poignant, earning him a special juvenile Oscar. The supporting cast provides strong performances that ground the story in a relatable reality.

Upon its release, The Window was met with positive reviews, with critics praising its tight pacing, suspenseful direction, and strong performances. Bobby Driscoll’s portrayal of Tommy was particularly lauded, with many noting how effectively the film captured the perspective of a child in a perilous situation. Over the years, The Window has maintained its reputation as a classic of film noir, often highlighted for its innovative use of a child’s viewpoint in a genre typically dominated by adult characters and themes.

The Window remains a compelling study of innocence in peril, where the boundaries between safety and danger blur in the shadows of a seemingly ordinary world. Its exploration of trust, perception, and the often-overlooked fears of childhood ensures its place in the pantheon of classic American cinema.

BLACK ANGEL (1946)

Production Company: Universal Pictures.  Producers: Roy William Neill, Tom McKnight.  Director: Roy William Neill.  Screenplay: Roy Chanselor, based on the novel “The Black Angel” by Cornell Woolrich.  Cinematographer: Paul Ivano.  Editor: Saul A. Goodkind.  Released Date: August 2, 1946.  Running time: 81 minutes.

Cast: Dan Duryea (Martin Blair), June Vincent (Catherine Bennett), Peter Lorre (Marko), Broderick Crawford (Police Captain Flood).

Black Angel is a classic film noir that delves deep into the dark recesses of human emotion. It weaves a complex tale of murder, mystery, and the lengths to which one will go for love. The film’s intricate plot, atmospheric cinematography, and compelling performances make it a noteworthy entry in the film noir genre.

The story revolves around the murder of singer Mavis Marlowe and the subsequent framing of her lover, Kirk Bennett, for the crime. Bennett’s wife, Catherine, convinced of his innocence, teams up with Martin Blair, Mavis’s estranged husband, to clear his name. As they dig deeper into the mystery, they uncover a web of deceit, leading to a suspenseful and unexpected conclusion.

Black Angel is a quintessential film noir in its use of shadow, light, and atmosphere to create a sense of tension and unease. The film’s cinematography, handled by Paul Ivano, is a standout feature, with its stark contrasts and moody lighting. The use of shadows and darkness is particularly effective in conveying the sense of mystery and danger that permeates the story. The visual style not only enhances the suspense but also mirrors the emotional turmoil of the characters, making the film a visually striking example of the noir genre.

The film’s settings—ranging from seedy nightclubs to shadowy apartments—further contribute to the noir aesthetic. Each location is carefully chosen to reflect the film’s themes, with the dark, claustrophobic environments serving as a physical representation of the characters’ inner turmoil. The atmosphere of the film is one of its greatest strengths, drawing the audience into a world where danger lurks in every corner, and nothing is as it seems.

The characters in Black Angel are complex and multifaceted, each driven by their own desires, fears, and regrets. Catherine Bennett, played by June Vincent, is a strong and determined protagonist, whose transformation from a dutiful wife to a relentless investigator is central to the film’s narrative. Her performance is both subtle and powerful, capturing the emotional depth of a woman fighting against all odds to save the man she loves.

Dan Duryea delivers a standout performance as Martin Blair, bringing a tragic vulnerability to the character that makes his journey of redemption all the more poignant. Duryea, often cast in villainous roles, showcases his range in Black Angel, portraying Martin as a deeply flawed yet ultimately sympathetic figure. His chemistry with Vincent adds an additional layer of complexity to the story, as their characters’ relationship evolves from one of mutual distrust to one of deep, if complicated, respect and affection.

Peter Lorre, though in a supporting role, leaves a lasting impression as the shady nightclub owner Marko. Lorre’s portrayal adds a touch of menace to the film, with his character serving as both an obstacle and an unwilling ally in Catherine and Martin’s quest for the truth.

At its core, Black Angel is a story about the destructive power of love and the possibility of redemption. Catherine’s unwavering belief in her husband’s innocence and her determination to prove it highlight the strength and resilience of love, even in the face of overwhelming odds. Her journey from a devoted wife to a determined investigator is central to the film’s narrative, showing how love can drive people to extraordinary lengths. Conversely, the film also explores the darker side of love—betrayal. Mavis Marlowe’s relationships are marred by deception and infidelity, ultimately leading to her tragic end. Her death serves as the catalyst for the events that unfold, and her presence looms over the characters, symbolizing the fatal consequences of betrayal.

Redemption is another key theme, particularly in the character of Martin Blair. A once-successful songwriter, Martin has fallen into alcoholism and despair following his estrangement from Mavis.

As he joins forces with Catherine, he embarks on a path of redemption, seeking to atone for his past mistakes and regain a sense of purpose. His journey is one of the most compelling aspects of the film, adding depth to the story and highlighting the possibility of personal transformation.

Roy William Neill, best known for his work on the Sherlock Holmes series of films, directs Black Angel with a sure hand, balancing the film’s intricate plot with its atmospheric visuals. Neill’s experience with mystery and suspense is evident in the film’s pacing, which keeps the audience engaged without sacrificing character development or thematic depth.

The film’s production values are high, with meticulous attention to detail in the set design, costuming, and overall visual presentation. The nightclub scenes, in particular, stand out for their authenticity and style, providing a vibrant contrast to the film’s darker moments. The music, composed by Frank Skinner, also plays a crucial role in setting the tone, with its haunting melodies underscoring the film’s themes of love and loss.

Black Angel was well-received upon its release, with critics praising its performances, direction, and atmospheric cinematography. While it may not be as widely known as other films of the era, it has since gained recognition as a classic example of film noir, appreciated for its nuanced characters, complex narrative, and visual style.

The film’s exploration of love, betrayal, and redemption resonates with audiences, offering a timeless story set against the backdrop of a dark and dangerous world. Black Angel remains a compelling piece of cinema, demonstrating the enduring appeal of film noir and the powerful storytelling that the genre can achieve.

Notes by Leandro Matos