Jean Simmons

Angel Face Would Have Been Treated Much Differently Today

Angel Face, for those who haven’t seen it (a group that included me until last week) is a clear descendent of the noir films of the classic era. Jean Simmons plays a classic femme fatale in the most literal sense of the word, and Robert Mitchum’s character is ripe for falling into her web.

It’s another of those unflinching noirs from the fifties–entertaining but without the possibility of redemption that tipified the true greats in the genre.

But the fact that noir had completely lost its way in the fifties is, in this particular case, not the point. What jumped out at me from this movie is that it would never be made with the same focus today.

The plot is driven by an obsession–the femme fatale, in this case, is compulsively in love with the guy, and this drive eventually, as in all fifties noir, ends badly.

So far, so good, but I got to thinking: would this film ever be made today?

And the answer appears to be “no way”. In fact, if this one was filmed in 2020, it would either be a horror film in which we focus closely on the disturbed, deranged character of Simmons’ character, moving through the evolution of her obsession while she wreaks tragic havoc on those around her. A psychological thriller could work, too, but a harsh one.

The other possible take would be to look at the woman as a victim. Undiagnosed mental illness leading to awful, tear-jerking events and, eventually, to her doom. All very touching and sad.

In a nutshell, this is why we’re still watching movies from the 1950s. It’s much more fun to watch the femme fatale doing her thing for no reason except that that is what femmes fatale do. And the plot built around that is much better than what would transpire viewed through a “modern” lens.

In fact, this overly indulgent attitude towards people who create serious problems is probably the reason Hollywood has moved to the science fiction blockbuster: having caricatured bad guys is much more entertaining than a politically correct view of mad criminals. People want to be entertained, so anything that doesn’t preach at them is appreciated.

And that makes Angel Face, a film made in 1952, refreshing.

Gustavo Bondoni is a novelist and short story writer whose book Outside gives a nice mad bad guy to go with a well-thought-out science fiction setting. If you enjoy Loki in the MCU, you should love Graham. You can check the book out here.

The Erotic Lives of Nuns

England in 1947 might not seem like the best place and time to have released a film about the most secret desires of a group of nuns in a convent, but not only did the Archers pull it off, but is was successful at release and no one was lynched in the strait-laced streets of Surrey.

Black Narcissus is an unusual film.  Simultaneously ahead of its time and awfully aged, it relies on underlying themes and use of spectacular color filmography for most of its impact–the story itself is pedestrian at best.  And, of course, in 1947, you couldn’t show any nudity, even in a film about lust.

Without spoilers, a quick synopsis of the film is as follows: a group of nuns under an inexperienced sister superior (played by none other than Deborah Kerr) set up a school and hospital atop a mountain in an old harem house in colonial India which still has much of its original allusive decoration on the walls.

Quickly overcome by the sensuality of the place, the tropical pace and values of life, even the stoutest of the sisters begins to waver and doubt, eventually causing one of them to crack under the strain.

David Farrar on his Pony

Unfortunately, certain elements that would have worked well for audiences in the 1940s have had their impact lessened by time, often becoming unintentional comedy.  The most prominent of these is the initial entrance of the male object of desire.  He enters his first scene and the important agent of the general wearing exactly the wrong length of bermuda shorts and riding a pony.  As an object of female desire, I’m pretty sure this is a look he’d want to avoid in 2018.

Men were luckier.  The female sex symbol in this film was Jean Simmons as Kanchi, a local girl of the lower classes falling into disrepute before our very eyes.  Though her story is a subplot, her presence helps solidify the erotic undertones of the film by including one character whose sensuality is in no doubt.

Jean Simmons as Kanchi

The rest of the interactions occur with a look here, a word there and perhaps the laying aside of practicality for color somewhere else.  It’s done at a slow burn, which makes the suddenly frantic ending all the more satisfying.

In conclusion, this is a decent and surprising film.  It has its flaws and hasn’t aged brilliantly, but is admirable for having done what it did when it did so.

 

Gustavo Bondoni is an Argentine novelist and short story writer.  If you’re interested in eroticism (not quite as subtle as in Black Narcissus, but definitely more in tune with 2018), his ebook story Pacific Wind is available here.