This week's selection was billed as a Sex and Violence Double Feature.
Inside Detroit opened as a type of documentary focusing on the violence, corruption and labor racketeering within workers unions. Filmed on location in Motor City, two men square off to take control of the United Auto Workers union; one of them an honest, law abiding auto worker and the other a wealthy ex-con fresh out of prison for corruption. Inside Detroit reminded me a bit of On the Waterfront with its focus on union organization.
Had I seen this film three months ago, I would've doubted its noir credentials. However, after taking the investigating film noir course, I can see the elements that justify it as a true film noir. This film is an example of cinematic realism as it begins with a news commentator John Cameron Swayze (a real news journalist playing himself) introducing the story. The film then cuts to an aerial view of downtown Detroit as Swayze continues his commentary as voice over.
The archetypal noir plot devices are there: The hard-boiled hero (Vickers), mob boss (Gus), femme fatale (Joni) and the good girl (Barbara). In the case of the femme fatale, Joni carried on two love affairs; one with Gus and the other his son, Gregg. I thought that was kind of gross. Bleh. Most of the story focused on Vickers avenging his brother's murder and persuading Gus's adult children to see that their father truly was a bad guy. It wasn't until Barbara was in a near fatal car accident when she accepts the truth. Nice little fact: the actress who plays Barbara is Sally Field's mother.
At times, the film had its amusing elements particularly when the narrator kept commenting about how great Detroit is and how it could never fall to corruption or deteriorate. Of course today we know the truth.
Now, who wouldn't love a B-movie called Guns Girls and Gangsters? I knew this would be a fun treat. Mamie Van Doren was our femme fatale with a conscience. She was quite talented as both singer and dancer and far more beautiful than Marilyn Monroe.
This is your typical heist film that focuses most on the research and planning to pull of a successful score. But remember, things don't always go according to plan. Something always gets thrown in the gears resulting in catastrophic results. This was actually a well acted, well made film. This was a technically sound film noir with shadows, chiaroscuro and off-setting POV shots. The short scenes and quick takes create the tension particularly during the heist itself.
I thought it was better than some A list films in the film noir movement. But this film was made/released at the end of its reign in 1959 and it somewhat borders on exploitation.
Until next week...
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