Veronica Lake

  • The Glass Key (1942)

    The Glass Key (1942)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2021) I know that The Glass Key is highly regarded among fans of film noir — it was one of the films that helped codify the genre; it features Alan Ladd and the gorgeous Veronica Lake; it’s assembled from a Dashiell Hammett novel and it mixes politics with crime. At the time, it was clearly intended as a star vehicle for Ladd, and a way for the studio to capitalize on the success of both The Maltese Falcon and This Gun for Hire. You can recognize its early-noir pedigree by how the film doesn’t quite jump to the criminal aspect right away, spending a leisurely time setting up its characters and their political/romantic machinations before precipitating events with (at last!) a murder. This delay is probably what makes me so tepid on the result — while the last act of The Glass Key finally gets moving, the opening half takes a lot of time before getting moving, and doesn’t quite manage to create that narrative energy required to get going. The ending even flips into comedy, which is not necessarily a bad thing but does scramble expectations. Oh, I still generally like the result — and with Veronica Lake looking her peekaboo-hairstyle best as she’s delivering some good dialogue, the film is really far from a dud. There are also some good moments for Alan Ladd, and one overhead stunt shot that still amazes even today. Still, I’m not overly charmed by The Glass Key — it feels a bit laborious, without the lean mean focus of later film noir.

  • The Blue Dahlia (1946)

    The Blue Dahlia (1946)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2021) Sitting down to watch The Blue Dahlia is feeling the anticipation of a solid film noir—not the best, but one with Alan Ladd as the lead, the gorgeous Veronica Lake (albeit with her postwar haircut) as his counterpart, noted crime novelist Raymond Chandler writing the script and decent-enough production values to take us in the sordid backdrop of post-WW2 Los Angeles nightclubs. The plot is crammed with shell-shocked war veterans, creepy criminal owners and murderous revenge. The atmosphere is terrific and feels more intentional than many noir films—which works to The Blue Dahliah’s advantage. But the strong crime-fuelled narrative is very well complemented by the Ladd/Lake couple’s fourth and final outing. It’s not all that useful to discuss the plot—it’s formula yet engrossing at the same time, and amply rewards noir film fans. It does feel a bit more grounded in its time and place than many other similar films: while noir usually takes place in a nebulous generic city at an unspecified time, this one is anchored in the aftermath of the war, and the very specific qualities of Los Angeles at night. In other words, The Blue Dahlia is really not a bad watch—there are plenty of other noir films to watch first, but this one is solid enough to round out a list of genre successes.

  • I Married a Witch (1942)

    I Married a Witch (1942)

    ByChristian Sauvé Movie Review

    (On Cable TV, November 2020) There are a few wonderful surprises buried in Hollywood film history, and I Married a Witch certainly feels like it. A fun blend of comedy and witchcraft, it features a father-and-daughter pair of sorcerers burnt at the stake in early New England and imprisoned in a tree until the 1940s, when they are freed by a lightning strike and eager to wreak vengeance on the descendants of the man responsible for their immolation. That doesn’t quite sound so much fun (and some of the dialogue from the historical antagonist is downright psychopathic), but I Married a Witch is very much presented as a comedy, and everything is in the execution. The daughter is played by Veronica Lake, and while Lake is extraordinarily beautiful to begin with, she also gets to play her characters with impish humour that adds much to her sex-appeal. Meanwhile, Fredrick March is the straight man of the story, bewildered at all the right moments and indignant at the others—he’s meant to be outshined by Cecil Kellaway as the warlock who’s not held back by anything like romantic love. The modern witchcraft angle is rare in classic Hollywood (feel free to pair it with Bell, Book and Candle fifteen years later), and the special effects are still decently effective. Still, it’s the great mixture of humour, romance and political satire that works much better than anything you may imagine from reading I Married a Witch’s plot summary. Don’t miss it!

  • This Gun for Hire (1942)

    This Gun for Hire (1942)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2020) There are many things to learn about This Gun for Hire: Veronica Lake is a timeless beauty, film noir was in good shape as early as 1942, war profiteering is evil, hitmen could be developed characters even in the 1940s, and it’s never a good idea to pay a hired killer with fake money. Put all of those things in a bag with Alan Ladd and you’ve got a pretty good suspense thriller. Ladd and Lake would go on to make several more movies together (alas, her time in the sun was far too brief) and the film would become part of the film noir subgenre increasingly popular after World War II. As a narrative, This Gun for Hire is a mixture of unlikely character decisions, surprisingly sophisticated character moments and several thrilling scenes strung together. It all works rather well, although one can see that the combined appeal of Ladd and Lake (with her famously alluring peekaboo hairstyle) clearly raises the result above its script weight. Being early noir, This Gun for Hire is also not quite yet burdened by the tropes of the subgenre, so that’s also quite interesting by itself. Have a look, have fun and then go see the other Ladd/Lake movies.

  • Sullivan’s Travels (1941)

    Sullivan’s Travels (1941)

    ByChristian Sauvé Movie Review

    (On Cable TV, August 2019) An integral part of writer-director Preston Sturge’s incredible early-1940s steak, Sullivan’s Travels remains quite a watch even today. It helps that it’s firing on all cylinders, from casting (Joel McCrea and Veronica Lake) to writing/directing (featuring Sturges’ early-career manic energy) to its subject matter (a movie star sinking to a work prison camp) to its full-throated defence of comedy as a noble pursuit. It would be quite a heady film even without Sturges’ sure touch on the dialogue and directing, but with them it becomes an incredible film. There’s even an unusually respectful treatment of black characters at a time when those were usually marginalized or stereotyped, and that clear demonstration of Sturge’s humanism explains why his films are still delightful today. Lake delivers a good performance, McCrea a great one and the film is fit to stand alongside The Lady Eve and The Palm Beach Story as the very best of what Sturges did in rapid succession.