Gun Crazy | |
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Directed by | Joseph H. Lewis |
Screenplay by | Dalton Trumbo MacKinlay Kantor |
Based on | "Gun Crazy" 1940 story in The Saturday Evening Post by MacKinlay Kantor |
Produced by | Frank King Maurice King |
Starring | Peggy Cummins John Dall |
Cinematography | Russell Harlan |
Edited by | Harry Gerstad |
Music by | Victor Young |
Production company | |
Distributed by | United Artists |
Release date |
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Running time | 87 minutes |
Country | United States |
Language | English |
Budget | $400,000 (1949) |
Gun Crazy (also known as Deadly Is the Female) [1] is a 1950 American crime film noir starring Peggy Cummins and John Dall in a story about the crime-spree of a gun-toting husband and wife. [2] It was directed by Joseph H. Lewis, and produced by Frank and Maurice King.
The screenplay by blacklisted writer Dalton Trumbo (credited to Millard Kaufman because of the blacklist) and MacKinlay Kantor was based upon a short story by Kantor published in 1940 in The Saturday Evening Post . [3] In 1998, Gun Crazy was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." [4] [5]
Teenager Barton "Bart" Tare gets caught breaking a hardware store window to steal a gun. He is sent to reform school for four years despite the supportive testimony of his friends Dave and Clyde, his older sister Ruby and others. They claim he would never kill any living creature, even though he has had a fascination with guns even as a child. Flashbacks provide a portrait of Bart who, after killing a young chick with a BB gun at age seven, is hesitant to shoot at anything, even a mountain lion with a bounty on its head. However, he is a dead shot with a handgun.
After reform school and a stint in the Army teaching marksmanship, Bart returns home. He, Dave, and Clyde go to a traveling carnival in town. Once there, Bart challenges sharpshooter Annie Laurie Starr ("Laurie") to a contest and wins. She gets him a job with the carnival and he becomes smitten with her. Their mutual attraction inflames the jealousy of their boss, Packett, who wants her for himself. When Packett tries to force himself on her, Bart fires a warning shot within an inch of his nose. Packet fires the couple, who leave together. Before they marry, Laurie warns Bart that she is "bad, but will try to be good". They embark on a carefree honeymoon on Bart's savings. When the money runs out, she gives Bart a stark choice: she wants to obtain the good things in life, so he must join her in a career of crime or she will leave him. They hold up stores and gas stations, but the paltry take does not last long.
While fleeing a police car Laurie tells Bart to shoot at the driver so they can escape, but he hesitates and becomes disoriented. Ultimately, he shoots the tire out and the car crashes. Later that day, at another robbery, Laurie intends to shoot and kill a grocer, but Bart stops her in time. The couple have now been identified in national newspapers as notorious robbers.
Bart says he is done with a life of crime. Laurie persuades him to take on one last big robbery so they can flee the country and live in peace and comfort. They get jobs at a meat processing plant and make detailed plans. When they hold up the payroll department, the office manager pulls the burglar alarm and Laurie shoots her dead. While fleeing the plant, Laurie also kills a security guard. Bart does not realize at the time that both victims are dead, but learns about it later from a newspaper. Laurie then discloses she shot a man dead in St. Louis while she and Packett were attempting a hold-up. She claims that these murders happened because her fear makes her unable to think straight in the moment.
To minimize the chances of being caught, the two decide to split up for a couple of months, but neither can bear to be away from the other. The FBI is brought in, and the fugitives become the targets of an intense manhunt.
In California, Bart arranges for passage to Mexico, when the FBI finds them in a dance hall. Forced to run, they leave all their loot behind. With roadblocks everywhere, they jump on a train and get off near Ruby's house. Clyde, then the local sheriff, notices that the house has the curtains drawn and the children are not in school. He informs Dave, and the two plead with Bart to give himself and Laurie up. Instead, the couple flee into the mountains. Pursued by police dogs, they are surrounded in reed grass the next morning. In dense fog, Dave and Clyde approach to try to reason with them. As soon as Bart sees Laurie preparing to gun them down, he shoots her and is, in turn, killed by the police.
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The screenplay was credited to Kantor and Millard Kaufman; however, Kaufman was a front for Hollywood Ten outcast Dalton Trumbo, who considerably reworked the story into a doomed love affair.
The film was budgeted at $400,000, and principal photography took 30 days. [6]
The picture originally was slated to be released by Monogram Studios. However, King Brothers Productions, the producers, chose United Artists as the distributor. Gun Crazy enjoyed wider exposure because it was a United Artists release. [7]
The King Brothers originally announced they wanted Veronica Lake for the lead. [8]
In an interview with Danny Peary, director Joseph H. Lewis revealed his instructions to actors John Dall and Peggy Cummins:
The bank heist sequence was shot entirely in one long take in Montrose, California, with no one besides the principal actors and people inside the bank alerted to the operation. [9] This one-take shot includes the sequence of driving into town to the bank, distracting and then knocking out a patrolman, and making the get-away. This was done by simulating the interior of a sedan with a stretch Cadillac with room enough to mount the camera and a jockey's saddle for the cameraman on a greased two-by-twelve board in the back. Lewis kept the onscreen conversations fresh by having the actors improvise their dialogue.
The New York Times wrote: “Even with some adroit camouflaging, the Palace’s new picture...is pretty cheap stuff. ‘Gun Crazy’ just about covers it....this spurious concoction is basically on par with the most humdrum pulp fiction....In all fairness to Mr. Kantor’s idea, the actual script, which he wrote with Millard Kuafman, is a fairly literature business. Even if the young desperadoes aren’t motivated, apparently beyond Miss Cummins’ grim appreciation of money and her partner’s general restlessness, neither are they sentimentalized or offered as luckless tools of society. The dialogue is quite good and the photography is first-rate....The main drawbacks are the stars themselves, who look more like fugitives from a 4-H Club than from the law. Just why two such clean-cut youngsters...should be so cast is something for the Sphinx, but they certainly give it the works. Looking as fragile as a Dresden doll, Miss Cummins bites into her assignment like a shark. Mr. Dall’s pluck is just as admirable, even when he’s nervously begging his soulmate to make their next robbery ‘the lahst one’....we must say that it takes more than crime and the King Brothers to make sows’ ears out of silk purses.” [10]
In his 1998 book Dark City: The Lost World of Film Noir, critic and film historian Eddie Muller commends the production. "Joseph H. Lewis's direction", he notes, "is propulsive, possessed of a confident, vigorous simplicity that all the frantic editing and visual pyrotechnics of the filmmaking progeny never quite surpassed." [11]
Sam Adams, media critic for the Philadelphia City Paper , wrote in 2008: "The codes of the time prevented Lewis from being explicit about the extent to which their fast-blooming romance is fueled by their mutual love of weaponry (Arthur Penn would rip off the covers in Bonnie and Clyde , which owes Gun Crazy a substantial debt), but when Cummins' six-gun dangles provocatively as she gasses up their jalopy, it's clear what really fills their collective tank." [12]
The review-aggregation website Rotten Tomatoes reports that 91% of film critics gave the production a positive rating, one based on 64 reviews. [13]
In 1998, Gun Crazy was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
James Dalton Trumbo was an American screenwriter who scripted many award-winning films, including Roman Holiday (1953), Exodus, Spartacus, and Thirty Seconds Over Tokyo (1944). One of the Hollywood Ten, he refused to testify before the House Un-American Activities Committee (HUAC) in 1947 during the committee's investigation of alleged Communist influences in the motion picture industry.
Badlands is a 1973 American neo-noir period crime drama film written, produced and directed by Terrence Malick, in his directorial debut. The film stars Martin Sheen and Sissy Spacek, and follows Holly Sargis (Spacek), a 15-year old who goes on a killing spree with her partner, Kit Carruthers (Sheen). The film also stars Warren Oates and Ramon Bieri. While the story is fictional, it is loosely based on the real-life murder spree of Charles Starkweather and his girlfriend, Caril Ann Fugate, in 1958.
Bonnie and Clyde is a 1967 American biographical neo-noir crime film directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the title characters Clyde Barrow and Bonnie Parker. The film also features Michael J. Pollard, Gene Hackman, and Estelle Parsons. The screenplay is by David Newman and Robert Benton. Robert Towne and Beatty provided uncredited contributions to the script; Beatty produced the film. The music is by Charles Strouse.
MacKinlay Kantor, born Benjamin McKinlay Kantor, was an American journalist, novelist and screenwriter. He wrote more than 30 novels, several set during the American Civil War, and was awarded the Pulitzer Prize for Fiction in 1956 for his 1955 novel, Andersonville. He also wrote the novel Gettysburg, set during the Civil War.
John Dall was an American actor. Primarily a stage actor, he is best remembered today for portraying the cool-minded intellectual killer in Alfred Hitchcock's Rope (1948), and the companion of trigger-happy femme fatale Peggy Cummins in the 1950 film noir Gun Crazy. He also had a substantial role in Stanley Kubrick's Spartacus (1960). He first came to fame as the young Welsh mining prodigy who comes alive under the tutelage of Bette Davis in The Corn Is Green (1945), for which he was nominated for the Academy Award for Best Supporting Actor.
Joseph H. Lewis was an American B-movie film director whose stylish flourishes came to be appreciated by auteur theory-espousing film critics in the years following his retirement in 1966. In a 30-year directorial career, he directed numerous low-budget westerns, action pictures, musicals, adventures, and thrillers. Today he is remembered for mysteries and film noir stories: My Name Is Julia Ross (1945) and So Dark the Night (1946) as well as his most highly regarded features, 1950's Gun Crazy, which spotlighted a desperate young couple who embark on a deadly crime spree, and the 1955 film noir The Big Combo, with its stunning cinematography by John Alton.
The Big Combo is a 1955 American crime film noir directed by Joseph H. Lewis, written by Philip Yordan and photographed by cinematographer John Alton, with music by David Raksin. The film stars Cornel Wilde, Richard Conte and Brian Donlevy, as well as Jean Wallace, who was Wilde's wife at the time. The supporting cast features Lee Van Cleef, Earl Holliman and the final screen appearance of actress Helen Walker.
Peggy Cummins was an Irish actress, born in Wales, who is best known for her performance in Joseph H. Lewis's Gun Crazy (1950), playing a trigger-happyfemme fatale, who robs banks with her lover. In 2020, she was listed at number 16 on The Irish Times list of Ireland's greatest film actors.
Kansas City Confidential is a 1952 American film noir and crime film directed by Phil Karlson starring John Payne and Coleen Gray. The film was released in the United Kingdom as The Secret Four. Karlson and Payne teamed a year later for 99 River Street, another film noir, followed by Hell's Island, a film noir in color.
Railroaded! is a 1947 American crime film noir directed by Anthony Mann starring John Ireland, Sheila Ryan, Hugh Beaumont and Jane Randolph.
Raw Deal is a 1948 American film noir crime film directed by Anthony Mann and starring Dennis O'Keefe, Claire Trevor and Marsha Hunt. It was shot by cinematographer John Alton with sets designed by the art director Edward L. Ilou. An independent production by Edward Small, it was distributed by Eagle-Lion Films.
Roadblock is a 1951 American film noir starring Charles McGraw and Joan Dixon. The 73-minute crime thriller was shot on location in Los Angeles. The film was directed by Harold Daniels and the cinematography is by Nicholas Musuraca.
To the Nines is the ninth novel by Janet Evanovich featuring the bounty hunter Stephanie Plum. Written in 2003, it's the second book in a row that doesn't revolve around a criminal bond, and the first to take Stephanie out of New Jersey and into the neon glitz of Las Vegas.
"Annie Laurie" is an old Scottish song based on a poem said to have been written by William Douglas of Dumfriesshire, about his romance with Annie Laurie (1682–1764). The words were modified and the tune was added by Alicia Scott in 1834/5. The song is also known as "Maxwelton Braes".
Red Light is a 1949 American film noir crime film starring George Raft and Virginia Mayo, and directed and produced by Roy Del Ruth. Based on the story "This Guy Gideon" by Don "Red" Barry, it features strong religious overtones.
The Lady in Red is a 1979 American crime drama film directed by Lewis Teague and starring Pamela Sue Martin and Robert Conrad. It is an early writing effort of John Sayles who became better known as a director in the 1980s and 1990s.
White Heat is a 1949 American film noir starring James Cagney, Virginia Mayo and Edmond O'Brien, and directed by Raoul Walsh.
Vincent "Ivanhoe" Martin, known as "Rhyging", was a Jamaican criminal who became a legendary outlaw and folk hero, often regarded as the "original rude boy". He became notorious in 1948 after escaping from prison, going on the run and committing a string of robberies, murders and attempted murders before he was gunned down by police. In subsequent decades his life became mythologised in Jamaican popular culture, culminating in the 1972 cult film The Harder They Come, in which he is portrayed by Jimmy Cliff.
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Dr. O'Dowd is a 1940 British drama film directed by Herbert Mason, produced by Sam Sax for Warner Bros and starring Shaun Glenville, Peggy Cummins, Felix Aylmer and Irene Handl. Set in Ireland, it focuses on Marius O'Dowd, an Irish doctor, who works to restore his relationship with his son after his daughter-in-law dies under O'Dowd's care. The film was the onscreen debut for Peggy Cummins, who was only thirteen at the time. It was well received by critics, and Cummins' role was the subject of particular praise. The film is currently missing from the BFI National Archive, and is listed as one of the British Film Institute's "75 Most Wanted" lost films.