Noirvember: The Crooked Way (1949)

In the heart of the city, where shadows whisper secrets and light unravels truths, The Crooked Way from 1949, unfolds like a puzzle waiting to be solved. Actor John Payne steps into the shoes of a man lost in a fog of forgotten memories, thrust into a world of deception and danger. A protagonist turned reluctant detective, navigating the murky depths of his past with a determination that belies his amnesiac state. Intriguing story right? 

 

 

 

Payne portrays Eddie Rice, a man recently discharged from a veteran's hospital after having a piece of shrapnel removed from his brain—and with it, his memories. He returns to Los Angeles to uncover who he was before his military service. It turns out he had a life as a gangster. Upon stepping out of the train station, he's arrested by the police for being someone previously warned to steer clear of the city. A woman on the street identifies him as her ex-husband and makes it clear that she despises him. Additionally, a gang leader gives him a severe beating due to an old betrayal. Welcome back, Eddie. 

 

The cast includes the softly photographed Ellen Drew, who was discovered by actor William Demarest and changed her name from Terry Ray after appearing in 25 films; the intimidating Sonny Tufts, referred to as "The Find of 1943," who gained recognition for his performances in So Proudly We Hail (1943) and the cult classic Cat-Women of the Moon (1953); and the humorous Percy Helton, who depicted the tipsy Santa Claus in Miracle on 34th Street (1947). They both appeared in that movie, though not together.

 

Musical comedy star turned tough guy actor Payne appeared in a few film noirs. The Crooked Way is his second noir role, but he isn't quite rough around the edges yet. His performance lacks depth here. He later excels in noirs like Kansas City Confidential (1953) and 99 River Street (1952).

 

 

 

 

 

The film's plot, reminiscent of the 1946 amnesia noir Somewhere in the Night, is decent. However, it stands out due to its stunning visuals, thanks to cinematographer John Alton.

 

 

Cinematographer John Alton

Alton was responsible for the camera work on numerous classic film noirs during the golden age of cinema. His role in An American in Paris (1951) earned him an Academy Award for best cinematography. If you're familiar with An American in Paris, you’ll notice his exceptional talent in employing color. Through his skillful manipulation of chiaroscuro, he orchestrates light and shadow to heighten the dramatic intensity. Chiaroscuro, an Italian term meaning ‘light-dark,’ is a visual technique that originated with Baroque artists. This method involved studio lighting that cast stark shadows, defining shapes and forms. 

 

 

Eventually, this technique transitioned into photography and made its way into films as well. In many ways, the use of chiaroscuro in film noir was essential. Given that these films often operated within tight budgets and limited options for opulent sets, lighting specific areas of a scene allowed filmmakers to save costs. Additionally, using less expensive sets designed to be obscured by darkness and only partially illuminated as necessary was a practical approach.

Director Richard Florey (Frankenstein's initial director) excelled at creating fast-paced films with a cynical tone and dramatic lighting. His background in expressionism and surrealism perfectly enhances Alton's work. Both create a narrative that enhances its lackluster storyline, while also exploring profound themes of identity and memory. It's a visual feast that's definitely worth a watch if you haven't seen it yet.

 

 

 

 

If you're interested in watching more of Alton's film noir creations, be sure to check out these movies: He Walked by Night (1948), The Amazing Mr. X (1948), Raw Deal (1948), and The Big Combo (1955).