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The Blue Dahlia [NON-USA FORMAT, PAL, Reg.2&4 Import - Great Britain]

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"Every guy's seen you before, somewhere." -- Johnny to Joyce


The Blue Dahlia is one the finest noir films made during the 1940's as everything is absolutely perfect in the third of four films Alan Ladd and Veronica Lake would make together. Raymond Chandler wrote the original screenplay and George Marshall turned in his finest directing job in this screen classic. This film has the perfect blend of grit and gloss, romance and female treachery, and while the outlook of its anti-hero isn't quite as jaded as it would have been had Howard Hawks filmed this, it still packs a punch.

Lt. Morrison (Ladd) returns from WWII with his two buddies only to find his wife Helen (Doris Dowling) has been unfaithful; in your face unfaithful, and responsible for his son's death while he was away. He confronts her at a party and blows out in a storm, unaware that someone kills her with his own gun only hours later. Joyce Harwood (Lake) meets him for the first time when she offers him a ride in the rain and an attraction between the two begins.

This film is everything others of its kind during the 1940's tried to be, but often failed either in execution or atmosphere. The noir elements of the story are blendid expertly with romantic touches sprinkled throughout, creating a masterpiece in the genre. A scene as Johnny and Joyce cross paths a second time in a restaurant overlooking the sea is a particular standout, the romantic view brought back into dark focus when he overhears a bulletin on the radio alerting him he is being sought by the police for the murder of his wife.

Like Johnny, Joyce is running from something, and trying to help him takes her right back to The Blue Dahlia nightclub. Johnny's loyal war buddies are on hand to help him but the shell-shocked Buss (William Bendix) can't quite remember what he did the night Johnny's wife was murdered. The list of suspects begins to grow and includes a slimy hotel detective and the guy Joyce is all tangled up with, who just happens to be, of course, the owner of The Blue Dahlia. Lake's Joyce is softer than some noir heroines but still holds back information, just a shade less than being on the up and up.

This may be the most entertaining 100 minutes you'll ever spend watching a film in this genre and is certain to become one of your favorites once the end credits roll. Alan Ladd and Veronica Lake were one of the great screen couples, and one of the most popular during the 1940's. Johnny alludes to Joyce being the girl we all dream about for ourselves near the end of the film when he keeps her from driving away. Ladd and Lake were a dream come true for Paramount, and movie audiences. A fabulous film not to be missed.

This brilliant Noir literally launched the careers of Veronica Lake and Alan Ladd. When Johnny Morrison returns from the Naval duty, he finds his wife has cheated on him. So, when she is murdered he obviously will appear before the eyes of the common sense, as the prime first suspect. Now he and his vixen will have to put on clear his innocence.

An unforgettable classic.

"Bourbon, straight, with a bourbon chaser." That's Johnny Morrison's drink. Johnny's just been discharged from the Navy, along with two of his pals who were under his command. There's George Copeland (Hugh Beaumont), easy going and loyal, and Buzz Wancheck (William Bendix), big and burly, just as loyal to Johnny as George is, with a metal plate in his head, a variable memory and who sometimes goes into rages.

Johnny leaves his two pals in a Los Angeles hotel and goes to The Cavendish Court in the evening to meet his wife, Helen (Doris Dowling). The Cavendish is a high priced hotel with private bungalows, a careless attitude about parties and an aging security man who doesn't mind taking a few under-the-table dollars for various services. Johnny finds his wife, alright. He learns quickly what her philosophy is. "I take all the drinks I like, any time, any place," Helen Morrison says at one point. "I go where I want to with anybody I want. I just happen to be that kind of a girl." She's giving a drunken party at her bungalow. Before long Johnny sees her being too friendly with Eddie Harwood (Howard De Silva), a well-dressed hood and owner of The Blue Dahlia nightclub. Johnny punches Harwood and leaves in a cold rage. He's picked up by a blonde in a convertible. "You oughta have more sense than to take chances with strangers like this," he tells her. "It's funny," she says, "but practically all the people I know were strangers when I met them." The next morning he hears on the radio that his wife has been murdered with his gun, and he's being hunted by the cops.

What's he going to do? In this first-rate murder mystery, Johnny decides to find the killer himself. His wife might have been a tramp, but she was his wife. Trouble is, there are a lot of possible murderers. And the blonde who picked him up? It turns out she's Joyce Harwood (Veronica Lake), Eddie's estranged wife. Something clicks between them. When she lets him out of the car that night, they talk briefly and then he turns and walks away. "Don't you ever say good night?" she calls out to him. Johnny walks back. "It's goodbye,' he tells her, "and it's hard to say 'goodbye.'" "Why is it?" Joyce asks him. "You've never seen me before tonight." Johnny looks at her. You can see he's regretting ever marrying his wife. ""Every guy's seen you before, somewhere" he tells her. "The trick is to find you."

The Blue Dahlia has a tight, complex script by Raymond Chandler. The direction by George Marshall is efficient and fast-paced. The characters, and the actors who play them, are vivid, especially Bendix. Buzz Wancheck may be loyal to Johnny, but ticking away behind that metal plate in his head is a potential time bomb. Loud, fast music -- monkey music, Buzz calls it -- can trigger ferocious headaches and the kind of anger-fueled rage you don't want to be around. Howard Da Silva was a fine actor and his Eddie Harwood is more than a conventional gangster. He's smooth, ruthless, friendly, smart, corrupt...and he still is carrying at least a small torch for Joyce. Will Wright as "Dad" Newall turns in a great performance as the sleazy, defensive security man at the Cavendish. He's one more of the great character actors people remember by their faces and their performances, but whose name is never remembered.

This was the third of the Alan Ladd/Vernonica Lake vehicles the two made during the Forties, beginning with This Gun for Hire in 1942 and followed by The Glass Key that same year. Although they evidently didn't much care for each other off screen, on screen they generated quite a bit of electricity. Lake in high heels never topped five feet. She usually came across as sexy but no one's fool. They were blond and small. They went well together. In some way no one has been able to define, the camera found a kind of extra dimension with the two. The Blue Dahlia might not quite match their two classic films, This Gun for Hire and The Glass Key, but it still is an effective murder vehicle for two interesting stars. All three films are solid viewing even after 60 years.

Alan Ladd made no bones about being, or wanting to be, an actor. He was an easy-going guy with one ambition, to be a movie star. With This Gun for Hire he made it, and became a major star during the Forties. Even in the Fifties when the good roles were slipping by him he remained an above-the-title star. But why? He was only 5'5", slightly built and he was no actor. He's quoted as saying, "I have the face of an aging choirboy and the build of an undernourished featherweight. If you can figure out my success on the screen you're a better man than I." Here's what that first-rate film critic David Thomson, from his The New Biographical Dictionary of Film, has to say: "Once Ladd had acquired an unsmiling hardness, he was transformed from an extra to a phenomenon. These films are still exciting, and Ladd's calm slender ferocity make it clear that he was the first American actor to show the killer as a cold angel." For those who are only familiar with Ladd through Shane and some of his other Fifties' films, watch the big three he made in the Forties. Only This Gun for Hire is out on a Region 1 DVD, but you can track down VHS tapes of Glass Key and Dahlia.