Customer Reviews

Gun Crazy

5 star:		(29)
4 star:		(10)
3 star:		(3)
2 star:		(2)
1 star:		(0)

 

 

Over the years, I had seen the striking, lurid poster for "Gun Crazy" in various film books ( nicely rendered on the DVD cover ), but I had never actually seen the movie. Well, the movie knocked me out ! This has to be one of the greatest "B" movies of all time. It was also briefly titled "Deadly is the Female", very "film noirish" and appropriate.

I will not reveal too many details about the plot--other reviewers have covered it extensively ( perhaps in some cases too extensively ). Bart Tare ( John Dall ) has had a passion for guns his whole life. At a carnival, he meets a sideshow sharpshooter from London, Annie Laurie Starr ( Peggy Cummins ). They are soon sharing not only a passion for guns, but an intense passion for each other ! Falling under the spell of this charismatic, young blonde--who craves excitement, action and the finer things in life--Bart is drawn into a cross-country crime spree that escalates from robbery to murder.

As one of the best "femme fatale" types in film history, Peggy Cummins gives a rivetting performance. You can't take your eyes off her, as she fanatically plunges down a road from which there is no return, taking the man she loves with her. Her character steals money--Ms. Cummins steals the movie ! As Bart, John Dall is rather stoic and one-dimensional until later in the film, when he realizes the harm he is causing others, including those who were close friends. His performance really picks up in the later scenes. Incidentally, Bart as a youth is played by Russ Tamblyn, later to spark a number of movies with his dancing and acrobatic skills.

The other "star" here is the Director, Joseph H. Lewis. His approach is refreshing and innovative. I particularly liked the scenes where you--the audience--are in the back seat of the getaway car during a heist. You cannot help but wonder how much later films like "Bonnie and Clyde", "Badlands" and "Natural Born Killers" were influenced by this low-budget masterpiece ?
I also liked the way that Lewis depicts the sexual overtones of his characters and situations, remembering that this film was first released in 1949.

Concerning the picture quality of the DVD, I see that one reviewer had some problems with the image. Personally, I found the black and white picture to be crisp and clear, especially for a film now 55 years old. The optional comments of author/film buff, Glenn Erickson, are a very nice bonus.

"Gun Crazy" provides further proof that, whether it's the 1940s or 2004, you don't need big budgets and "superstars" to make a memorable film. If you have a taut script, a talented director and even one terrific performance, you can come up with a winner. Thank you, Warner Bros !

"Gun Crazy" was recently included in the National Film Registry and has been called by many the greatest B film ever made. Joseph Lewis, an ingenious director noted for getting astounding results from small budgets, made two of the most acclaimed B successes in film annals, the other being "The Big Combo." In the latter film he had recent Oscar-winning screenwriter Philip Yordan put his ideas on paper. With the 1949 psychological noir spellbinder "Gun Crazy" Lewis had future Pulitzer Prize-winning author MacKinlay Cantor adapt his story to the screen along with future Oscar-winning scenarist Dalton Trumbo, whose name credit for the film is Millard Kaufman, a move resulting from the uncertainty of the blacklist period.

"Gun Crazy" includes one of the most unusual seduction scenes recorded on film. When the ultimately wayward love duo of John Dall and Peggy Cummins initially meet it is at a traveling carnival, where the sexy young blonde is the Annie Oakley-styled sharpshooter. She takes on all comers in competition, and meets more than her match in Dall, who ultimately triumphs over her. This is the only scene you will ever see where an act of seduction occurs while the sharpshooters take turns shooting out candles atop each other's heads. The more intense the competition, the greater the sexual intensity building between the pair. Cummins ends up more intrigued and sexually aroused than ever after losing the competition to Dall, displaying open admiration for the only sharpshooter to defeat her at her own game.

Before long they pull out of the carnival, infuriating the carnival's boss, who was Cummins' lover. Dall immediately proposes and they marry, despite Cummins' cautionary warning that she is "no good." Totally smitten, Dall tells her that she will become a better person. She promises to try but ultimately falls short.

The intriguing psychological element of this film is that Dall, while loving guns and an excellent sharpshooter, has a pronounced non-violent streak. Cummins, whose love for guns equals his own, has an equally pronounced psychotic violent streak. Despite Dall's verbal opposition, he agrees to go along with her on a Midwest robbery spree reminiscent of the antics of Bonnie and Clyde.

The clashing psychologies of Cummins and Dall must ultimately prompt the sensitive young man to make a decision as to how far he will follow his assertive wife. He agrees to undertake one more job at an Armour meatpacking plan, but this holdup sets them off on a critical survival course. Ultimately Dall must choose between his devotion to Cummins and attempting to kill one of his best boyhood friends, now the sheriff of the town where he grew up.

This film never degenerates into sensationalism or violence for its own sake. It is a serious study of the roots of violence in American society with a strong emphasis on the popularity of guns in U.S. culture.

Gun Crazy is a tale of the symbiotic relationship between two sharpshooters: he's a gentle soul who likes guns and loves her; she's a psychopath who winds him up like a cheap watch.

They rob their way across mid-west, get chased by the cops, kill a few people on the way. But when push comes to shove, when the smart money says "split up", they can't bear to be apart.

It's a Pre-"Bonnie and Clyde" "Bonnie And Clyde"; a perverse mixture of sadism and sympathy.

For Afficionadoes:

Joseph H Lewis was on of those B-Movie directors who knew how to make his limitations into strengths. As a result there are some amazing camera moves, car-rigs, lighting set-ups, and all round great cutting.

The set-piece is the one-take real-time bank robbery, shot in a town of people most of whome didn't know anyone was making a film. It saved Lewis a day of shooting, and I haven't seen it's equal.

The Practicle Car-Rigs used were unusual for their time (there's very little rear-projection.

For Everyone Else:

Non-Stop and Never A Dull Moment.

Wonderful film - I went into this expecting a cult classic bordering on camp and was surprised to find it a very intelligent film with nuanced characters and amazing camera work. Thoroughly enjoyable. And once you're done go back and listen with the commentary track - a great mix of stories from the making of the film and perspective on the work's influence and place in history.

Believe the hype from team Tarantino: This is a sensational film -- smart, sexy, violent and emotionally on target. All of the classic noir elements dwell here: A good-hearted tough guy (John Dall) who should know better. A blonde siren, devious and desirable (Peggy Cummins). The inexorable downward spiral. Money. Sex. Death. For a B-movie that shot blanks when it was released (briefly under the title ''Deadly Is the Female''), ''Gun Crazy'' has gone on to great things, ending up in the National Film Registry -- right up there with the its better-heeled soulmate ''Bonnie and Clyde.'' Joseph H. Lewis' direction is relentless, keeping viewers enthralled and on edge as its anti-heroes blast their way across the country. ''Crime in 'Gun Crazy' is a performance art,'' commentator Glenn Erickson notes. Exhibit A is the famous bank robbery scene, shot in one unbroken take from the perspective of a backseat driver.

One of the all-time great films noir and a bona fide cult classic, "Gun Crazy" is one of the handful of cinematic gems chosen for inclusion in the United States National Film Registry. The story revolves around a sexually repressed young man who has grown up obsessed with the power of guns; one fine day he meets up with a sexy blonde carnival sharpshooter and the rest, as they say, is history. Soon the two lovers are trapped in a vortex of greed, desire, violence, and murder which quickly proceeds to spin out of control before it finally ends viciously one dawn in a fog-shrouded swamp. A minor masterpiece featuring a smouldering performance by British actress Peggy Cummins (who, in 1947, had been replaced in the title role of Fox's "Forever Amber" due to her perceived lack of sex appeal) as the brutal femme fatale, and a career-defining one by former Oscar nominee John Dall (Best Supporting Actor 1945 for "The Corn Is Green") as her fresh-faced-but-deadly cohort. Tightly directed by Joseph H. Lewis, the film is enriched by Victor Young's moody score and Russell Harlan's exquisite black and white cinematography.

The Warner Brothers DVD release of this long-awaited film features an impeccable audio and video transfer that can truly be described as pristine. The disc includes a running commentary by author and film historian Glenn Erickson; none of the other usual amenities like the Original Theatrical Trailer or even production notes are included. Sure it would be nice to have a full complement of "extras", but their absence in no way compromises the excellence of the overall package. Very highly recommended and a definite "must own" for fans and cultists alike.

"Gun Crazy" was hailed by Paul Schrader as one of the "best and characteristically noir films" in his essential 1972 essay "Notes on Film Noir". "Gun Crazy" was based on a short story by MacKinlay Kantor and adapted for the screen by Kantor and Dalton Trumbo. Bart Tare (John Dall) has been oddly obsessed with guns since childhood, as if his very identity depended upon possessing and shooting them. But he is ironically repulsed by killing and wouldn't dream of shooting any living thing. His fetish nevertheless gets him sent to reform school when he steals a pistol as a teenager. Years later, just out of the army and back in his hometown, Bart visits the carnival with his boyhood friends, where he sees a gunslinging act by sharpshooting Annie Laurie Starr (Peggy Cummins). Bart is smitten and gives up a prospective job with a gun company to join the carnival and be with Laurie. Fired by the carnival's owner who won't be upstaged by Laurie's new love interest, Bart and Laurie try their luck at married life together. But when the money gets tight, ambitious, manipulative Laurie coaxes a reluctant Bart into a life of crime.

"Gun Crazy" expresses one of the most blatant equations of sex and violence in the classic noir canon. And Laurie is fittingly among noir's greatest femme fatale killers. Indeed, the matter-of-fact alternate title under which the film was first released was "Deadly Is the Female". Two fundamental dilemma's propel the characters actions: The longstanding conflict between Bart's love for guns and his inability to kill, in which his reluctance is ironically a sort of dysfunction. And Bart and Laurie's completely irrational relationship that they cling to with self-destructive fervor. Director Joseph H. Lewis explores how the characters' relationship is somehow fulfilled in the crimes that bind them. In some of the film's most interesting scenes, we observe Bart and Laurie's odd mutual dependency by eavesdropping as they prepare their criminal adventures by means of a camera placed in the back seat of their car. Although we are looking at the back of their heads, the technique is most effective. "Gun Crazy" is sometimes thought of as a precursor to 1967's "Bonnie and Clyde". It undoubtedly influenced that film, but "Gun Crazy" is quintessential film noir and a classic in its own right. MacKinlay Kantor's story, upon which the film was based, was inspired by the real exploits of Bonnie Parker and Clyde Barrow. And "Gun Crazy" in turn influenced Arthur Penn's 1967 film, bringing the legend full circle.

The DVD: There is a good audio commentary by film critic Glenn Erikson. It is a fairly academic appraisal of the film, packed with information about characters, story, themes, and a great deal about even the minor actors. Erikson also provides some shot-by-shot analysis and compares the film to Kantor's short story. Subtitles for the film are available in English, French, and Spanish.

If this film were to be released in today's society, it would not be looked upon with the greatest of ease. Mothers, victims, and Michael Moore would talk about this film as being a perfect reason why guns are a problem in our society. It would be similar to making a sequel to Natural Born Killers and hoping that it sweeps the Oscars. It just wouldn't happen. Yet, in 1949 this film worked. With a growing interest in firearms began building, the studio that released this film decided it would take a chance and release this little ditty co-staring John Dall and Peggy Cummins while the main name in lights at the marquee is "GUNS". Throughout the film, director Joseph Lewis tries to demonstrate to us that "guns don't kill people, people kill people" by having us follow these two hapless victims lead by destruction by the forceful fist of the gun.

Through powerful imagery, detailed character studies, and creative direction, Deadly is the Female proves that it is more than just a simple black and white film about the evil of weapons. Dall and Cummins are perfectly matched as the mismatched bandits on the run from the law. Dall built such a strong character from the start to the finish of this film that I honestly forgot that I was watching a movie. His inability to kill coupled with Cummins disrespect of life provided some of the best dialogue, interaction, and intensity that I have ever seen in a film. I could watch these two characters in anything and I would still be entranced. The fire in their eyes, the passion in their voices, and the eventual crumbling of their own selves was vividly beautiful. I am not ashamed to say that the acting in this film could easily be put next to the work of those high paid in Hollywood today and be seen as the same (or better). There is something about these two that forces us to look deeper into them. From the beginning we settle in with our connection and never let go of our two characters. We watch everything they do with a close eye and cheering whenever they escape from the law. While the "gun" is the main character, the two wielding the weapon take the film to a new level.

One can only speak of the acting so much before you have to bring in the direction from Lewis and the cinematography that only give the actors room to showcase their talent. Lewis' direction is immaculate. His attention to detail and scene set up is one of the best I have ever witnessed. The scene that comes immediately to mind is early in the film when the friends are telling their story to the judge about how Bart couldn't kill the mountain lion. When he refuses and his friends try to shoot, the only camera angle we have is of the boys shooting with Bart's fist in the frame. His fist clenches everytime the gun is shot. This was amazing how well this built Bart's character for the rest of the film. Lewis knows this film. You can see it with every shot that he takes. He is excited and mesmerized by the characters, which translates onto the film perfectly. He takes his passion and pushes it towards the cinematography as well. There are several shots of our two "love-birds" driving the car to their next heist. Lewis builds so much intensity in those little spaces that it lingers throughout the rest of the film. The Savings and Loan Building heist is what immediately comes to my mind. When the two are searching for a parking space to rob the institution you just get this feel of humanity and nervousness. It kept me on the edge of my seat the entire time.

So, we have the top-notch acting, the intricate and detailed direction followed by a simple, yet effective story. Love plays second fiddle to the gun as we see a story that is not unlike ones that we currently see invading our multiplex. I think for me it was exciting to just see the era that this movie was filmed. Another reviewer mentioned the scenes of the gun in the window of a store and the one-man police station on the California border was hysterical and somewhat eerie as well. I couldn't agree more. While this may have been exaggerated at the time, it still provided a pleasing look as to where we have progressed to since then (and maybe because of this film!).

Overall, this film really impressed me. I am a fan of films made in the 40s, and Deadly is the Female is no exception. This era of film continually breaks new boundaries for me and proves that Hollywood may not be as creative as we think. I see these films made in the 40s, and see the exact same types of stories in today's movie theaters. Is there plagiarism happening or is Hollywood just recycling to continue to allure audiences to dish out more money? The world may never know, but what I do know is that if you ever have the chance to see Deadly is the Female, I suggest it. Powerful, stunning, and beautifully captured onto film, it will not disappoint. Enjoy.

Grade: ***** out of *****

Produced as a "B" movie, it earns a solid "A." Ahead of its time, and more than slightly twisted, this humble little piece is one of the more unique and imaginative crime dramas you'll see, connecting the dots between violence and sex.

Hopefully someday this one will be re-released on DVD, because it's simply a great film-noir. Making a superb B-movie is no simple task. It takes ingenuity, guts, and vision. Something most mainstream multi-million dollar movies don't even come close to having. Joseph Lewis (also directed the Big Combo) does a masterful job directing, and John Dall and Peggy Cummings are perfect in their roles. No attempt is made to justify or explain away the motivations of the two characters except that they "...go together like guns and ammunition".