Reviews Aug 02 2008 @ 07:00 am
REVIEW: This Gun For Hire
Directed By: Frank Tuttle
Written By: Albert Maltz & W. R. Burnett
Starring: Alan Ladd, Veronica Lake, Robert Preston, Laird Cregar
Running Time: 80 minutes
Not Rated
This Gun For Hire is an early entry in the film noir canon and you can see the birth pangs of the movement within its frames. One foot is firmly forward into the progressive conventions of the movement (an alienated anti-hero, moody chiaroscuro lighting, partial exterior photography) and one foot is lodged firmly in the stuffy studio past (out-of-place musical numbers, numerous studio sets, and a propagandized plot that hasn’t aged well). As such it embodies a hybrid of styles and sensibilities, and if it doesn’t fully deliver all the juice one might expect from such pulp, it nevertheless represents a significant guidepost on the path to better understanding noir.
Alan Ladd as Phillip Raven.
The role of stoic hitman Phillip Raven was a career-maker for Alan Ladd, the diminutive actor (most accounts accord him a stature of 5’5”) who would go on to star in the title role in Shane 11 years later. In This Gun For Hire he received 4th billing behind co-star Veronica Lake, Robert Preston, and Laird Cregar, but history has forgotten Preston and Cregar and Ladd’s name trumps even Lake’s upon the DVD case sitting next to my keyboard. The film is unquestioningly his; he owns every frame of celluloid he’s etched upon.
The opening sequence introducing us to Raven is the best of the film. Alone in a ramshackle hotel room with gaudy vaudeville piano tinkling through the walls, Raven bends over to pour some milk into a saucer for a tiny kitten. A smile briefly interrupts his dispassionate mask, one of only three he’ll display the entire film (incidentally, of the other two, one also involves a cat). A maid insistently enters, eager to get her cleaning duties out of the way. Startled by the kitten, she turns to roughly shoo it out the open window. Raven catches her arm and spins her around, further punctuating his displeasure by slapping her across the face. Hard. He leaves without saying a word.
Willard Gates pretends he isn't afraid of Raven.
Even now, with nearly 70 years and countless protagonists of dubious morality between myself and the film, that SLAP was startling (I may have actually let out an exclamation). I can only imagine the shockwaves it must have sent through audiences back in ’42. The next scene is no less shocking, although not nearly as unexpected. Raven, following instructions, visits a would-be informant. Certain people, people with money, would rather he not be allowed to inform, and Raven obliges them. As a professional courtesy he also knocks off the informant’s secretary, casually uttering, “He was supposed to be alone” by way of an apology. Before pulling the trigger, he proffers another one of his smiles. Only two things in life appear to bring Raven any semblance of happiness: cats and killing.
The film then proceeds along a somewhat predictable path, although that isn’t necessarily a bad thing. Raven’s employer, Willard Gates (whom Laird Cregar plays as a slightly effeminate, mint-obsessed and violence-averse business man), double-crosses him, which (whoops) causes the hitman to go on a vengeful rampage. Veronica Lake (who is introduced in the aforementioned bizarre musical number) drops in as Ellen Graham, a singer-magician-spy-love interest (her character is needlessly confusing), and although she sparkles as a tough yet glamorous beauty, she’s repeatedly eclipsed by Ladd’s captivating Raven.
Veronica Lake and Alan Ladd share a moment. This film made them one of the most successful romantic duos of the decade.
A political subplot emerges at this juncture (Gates is selling secrets to The Enemy, i.e. the Nazis) and Ellen convinces Raven to stop the traitors “for his country.” You can almost tell that director Frank Tuttle and his writers are operating out of a sense of duty (or to mollify the censors over their heartless protagonist), as none of the political beats ring with any kind of sincerity or passion. Raven, so fascinating and enigmatic at the beginning, is reduced to a dull patriotic shill by the end. Apart from some thrilling external photography (set within a gasworks and a train yard), the film fails to recapture the grim artistry of its opening scenes.
This Gun For Hire feels as if it was on a path towards becoming a much darker, more uncompromising noir before it was hijacked by social (and certainly fiscal) concerns. Although the ‘hero’ meets his fateful demise indirectly at the hands of the femme fatale (one of noir’s quintessential conventions), the effort is half-hearted and doesn’t feel very noirish. The film disappoints on nearly every level as it obligingly ties up all the loose ends and sputters through its climax.
A perfect example of the film's gorgeous lighting.
Despite the film’s obvious problems, the vision of the lone gunman (given birth here) continues to echo through the halls of cinema. Not only did it directly influence other noir in the following years, it also formed the basis for action franchises like James Bond as well as serving as the direct predecessor for films like Taxi Driver. The character of Phillip Raven and Alan Ladd’s portrayal of him unquestioningly remain This Gun For Hire’s enduring legacy.
on Aug 02 2008 @ 9:01 am 1. Cinexcellence said …
Veronica Lake would definitely make this worth watching.
I liked her in Sullivan’s Travels as well.
on Aug 02 2008 @ 9:53 am 2. G said …
Another great review Evan. I agree with you. I lump this movie in with Constantine: two early but deeply resonant characters created by major British writers (Graham Greene, Alan Moore) and were deeply embedded in both British concerns and a certain time in British history but, when made into movies, were inexplicably played by non-Brits in L.A., the city least like London.
And yet both movies are pretty good. Neither of them are great, but pretty good.
I prefer This Gun for Hire simply because it contains one of the awesomest lines in the history of cinema: “Go milk a duck!”
Also, I think it was the Japanese he was selling secrets to, not the Nazis, but I’m not sure.
on Aug 02 2008 @ 10:10 am 3. Sam Juliano said …
Indeed, Veronica Lake and Ladd (with trench coat and hat down to his eyes) make one of the most electrifying of screen couples, blonde Ladd with boxum blond Lake with a husky voice (to match Ladd’s deed voice) and her dreamy eyes make for an irresitable match.
For the second day in a row a great treatment of a film that can only be referred to or considered “quintessential noir.” With this film I would go with 4 and a half, but I can fully understand your taking issue with the political subplot. I did think the climactic scene in the pplant was imaginatively rendered.
I thought Cregar’s sickly boss, played by Tully Marshall, is the vilest of villains. While I can’t concur that the film disssapoints on many levels, I do agree with you that this is one 40’s crime drama that doesn’t necessarily quality for the specs of true film noir.
Again, a wonderful essay in a true labor of love at Movie Zeel. Looking forward to DOUBLE INDEMNITY, one of the greatest American films period, in any genre.
on Aug 02 2008 @ 10:37 am 4. Evan Derrick said …
Yeah, “Go milk a duck!” is kind of amazing. I think I had to rewind the DVD just to make sure I had heard it correctly the first time.
Sam, I imagine you would be much more forgiving on some of these ‘old timer’ films that I am, which might be a more appropriate response given their status. Any film that we’re still watching 70 years after it was made can be called a classic in some right. My disappointment was that the rest of the film didn’t quite rise to the level of intensity that those opening scenes did. Raven, at the end, chooses not to shoot Ellen’s fiance (the cop), but the guy is such a fop that it doesn’t ring true. It felt like an obligatory move on the part of the filmmakers.
But really, you can’t underestimate the effect that Ladd’s performance has had. Sam Spade might have inspired nearly every PI since his creation, but Phillip Raven inspired every lone hitman. Travis Bickle is a direct descendant of Raven.
on Aug 02 2008 @ 11:43 am 5. G said …
Evan, do you have anyone writing a feature/essay about the concept of noir itself? Particularly the classic “genre vs. style” debate? Because otherwise, I think we’re just going to have to argue about what noir means on every post, without any common points.
on Aug 02 2008 @ 8:38 pm 6. WALL-E « As Cool As A Fruitstand said …
[...] stop me from linking. The Maltese Falcon (probably my favorite classic noir) is up first, This Gun for Hire (have read the book, still need to see the film) is second, and pretty much all the greats will get [...]
on Aug 03 2008 @ 4:01 am 7. films noir said …
A fair review of this movie. It is worth noting that This Gun for Hire influenced French director, Jean-Pierre Melville,in his 1967 homage to film noir, Le Samourai, with Alain Delon, who shares not only Alan Ladd’s first name but an uncanny resemblance, in a similar story of a hit-man on the run. Le Samourai has a pet canary, while Ladd’s Raven has a pet cat. Even the dramatic rail bridge chase is copied by Mellville.
Of interest also is the scene which tries to explain the origins of Raven’s pychosis where he opens up after responding to the gentle concern of the Veronica Lake character, and while to a degree dated and despite a weak supporting cast, this picture leaves you with serious questions to ponder.
on Aug 03 2008 @ 5:00 am 8. Alexander Coleman said …
Kudos to films noir for pointing out the blatant Melville homages in Le Samourai. It’s one of my favorite historical aspects of This Gun for Hire as an indication of its influence.
on Aug 03 2008 @ 1:03 pm 9. Evan Derrick said …
G, I actually do have such an article in the works, a Film Noir Primer, if you will. I meant to have it up on Friday but time and circumstances wouldn’t allow. I should rectify that in the next few days, and I have little doubt that some of the statements I make will pull down a firestorm of discussion.
on Aug 03 2008 @ 2:41 pm 10. Hedwig said …
Oooh, I’d love to read that primer. Though G., if you want one quickly, the GreenCine one is worth not a bad place to start.
I haven’t seen this one, but I’ve read the book, which was oddly fascinating. It felt like a bit of a throwaway for Greene, but even his throwaways contain fascinating moments. From the description, it sound like the movie doesn’t stray too far… except for the unfortunate location change. L.A. is a great place for a noir, but its mood and atmosphere couldn’t be further away from British.
on Aug 03 2008 @ 3:18 pm 11. Alexander Coleman said …
I love Eddie Muller. He signed his books for me at the Castro during his outfit’s Noir City festivals, and he’s very approachable. Truly the master of exploring the essence of noir, as Paul Schrader has praised.
on May 05 2009 @ 6:26 am 12. prowler said …
i think slapping women was slightly less shocking in 1942 than it is now
and “the enemy” are the japs iirc.
i just saw this, great review, i pretty much agree with your judgment.
on May 05 2009 @ 6:33 am 13. prowler said …
also, this kinda seemed to me to be a Third Man-lite.. with the whole political genocide thing and the chase scenes. of course TTM did it way better
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