LeonLouisRicci This one is a good example of the difference in appearance that emerged in the 1950's Film-Noir. The decade was finally starting to show the growth of the Post War economy and shine, so were the Movies, even the Noirs and it was the beginning of the end for the Genre.The look was not the only thing that started to "lighten up", the Characters were becoming less cynical, more perky, and frankly more boring. This can be exemplified by the Roommates here that are so spunky and aloof that they seem to glide and float through this Mystery/Thriller. Low brow Blues and Jazz was replaced with the nonthreatening Pop softness of Nat King Cole.The Director does use some inspiring shadowy scenes here, in the middle, during the most effective part of the Film as the Murder ensues and the aftermath is a Noirish blur. Notice how after the event the frame is bathed in partial darkness and things swirl and twist in a convincing confusion. But it doesn't last too long.Most of the Movie is so breezy, light, and kind of syrupy that the Film's Noir is noticeably absent and what is left is straightforward Melodrama with a TV look. Not a bad Film just to pedestrian to be anything more than an above average Entertainment that is as inoffensive and fluffy as it is predictable.

seymourblack-1 "The Blue Gardenia" is a low budget thriller in which two young women (who are both named after flowers), two letters and two rather slimy bachelors, all have a significant impact on what transpires. At the centre of the story is a young woman who, as a result of making an unwise decision at a particularly vulnerable time, finds herself propelled into a nightmare. Unfortunately, the only avenue of escape open to her is very risky and requires her to put her trust in someone of whom she's uncertain.Based on a short story by Vera Caspary (who also wrote "Laura", which was made into a successful movie by Otto Preminger), this melodrama about the events surrounding a murder, soon develops from its light-hearted beginning into something far darker and more tense.Norah Larkin (Ann Baxter) is a telephone operator who shares an L.A. apartment with two of her friends from work. On her birthday, after the wisecracking Crystal Carpenter (Ann Southern) and the pulp-fiction loving Sally Ellis (Jeff Donell) have gone out, Norah spends the evening alone with a glass of champagne and a letter from her boyfriend who's a soldier in Korea. Shortly after reading the letter that informs her that she's been dumped, the telephone rings and Harry Prebble (Raymond Burr), under the misapprehension that she's Crystal, asks her out for dinner. In her confused and emotional state, Norah decides to accept the invitation and meets Harry at "The Blue Gardenia" nightclub.Harry's a predatory womaniser who gets Norah drunk on cocktails and takes her home to his apartment where he tries to force himself on her. In her panic, Norah grabs a poker and swings it over her head before hitting Harry as hard as she can. Next morning, when she wakes up, she can't remember what happened on the previous night. A little later, when she learns that Harry's been murdered, she becomes convinced that she's killed him and that some items (a lacy hanky, a blue gardenia and a pair of shoes) that she left behind at his apartment will quickly make her the prime suspect.Casey Mayo (Richard Conte) is a high profile newspaper columnist who takes an interest in the case and publishes an open letter entitled "Letter To An Unknown Murderess". In his letter, he invites the murderess (who he calls "The Blue Gardenia") to give his newspaper her exclusive story in return for top class legal representation which the newspaper will arrange. Norah, who is living in a constant state of fear, recognises that this seems to offer the best way forward but is also anxious about whether the columnist's offer is sincere or whether it's simply a ploy to get a sensational story for his newspaper.A clue to the mystery about what happened on the night of Harry's murder is given early on in the film but this, in no way, detracts from the absorbing nature of the story or the enjoyment which is further enhanced by the inclusion of Nat "King" Cole's performance of the title song and Nicholas Musuraca's marvellous cinematography. The scene in which Norah goes to Casey Mayo's office late at night is a real high point with its use of deep shadows, deep focus and neon lights etc. Interestingly, this was the first of three movies that Fritz Lang made relating to newspapers (the others being "While The City Sleeps" and "Beyond A Reasonable Doubt").

lastliberal It is fascinating to see Raymond Burr (Ironside, Perry Mason) as a lounge lizard trying to pick up every women he sees. We see him working on the Oscar-nominated Ann Sothern (The Whales of August) in the opening, but she was having none of his charm.Director Fritz Lang and writers Vera Caspary (Laura) and Charles Hoffman (The Green Hornet, "Batman") give us an enjoyable film that has noirish elements, but is lighthearted at the same time.Just seeing and hearing Nat King Cole singing the title song is worth the time spent here.Crystal (Sothern) gets herself into trouble and turns to newspaperman Casey Mayo (Richard Conte). She needs help before Superman, I mean Police Capt. Haynes (George Reeves) finds her.

kenjha A drunk woman (Baxter) goes to the apartment of an aggressive ladies man (Burr!) who turns up dead, but she has no memory of what happened. It is not difficult to guess the identity of the murderer, but that's not the point of this film. The pleasure comes from watching the interactions among the characters. Lang's direction is smooth but not flashy, creating a nice atmosphere. He also elicits excellent performances, especially Sothern as Baxtern's wise roommate and Conte as a newspaper columnist trying to uncover the murderer. Cole plays himself and sings the title tune. There's a nice score by Kraushaar, reminiscent of Wagner.