The Postman Always Rings Twice (1946) ****
Despite what feels like a tacked-on bit of dialogue at the end (very common during the Golden Age Of Hollywood), The Postman Always Rings Twice (1946) is a strong film noir that holds up on repeat viewings. I haven't read James M. Cain's 1934 novel (I definitely need to read more classic crime novels), but from what I understand this film adaptation (there have been numerous), the first in English, hews closely to the story.
Lana Turner plays blonde bombshell femme fatale Cora Smith who, alongside Rita Hayworth in Gilda (1946) (review), is given one on the best introductions in noir history. Cora naturally hooks in John Garfield's blue collar worker, Frank Chambers, resulting in a sadomasochistic extramarital affair that sizzles on screen. Cecil Kellaway is the jovial husband, Nick, seemingly oblivious to Cora and Frank's romance. When frustrations arise regarding decisions about the married couple's future, off-handed comments between Cora and Frank about bumping off Nick become a reality. Cain would revisit similar territory in his 1943 novel Double Indemnity, later adapted as my favorite noir, the 1944 film (review) by Billy Wilder.
Though Postman takes place largely in daylight and well-lit locations, and though it avoids the common elements of chiaroscuro lighting, fedoras, cityscapes, nightclubs, coppers, and private dicks, it nonetheless remains a quintessential film noir.
Lana Turner plays blonde bombshell femme fatale Cora Smith who, alongside Rita Hayworth in Gilda (1946) (review), is given one on the best introductions in noir history. Cora naturally hooks in John Garfield's blue collar worker, Frank Chambers, resulting in a sadomasochistic extramarital affair that sizzles on screen. Cecil Kellaway is the jovial husband, Nick, seemingly oblivious to Cora and Frank's romance. When frustrations arise regarding decisions about the married couple's future, off-handed comments between Cora and Frank about bumping off Nick become a reality. Cain would revisit similar territory in his 1943 novel Double Indemnity, later adapted as my favorite noir, the 1944 film (review) by Billy Wilder.
Though Postman takes place largely in daylight and well-lit locations, and though it avoids the common elements of chiaroscuro lighting, fedoras, cityscapes, nightclubs, coppers, and private dicks, it nonetheless remains a quintessential film noir.
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