This Gun For Hire: One of the Great Film Noirs in American Cinema

Alan Ladd in his star-making role.

This practically perfect early noir has a strong reputation and yet, while researching for this review, I was left with the feeling that it's underrated. The prestigious British Film Institute doesn't even include This Gun for Hire (1942) in its list of "10 Great American Film Noirs." (Yes, it would rank in my Top Ten.)

Alan Ladd became a star as anti-hero Raven, a contract killer who is double-crossed by his client. The film's opening scene tells us all we need to know about the quiet Raven. He takes in a stray kitten and feeds it milk. But when the cleaning lady (dressed like a showgirl) shoos away the cat, Raven grabs her, rips her dress, and slaps her backhanded across the face. Here is a man that is ruthless, but with a morsel of humanity buried deep inside. (Later, Raven tries to rationalize his affection for cats by claiming that they bring luck.)

Raven kills the innocent girlfriend.

Still, the screenplay by Albert Maltz and W. R. Burnett leaves no doubt that, first and foremost, Raven is a man that will do whatever is required. Knowing that a victim's innocent girlfriend can identify him, Raven shoots her in cold blood. Later, after vowing not to kill again, he does just that when trying to evade a policeman.

The plot hinges on a chance encounter when Raven and nightclub entertainer Ellen Graham (Veronica Lake) wind up sitting together on a train from San Francisco to Los Angeles. Raven is going to L.A. to find Willard Gates (Laird Cregar), an obvious middleman who hired Raven and then tipped off the police by paying the killer with stolen money. Raven's objective is to find out who Gates works for and then kill Gates and his employer.

Unknown to Raven, Ellen is also traveling to meet Gates, who owns The Neptune Club. A U.S. senator has informed Ellen that Gates is working for a powerful man who is selling a secret formula to the enemy. Ellen's mission is to find out the identity of Gates' employer.

Veronica Lake and Alan Ladd.

The glue that holds the film together is the relationship between Raven and Ellen. From the outset, he is surprised by her kindness. When he steals $5 from her, she demands he return it, but then offers to give him $1. Raven admires her street smarts and, though he's careful never to show it, he undoubtedly finds her attractive. Most importantly, Raven trusts her--enough to describe his abusive childhood (if only in the context of a dream).

Ellen is touched by the fact this hardened killer is willing to confide his darkest secret to her. She is also attracted to his decisiveness and moxie when he rescues her from Gates' henchman. In many films, this relationship would have involved into an unlikely romance. But in This Gun for Hire, Ellen kisses Raven on the cheek and that's it. There are no looks of missed opportunities. Raven is simply not a man that falls in love easily (if at all). And Ellen truly loves her police detective boyfriend (Robert Preston).

Laird Cregar as Gates,

Despite the fine performances from the leads, Laird Cregar almost steals the film as Gates. He's a villain that's willing to send a hired gun to kill people, but wants no part of the actual event. When his henchman is describing how he will skilfully dispose of Ellen's body, Gates squirms uncomfortably and tells him to stop. Cregar provides the film's humor, but in a subtle way that never comes across as obvious comic relief. It's a performance that somehow reminded me of Vincent Price's turn as Shelby Carpenter in Laura (1944).

Director Frank Tuttle and cinematographer John Seitz team up on a number of exciting visuals. The chase through the train yard and the drainage pipes may be the film's highlight, but there are clever bits throughout. My favorite may be a scene where the hotel maid goes to use a pay phone in a police-filled lobby, unaware that Raven is hiding there. He presses his gun against her side as she pretends to talk on the phone. Her phone dialogue consists of answers to his questions. It's a brilliant merger of smart dialogue and murky lighting.

Veronica Lake as Ellen.

John Seitz, by the way, would earn seven Oscar nominations for cinematography during his career. He served as the director of photography on a number of film noir classics, including Double Indemnity (1944), The Big Clock (1948), and Sunset Blvd. (1950).

This Gun for Hire was loosely based on Graham Greene's 1936 novel This Gun for Sale. James Cagney directed a remake in 1957 called Short Cut to Hell, which starred Robert Ivers and Georgann Johnson. It was Cagney's only stint in the director's chair.

Catherine Mary Stewart Talks with the Café About Her Cult Film Classics, Dernzies, and a Kiss from Robert Preston

Since her film debut in 1980, Catherine Mary Stewart has thrived in film, television, and on stage. She starred in three bona fide cult classics from the 1980s: Night of the Comet, The Last Starfighter, and Weekend at Bernie's. She has guest starred in television series such as White Collar, Knight Rider, and Days of Our Lives. Married since 1992, Catherine Mary Stewart has two children. In between acting jobs and raising a family, she found time to stop by the Café for an interview.

Café:  How did you get the lead role in your first film, the quirky 1980 science fiction musical The Apple?


Catherine Mary Stewart rocking out on
The Apple's soundtrack album cover.

Catherine Mary Stewart:  I was living in London, England, attending a performing arts school. One day on my way to dance class, I ran into a couple of fellow students walking in the opposite direction. They told me that they were heading to an open dance audition for a new movie musical. I had never experienced anything like this. The words of my teacher and mentor, Jill MacDonald, from my hometown came flooding back. She said, "While you are studying in London take advantage of every audition you can..." I decided to tag along. I found myself in among around 200 women and men in a cattle call dance audition with the then-unknown Nigel Lythgoe leading as the choreographer. Some time during the audition, I apparently caught the director's eye. He pulled me out of the group and asked me if I could act and sing as well as dance. Of course I said, "Of course!" Before I knew it, I was reading for him from the script and singing one of the songs. The next thing I knew I was cast as Bibi, the lead female in The Apple.

Café:  Night of the Comet was a cult classic even before zombies become a pop culture phenomenon. Why do you think it has grown in popularity over the last 30 years?

Comet co-start Kelli Maroney and
Catherine Mary Stewart.

CMS:  I think Night of the Comet offers several unique takes on the zombie genre of film. First of all, it doesn't take itself too seriously. I think there's a fantastic combination of scary and hilarious. Another unusual characteristic is that the protagonists are female. How cool is that? Young women who can fend for themselves! Plus, it's a character-driven story. We really get to know these girls and we root for them. I love that both women and men dig it!    

Café: You and Kelli Maroney were delightful as the zombie-kicking Belmont sisters in Night of the Comet. Was there ever any discussion of a sequel or pairing the two of you in another movie?

CMS:  Kelli and I had and still have a great relationship. As much as we both would have liked to do a sequel (and still do), there has never been any serious discussion about that with the powers that be. I suppose if there's enough uproar from the fans MGM/UA (I believe they own the rights) might consider it.... In terms of working with Kelli again in another project, I would be delighted!

Café:  The Last Starfighter was one of the best teen-oriented films made in the 1980s and featured a terrific cast. What was it like working with Robert Preston, Lance Guest, and Dan O'Herlihy?

Robert Preston in The Last Starfighter.

CMS:  Lance Guest is still a dear friend of mine. He is one of the most down-to-earth, principled actors I've known. He made the process of making The Last Starfighter delightful and honest. I only had one scene with Dan O'Herlihy. It was when Alex (Guest) lands his spacecraft in the trailor park. He introduces me to Grig (O'Herlihy). Honestly, I had no idea what the man looked like. I only saw Mr. O'Herlihy in his full Grig prosthetic makeup. Later, I looked him up online. What a handsome man he was and what a talent portraying all the emotions and expressions through that thick rubber mask. Sadly, I didn't have any scenes with Robert Preston. I did meet him by chance at a re-shoot for the movie. I was introduced to this lovely, charming man who had that undeniable classic Hollywood movie star glow about him. I was giddy with excitement. He kissed my hand and I swore I would never wash it... What an honor that was. The Last Starfighter was the last movie that Robert Preston appeared in before his death in 1987. How lucky can one girl get to be in the same film with a couple of the most iconic actors of the 20th century?

Café:  Last November, you participated in a Weekend at Bernie's reunion at the Rhode Island Comic Con. Why do you think Bernie's remains such a fan favorite? And what was it like reuniting with Andrew McCarthy, Jonathan Silverman, and other cast members?

Weekend at Bernie's.

CMS:  I think Weekend at Bernie's was one of the original what I like to call "sophomoric" comedies. A couple of young men getting involved with all sorts of unlucky high jinx, comedic situations. Real belly laugh stuff. It's become a classic! Of course, no one could have played Bernie like Terry Kiser! He deserves so much credit. His interpretation of Bernie is what you think of when you think of that movie. Everyone else was just incidental, ultimately... :) I hadn't seen any of the cast for years! The most recent was Jonathan a few years ago at a wrap party. I loved seeing Jonathan, Andrew and Terry. They are sweet and gracious and so talented. I am grateful to be a part of this classic movie that has become a sort of comedic reference on so many other shows. 

Café:  Several of your films have gained exposure over the years. Even a clip of the The Apple was shown on an episode of Gordon Ramsay's Kitchen Nightmares (about a restaurant owned by your Apple co-star Allan Love). Which one of your other films do you think deserve more attention and why?

Michael Pare and CMS.

CMS:  Wow! I didn't know they showed a clip on Kitchen Nightmares. I did happen to see the end of that episode. I kept looking at Allan and not realizing who it was, but there was something so familiar about him. I hadn't seen Allan for probably 30 years. It wasn't until the end of the show when they were on the beach with a director's chair that had his name on it, that it all came together! I immediately found him online and we've been in touch ever since. Incidentally, The Apple is screened quite regularly around the country. Even here in NY, there have been many midnight screenings including a couple at the illustrious Lincoln Center. One of my favorite movies that I did was called World Gone Wild. It had an incredible cast including: Bruce Dern, Michael Pare, Adam Ant and more. It's a kind of post apocalyptic movie about a odd group of outcasts who defend a "settlement" and their rare supply of much sought after water. I attended a Q & A session with Bruce Dern for his role in Nebraska a couple of days ago. Again, he is someone I haven't seen for over 25 years. He is incredibly sharp and interesting. Mr. Dern is a wonderful storyteller and forgets absolutely nothing! I got to say hello to him after the session. He remembered me without a pause. Again, what a talent and what an honor and hoot to work with him. His performance was so great! Full of "Dernzies" as they are called. And some of the stuff that came out of his mouth in between shots...I still share some of those stories today. They are not necessarily appropriate for a general audience, so don't ask...:) 

Café:  As one of the many performers who honed their acting skills on a daytime drama, what was your reaction when many long-running soaps were cancelled?

CMS:  Hmm, well I suppose it's the nature of the business. Audiences change. I feel badly for the actors who were put out of work, but hopefully they found other opportunities. Days of Our Lives is still chugging along. I tune in every once in a while just to check it out. I'm astounded at how many actors that I worked with on the show are still there! Soap operas are a great spring board for actors new to the business. It is a great way to learn discipline. I've never worked as hard as I did on soaps.

Café:  Unlike some of the young stars of the 1980s, you have stayed steadily busy in film, television, and theater throughout the years. What's the secret to your success?

CMS and Matt Bomer on the USA
Network TV series White Collar.

CMS:  It is a tough business. I moved from LA, where I was established, to NY where I had to start all over again. At the same time, I had two kids to raise, all while trying to stay current. It has been a struggle to be sure. I have been determined not to give up. I worked hard to get where I was and I've always worked hard to validate that. As my children grow and become adults, I hope to focus more on my work. There is no real "secret."  You just have to believe and be determined. Never give up if it is your passion. I'm also exploring producing and directing.    

Café:  What are your favorite kinds of films?

CMS:  I am a fan of pretty much all genres of movies. I like foreign films to documentaries, musicals to drama, old and new. I love a good honest laugh, shriek and cry. I love movies that have interesting characters and stories that I can invest in and ponder. If I have a feeling that I've been taken on a journey that leaves me satisfied and even transformed on some level, I am happy!  

Café:  What upcoming projects are you working on that you'd like to share with the Café's readers?

CMS:  I'm looking forward to directing a short film this spring. I also have a project that I've been developing about a heroic true-life woman that was responsible for saving millions of lives in the 1980s. Of course, I'm always on the look out for acting work!  

You can learn more about Catherine Mary Stewart at her web site www.catherinemarystewart.com and by "liking" her on Facebook (click here to visit her page).

"5 Card Stud" and "Rehearsal for Murder" Bend the Mystery Genre

A simple touch can transform a film from conventional to interesting. As evidence, I offer two exhibits from the mystery genre: director Henry Hathaway's 1968 Western 5 Card Stud and the 1982 made-for-TV movie Rehearsal for Murder, written by William Link and Richard Levinson.

The opening scenes of 5 Card Stud play out like a typical Western. After a card shark is caught cheating in a saloon poker game, the other players decide to lynch him. When Van Morgan (Dean Martin) tries to save the stranger, the back of his head encounters the handle of a Colt .45. The card shark dies at the end of a rope and Van leaves town in disgust. He returns only after hearing about the sudden deaths of two members of the lynching mob. When the deadly pattern continues, Van suspects that someone is avenging the hanged man. Could the killer be the new gun-toting reverend (Robert Mitchum) that just arrived in town?

 This crafty variation of Agatha Christie's Ten Little Indians never takes itself too seriously. That attitude extends to its two stars, both of whom were past their prime by the late 1960s. Dean Martin is ideally cast as the befuddled professional gambler pressed into service as the de facto detective. Robert Mitchum, an obvious choice for the enigmatic reverend, gives an acceptable performance, but the role requires little effort on his part. 

Still, 5 Card Stud holds one's attention for its 103-minute running time. Its only significant faults are an uninspired conclusion (i.e., it could have used a twist) and the propensity to waste the talents of Inger Stevens.

The pretty Swedish-born actress had wrapped up her fairly popular TV series The Farmer's Daughter in 1966. However, she subsequently found meaty film roles hard to come by and typically ended up as the inconsequential love interest in movies like Hang 'Em High and Firecreek. Emotional instability--she often had affairs with her leading men, to include Dean Martin--may have contributed to her apparent suicide in 1970. After her death, tabloids reported that she had married an African American man in 1961 and kept it a secret.

As for 5 Card Stud, some film buffs claim it's an unofficial remake of the 1950 film noir Dark City. There may be general similarities, but the inspiration is clearly more Agatha Christie. If you find Western mysteries intriguing, I also recommend checking out the 1957 B-movie Joe Dakota with Jock Mahoney.

With a resume that includes creating Columbo and Murder, She Wrote, William Link and Richard Levinson know a thing or two about the mystery genre. And, like Agatha Christie, they're not above breaking the rules of mystery fiction (see S.S. Van Dine's famous Twenty Rules for Writing Detective Stories). After all, these are the two guys who revealed the killer's identity in the opening scene of each Columbo episode. Still, Rehearsal for Murder requires one's careful attention--even after a character notes that a well-written mystery "takes the audience by the hand and leads them in the wrong direction."

Robert Preston stars as playwright Alex Dennison, who assembles a group of actors in an empty theater to do a reading of his latest work. It quickly becomes evident that his actual intent is to unmask the person who murdered his fiancee the previous year. In flashback, we're shown that stage star Monica Welles (Lynn Redgrave) apparently took her own life on the opening night of her latest play. However, the evidence is sketchy at best--her final words were typewritten. But why would anyone want to kill Monica?

The stage setting provides Link and Levinson with the opportunity to play with the construct of murder as a form of acting. After all, isn't a killer acting when he or she lies about an alibi? And isn't adding a suicide note to a crime scene similar to creating a stage setting for a play? In both cases, the killer plays the role of playwright, trying to convince the police and others (the audience) that they have seen or heard something different from reality.

Lynn Redgrave plays the murder victim.

Unfortunately, despite a game cast that includes Patrick Macnee and Jeff Goldblum, Rehearsal for Murder falls just short of the mark. Even at a short 75-minutes, it seems sluggish in spots. And after one twist at the midway point, the viewer starts looking for another. In the end, despite its cleverness, the murderer's identify becomes pretty obvious. It doesn't help that Link and Levinson, perhaps inadvertently, steal a page from a classic mystery novel (not revealed here...hey, no spoilers!).

Still, there's enough here to warrant a viewing, though I'd steer Robert Preston fans to another 1980s outing that featured the classic film star: the surprisingly entertaining The Last Starfighter.