March 16, 2020

Chiseler's and Smouldering Redheads.

Slightly Scarlet is directed by Allan Dwan and adapted to screenplay by Robert Blees from the novel Love's Lovely Counterfeit written by James M. Cain. It stars John Payne, Rhonda Fleming, Arlene Dahl, Kent Taylor and Ted de Corsa. A Technicolor/SuperScope production, music is scored by Louis Forbes and cinematography by John Alton.

June Lyons (Fleming) is "secretary" to anti-crime campaigner Frank Jan… read the rest.

Chiseler's and Smouldering Redheads.

Slightly Scarlet is directed by Allan Dwan and adapted to screenplay by Robert Blees from the novel Love's Lovely Counterfeit written by James M. Cain. It stars John Payne, Rhonda Fleming, Arlene Dahl, Kent Taylor and Ted de Corsa. A Technicolor/SuperScope production, music is scored by Louis Forbes and cinematography by John Alton.

June Lyons (Fleming) is "secretary" to anti-crime campaigner Frank Jansen (Taylor), so with Jansen in the running for mayor, mob boss Solly Caspar (Corsa) looks for a way to smear Jansen. The chance arises by way of June's sister, Dorothy (Dahl), a Kleptomaniac just released from prison. So Caspar puts his main man on the case, Ben Grace (Payne), but bossing Grace around and then putting him in the middle of two fire- cracker sisters could prove detrimental to all.

The story is altered from Cain's source and in truth what reads like a tricky plot, actually isn't all that it can be. Yet it's a feverish Technicolor noir, proof positive that in the right photographic/director hands, noir can thrive away from the monochrome.

It plays out its tale in a whirl of simmering passions and wonderfully lurid suggestions, sparkled by eye scorching photography and a deliriously devilish production design. Psychological smarts are in the mix, with no easy answers put forward to character's outcomes, while in true noir fashion all principal characters are hard to like or are intriguingly flawed.

John Alton is the key hand here, he brings rich colours to the fore whilst ensuring that light and shadow techniques are not compromised. Macho conversations are spun out in darkened rooms, the colour black prominent, foreboding like, while the home of the two flame haired sisters is adorned with purposely garish blues, reds, oranges and greens.

Clothes are important to the sexuality pulsing in the piece. The girls dressed up in a number of fetching (colourful obviously) ensembles, with wide V necked sweaters, figure hugging skirts, bullet bras, leopard skin bikini and see-thru nighties! While a couple of phallic symbols form part of the art design just in case you need reminding that sex is a big issue here.

Suggestive scenes are within, usually involving Dorothy who mixes Kleptomania with an obvious kink for Nymphomania. Watch how she strokes a pillow in the background as her sister engages Ben in heated conversation, how she looks as she holds a Harpoon Spear Gun in her hands (in that leopard skin bikini), or a quite delicious sequence on a couch, legs akimbo and a back scratcher used to tantalising effect. Wow!

It has flaws for sure, mind. The Kleptomania/Nymphomania angle is not fully explored (ineviatbly for the period), Corsa barely convinces as the head villain, Forbes is not sure how to score it! And there are missed opportunities unbound as regards triangles involving Ben, June and Frank and also Ben, June and Dorothy. But this is still a delightful Technicolor noir, lush, lurid and deftly sordid. 8/10

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