April 5, 2014

As luck would have it…


Street of Chance is directed by Jack Hively and adapted to screenplay by Garrett Fort from the novel "The Black Curtain" written by Cornell Woolrich. It stars Burgess Meredith, Claire Trevor, Louise Platt, Sheldon Leonard, Frieda Inescort and Jerome Cowan. Music is by David Buttolph and cinematography by Theodor Sparkuhl.

After being felled by falling wreckage from a New York building, Frank Thompson (Meredith) awa… read the rest.

As luck would have it…


Street of Chance is directed by Jack Hively and adapted to screenplay by Garrett Fort from the novel "The Black Curtain" written by Cornell Woolrich. It stars Burgess Meredith, Claire Trevor, Louise Platt, Sheldon Leonard, Frieda Inescort and Jerome Cowan. Music is by David Buttolph and cinematography by Theodor Sparkuhl.

After being felled by falling wreckage from a New York building, Frank Thompson (Meredith) awakes in the street to find he has some sort of amnesia and his life may not be as he thought. As he starts to piece together his life he comes to realise he may have committed a murder and is actually on the run!

An early entry in the original film noir cycle, Street of Chance takes what would become a familiar film noir theme, amnesia, and seasons it with betrayal and the vagaries of fate. It's also a point of interest to note that it's the first filmic adaptation of one of noir hero Woolrich's literary works, while the visual marker set here by Sparkuhl (Among the Living) signposts the influence of German Expressionism on the noir film making style. The visuals range from low lighted cramped rooms to the various diagonal and vertical shadows that psychologically patternize the spaces inhabited by the lead characters.

The story itself is not so hot, once the narrative settles into a steady and unspectacular rhythm, as the key ladies in Frank Thompson's life come into play, there's a distinct lack of mystery or suspense. Which is a shame as the acting is of good quality even if the principals aren't asked to stretch their respective thespian skills. Still, with the visuals so strong and the satisfying Woolrich feel to proceedings (though the finale is changed here from that of the novel), it's worth seeking out by noiristas. 6.5/10

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September 1, 2025

The complexities of the plot don’t readily make for a succinct summary but the interweaving stories of “Frank” and “Danny” (Burgess Meredith) make themselves pretty clear from the mysterious outset. It’s “Frank” who narrowly avoids some falling masonry only to awaken in hospital with what appears to be a completely different identity. Inexplicably pursued by a strange man (Sheldon Leonard), he visits his erstwhile home only to find his wife “Virg… read the rest.

The complexities of the plot don’t readily make for a succinct summary but the interweaving stories of “Frank” and “Danny” (Burgess Meredith) make themselves pretty clear from the mysterious outset. It’s “Frank” who narrowly avoids some falling masonry only to awaken in hospital with what appears to be a completely different identity. Inexplicably pursued by a strange man (Sheldon Leonard), he visits his erstwhile home only to find his wife “Virginia” (Louise Platt) had moved on over a year ago. When he finally tracks her down, she is shocked to see him and that’s just the first shock as his memory loss fails to explain just what happened in the intervening year, nor explain to him just whom “Danny” is. Gradually retracing his recent life, he not only discovers that he is wanted for murder but also that he also has a feisty girlfriend (Claire Trevor) who is quite possibly involved with the people who know more about the crime than is being let on! The plot itself isn’t the most taxing, to be honest, but once the characterisations have mapped out there are quite decent performances from a Meredith who mixes his stronger and weaker personas quite seamlessly whilst Trevor stirs the pot nicely. Perhaps truth all rests with the bedridden and mute grandmother (the scene-stealing Adeline De Walt Reynolds) who blinks once for yes and twice for no? Can “Frank” get her to reveal anything, though? The ending is all rather hastily arrived at, but there is enough substance along the way to keep it intriguing without overwhelming us with relentless dialogue. It’s a perfectly watchable mystery.

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