This is the kind of film noir that has its foot rooted in the 'B' tradition. What I mean is Losey and his writers (including blacklisted Dalton Trumbo) are keeping their aims low, and scoring high within their limitations. They're not working with big stars, or even through a big studio. Van Heflin, its main marquee star name, was known later for westerns like Shane and 3:10 to Yuma. And its story, while based on a novel, seems to ring a bit much from The Postman Always Rings Twice, albeit with some obvious differences (the wife in this case becomes attracted to the man after he imposes himself on her, but is still wary, even after the death of her husband by the lover's hands).
But in terms of what a 'film noir' might mean, in its characters and mood and setting, it rarely gets more 'noirish' than this. The themes presented, of characters (or just a character in Webb Garwood) in an existential tailspin to oblivion, and of the danger around sex and murder, not to mention one's place in a society, are made paramount by Losey. He'll take some of those given dark shadows on a street or especially outside of Susan's house at night, where the prowler of the title lurks. But it's at the scope of the characters, how Webb finds his way into this woman's life, for better or worse (actually, usually, worse), that makes it consistent and interesting.
Seeing the body language and how the actors Heflin and Evelyn Keyes act towards one another is one aspect of its success. In a thriller of the period, with infidelity and high drama and murder and greed, we need characters to connect to, even in the most unlikely of circumstances. We know from almost the start that Webb's intentions are rotten, that he wants to insinuate himself into Susan's life, and to be her's alone, since a) it's easy to push over an average though domineering middle-aged husband who can't give her kids, and b) there's thousands in the will if he gets bumped off 'accidentally' as it were.
And yet, somehow, I got wrapped up in what would happen to this guy Webb. His plan seems so diabolical, and he is a kind of male femme fatale in a way (or is that 'masculine fatale'?), but his every action leads towards a psychological mean. Susan is played by Keyes as a woman who is smart and aware, but, being really a small town girl from Indiana (also where Webb is from, small world, huh), she lets her emotions get the better of her. Keyes is believable because she's not at all twisted in her plans, though does decide after her husband's death, and knowing what was most likely the truth, to stick with Webb (also, third act twist, she's been pregnant four months, which adds another level of anxiety and suspense to their situation).
Sure, some of the things in the film don't quite hold up over time, like how Susan ends up giving birth in that ghost town. But its faults are few and far between. I loved seeing Helfin's desperation but also his charisma; he's like a second-rate (though still impressive) James Cagney, if only in the sake of this part, as he's deceitful and perhaps more than a little cruel, but alluring, which is just right for what is essentially a corrupt cop. Also admirable is Losey's use of symbolism and cinematic affectation. When we hear the sound of Susan's husband coming out of the radio, during his late-night broadcasts, it's the closest thing to a God in this little world were laws seem to be able to be pushed aside.
He also manages to pull off something visually that could be obvious, but works just right. In a nearly hypnotic moment, Webb tries in a last ditch effort to escape the law at the end, and tries to climb up a sandy hill. For every step that he takes he loses a bit more ground, and at the end, it's no use anyway. We know how this story will end, perhaps, from the start, as it was the given at the time (bad guy dies, good people, more or less anyway, live). But it's the presentation of the images, the stark landscape, the individual crushed by himself in the scope of its fatalistic outcome, that gives Losey the edge here.
The Prowler is a near-forgotten semi-classic of the B film-noir catalog, and is just about essential for anyone studying the form and characters... or just want an entertaining infidelity thriller. 9.5/10
But in terms of what a 'film noir' might mean, in its characters and mood and setting, it rarely gets more 'noirish' than this. The themes presented, of characters (or just a character in Webb Garwood) in an existential tailspin to oblivion, and of the danger around sex and murder, not to mention one's place in a society, are made paramount by Losey. He'll take some of those given dark shadows on a street or especially outside of Susan's house at night, where the prowler of the title lurks. But it's at the scope of the characters, how Webb finds his way into this woman's life, for better or worse (actually, usually, worse), that makes it consistent and interesting.
Seeing the body language and how the actors Heflin and Evelyn Keyes act towards one another is one aspect of its success. In a thriller of the period, with infidelity and high drama and murder and greed, we need characters to connect to, even in the most unlikely of circumstances. We know from almost the start that Webb's intentions are rotten, that he wants to insinuate himself into Susan's life, and to be her's alone, since a) it's easy to push over an average though domineering middle-aged husband who can't give her kids, and b) there's thousands in the will if he gets bumped off 'accidentally' as it were.
And yet, somehow, I got wrapped up in what would happen to this guy Webb. His plan seems so diabolical, and he is a kind of male femme fatale in a way (or is that 'masculine fatale'?), but his every action leads towards a psychological mean. Susan is played by Keyes as a woman who is smart and aware, but, being really a small town girl from Indiana (also where Webb is from, small world, huh), she lets her emotions get the better of her. Keyes is believable because she's not at all twisted in her plans, though does decide after her husband's death, and knowing what was most likely the truth, to stick with Webb (also, third act twist, she's been pregnant four months, which adds another level of anxiety and suspense to their situation).
Sure, some of the things in the film don't quite hold up over time, like how Susan ends up giving birth in that ghost town. But its faults are few and far between. I loved seeing Helfin's desperation but also his charisma; he's like a second-rate (though still impressive) James Cagney, if only in the sake of this part, as he's deceitful and perhaps more than a little cruel, but alluring, which is just right for what is essentially a corrupt cop. Also admirable is Losey's use of symbolism and cinematic affectation. When we hear the sound of Susan's husband coming out of the radio, during his late-night broadcasts, it's the closest thing to a God in this little world were laws seem to be able to be pushed aside.
He also manages to pull off something visually that could be obvious, but works just right. In a nearly hypnotic moment, Webb tries in a last ditch effort to escape the law at the end, and tries to climb up a sandy hill. For every step that he takes he loses a bit more ground, and at the end, it's no use anyway. We know how this story will end, perhaps, from the start, as it was the given at the time (bad guy dies, good people, more or less anyway, live). But it's the presentation of the images, the stark landscape, the individual crushed by himself in the scope of its fatalistic outcome, that gives Losey the edge here.
The Prowler is a near-forgotten semi-classic of the B film-noir catalog, and is just about essential for anyone studying the form and characters... or just want an entertaining infidelity thriller. 9.5/10