Fallen Angel (1945 film)
Theatrical release poster
|Directed by||Otto Preminger|
|Produced by||Otto Preminger|
|Screenplay by||Harry Kleiner|
|Story by||Marty Holland|
|Music by||David Raksin|
|Editing by||Harry Reynolds|
|Distributed by||20th Century Fox|
|Running time||98 minutes|
Fallen Angel is a 1945 black-and-white film noir directed by Otto Preminger, with cinematography by Joseph LaShelle, who had also worked with Preminger on Laura a year before. The film features Alice Faye, Dana Andrews, Linda Darnell, and Charles Bickford. It was the last film Faye made as a major Hollywood star, and she did not make another film until State Fair (1962).
Eric Stanton (Dana Andrews), a down-on-his-luck drifter, gets pulled off a bus at the small hamlet of Walton because he does not have the $2.25 extra fare to take him to San Francisco. He finds a greasy spoon called Pop's Eats, where Pop (Percy Kilbride) is worried about waitress Stella (Linda Darnell) because she has not shown up for work for days. Ex-New York cop Mark Judd (Charles Bickford) tells him not to worry. Sure enough, the sultry Stella returns soon after. Stanton (like the others) is attracted to her, but she is unimpressed by his smooth talk and poverty.
Stanton cons his way into a reserved hotel room to sleep by pretending to know Professor Madley (John Carradine), a traveling fortune-teller. Stanton talks his way into a job with Madley. No one is willing to buy tickets to the "spook act" because influential local spinster Clara Mills (Anne Revere) disapproves. Stanton gets to Clara through her inexperienced younger sister June (Alice Faye) and persuades them to attend the performance.
Madley puts on an entertaining séance to a large audience, ending the show by channeling Abraham Mills, the deceased father of Clara and June. Using information secretly dug up by his assistant Joe Ellis (an uncredited Olin Howland), Madley brings up the sisters' financial problems. The two leave quite upset.
Meanwhile, Stanton gets to know Stella, watching her steal from the cash register and go out with men. Stanton falls in love with her. She, however, makes it clear that she wants a man who is willing to marry her and give her a home. He is so obsessed with her that he agrees to her terms.
To raise the money he needs to satisfy Stella, Eric romances and marries June, planning to divorce her as soon as he can. Clara, who has been victimized by a man of Stanton's type, is unable to prevent their marriage. However, Stanton cannot stay away from Stella even on his wedding night. Instead of sleeping with his wife, he goes to see Stella. She has given up on him, but he explains his odd scheme to her. By the time he returns to his wife, she has fallen asleep, so he settles in for the night on the sofa.
The next day, Stella turns up dead. Judd is asked by the local police chief to investigate. He first tries to beat a confession out of Dave Atkins (Bruce Cabot), Stella's latest boyfriend, but Atkins has an airtight alibi. Stanton is also a strong suspect, having been seen quarreling with Stella shortly before her death. Judd tells him not to leave town.
Stanton flees to a seedy hotel room in San Francisco with June. He tells her all about his drifter's life of failed schemes. June tells Stanton that she loves him. The next day, June is taken into custody when she goes to the bank to withdraw her money.
Stanton returns to Pop's Eats, where Judd is waiting for him. Stanton proves Judd is the killer. Judd found out that Stella had agreed to marry someone else rather than wait for his wife to give him a divorce. Judd pulls out his gun, but Pop wrestles it away, and Judd is arrested. Outside, when June asks Stanton where they are going, he tells her, "Home."
- Alice Faye as June Mills Stanton
- Dana Andrews as Eric Stanton
- Linda Darnell as Stella
- Charles Bickford as Mark Judd
- Anne Revere as Clara Mills
- Bruce Cabot as Dave Atkins
- John Carradine as Professor Madley
- Percy Kilbride as Pop
The source of the film was the Marty Holland novel of the same name. She also wrote another story that was adapted for the film noir screen: The File on Thelma Jordon (1949). According to the British Film Institute, "Hardly anything is known about Marty Holland except that, he, was a she called Mary, who wrote two or three best selling pulp novels and then in 1949—to all intents and purposes—vanished, there being no further record of her at all."
The filming locations were in Orange, California.
Bosley Crowther, film critic at The New York Times, liked the acting in the film but was disappointed by the story. He wrote, "As the frustrated adventurer, Dana Andrews adds another excellent tight-lipped portrait of a growing gallery. Linda Darnell is beautiful and perfectly cast as the sultry and single-minded siren, while Miss Faye, whose lines often border on the banal, shoulders her first straight, dramatic burden, gracefully. Charles Bickford, as a dishonorably discharged cop, Anne Revere, as Miss Faye's spinster sister, and Percy Kilbride, as the lovesick proprietor of the diner in which Miss Darnell works, are outstanding among the supporting players. But for all of its acting wealth, Fallen Angel falls short of being a top flight whodunit."
Critic Tim Knight, at Reel.com, notes that if the viewers can forget the "headlong dive into preposterousness, it's still a lot of fun". His review adds, "... the movie does have much to recommend, from Joseph La Shelle's atmospheric, black-and-white cinematography to Preminger's taut direction to the juicy, hard-boiled dialogue. Veteran character actors Charles Bickford, John Carradine and Percy Kilbride (of Ma and Pa Kettle fame) lend strong support to the sizzling twosome of Andrews and Darnell, who would make only one more film together, when they were both past their prime: 1957's Zero Hour!, a forgotten grade-Z thriller."
Critic Fernando F. Croce wrote of the film, "Fallen Angel, the director's follow-up to his 1944 classic, is often predictably looked down as a lesser genre venture, yet its subtle analysis of shadowy tropes proves both a continuation and a deepening of Preminger's use of moral ambiguity as a tool of human insight...Preminger's refusal to draw easy conclusions—his pragmatic curiosity for people—is reflected in his remarkable visual fluidity, the surveying camera constantly moving, shifting dueling points-of-view in order to give them equal weight. Fallen Angel may not satisfy genre fans who like their noir with fewer gray zones, but the director's take on obsession remains no less fascinating for trading suspense for multilayered lucidity."
- Channel 4. Review, 2004. Last accessed: January 29, 2008
- Crowther, Bosley. The New York Times, film review, February 7, 1946. Last accessed: January 29, 2008.
- Knight, Tim. Reel.com. film/DVD review, 2007. Last accessed: December 29, 2007.
- Croce, Fernando F. Slant magazine, film review, 2006. Last accessed: January 29, 2008.
- Fallen Angel at the Internet Movie Database
- Fallen Angel at allmovie
- Fallen Angel at the TCM Movie Database
- Fallen Angel trailer at YouTube