Payback is a Bitch

We’ve all heard the famous quote “Hell hath no fury like a woman scorned,” which came from the 1697 play The Mourning Bride by William Congreve, but what are the options for the discarded one? Shame the perpetrator in public? Internalize the rage? Become detached? Laugh it off? In Hollywood, the idea of the scorned woman bent on revenge is usually depicted more along the lines of Jessica Walter in Play Misty for Me (1971) and Glenn Close in Fatal Attraction (1987) but you really don’t have to wield a knife and go berserk to redeem your self-respect. Instead, you can be creative, unpredictable and non-threatening in appearance like Emily (Geraldine Chaplin), the protagonist of Alan Rudolph’s Remember My Name (1978).   Continue reading

Jacques Tourneur’s Pulp Fiction Pipe Dream

RKO may have been seen as low on the totem pole in the Hollywood hierarchy compared to MGM, Warner Bros. and other larger studios but their importance in film history is assured by a remarkable roster of talent that at one time included such directors as Orson Welles, Alfred Hitchcock and John Ford. One of RKO’s most famous contractees was Jacques Tourneur who secured his reputation in the forties with Cat People (1942), I Walked With a Zombie (1943), The Leopard Man (1943) and Out of the Past (1947).

Tourneur’s work in the early to mid-fifties might not have matched his glory years at RKO but he still managed to turn out occasional gems like the underrated Joel McCrea western, Stars in My Crown (1950), a late period noir (Nightfall, 1956) and a cult horror classic, Curse of the Demon (1958). Even the less distinguished films from his final years are worth a look and Timbuktu (1958) is a genuine curiosity, flaws and all.  Continue reading