Women in general commit less violent crime than men, but many male criminals have key women in their lives, whether mothers, siblings, or wives/lovers. How do these women factor into the men’s criminal careers, and how much do they know and are complicit in the completion of those illegal acts, may they be petty theft, or violent acts even involving murder? Two fantastic films that have used central female characters who are involved in these circumstances, whether by design or happenstance, are the 2020 release I’m Your Woman, and the 1992 film, One False Move. 

When we are introduced to Jean (Rachel Brosnahan, in a very different role from her Mrs. Maisel character) in I’m Your Woman, she is leading an isolated existence in a large modernistic house (the height of 70’s-style clothing and décor – think large sunglasses and feather negligees). Her husband pops in one day to hand her an infant that he says is now hers. Despite initial hesitation at this strange proposition, we realize that she has learned not to question where the money and gifts come from, and just float through life accordingly.

Until one day when one of her husband’s associates barges in to order her to leave and run, for unknown reasons. Suddenly she is forced to take more responsibility for her life (even though she has an assigned protector in Arinzé Kene, who drives her around, provides food, and warns her to not speak to anyone) and her child. When Cal’s (Kene) extended family (including a sparkling performance by Marsha Stephanie Blake) show up at her hideout, she begins to find out more about her husband and her circumstances and relationships, as well as begin to take charge of her situation. Despite many scenes of tension and violence, what makes this film stand out are the small, quiet, introspective moments. Suspenseful, well-acted, and unexpected, director Julia Hart leads us on a wild ride……

One False Move, is somewhat of a precursor to this film, as it also focusses on issues such as race, family, growing up in small communities, and women in crime. Cynda Williams’ Fantasia is much more involved in setting up the drug heist that her boyfriend (Billy Bob Thornton, who also co-wrote the layered screenplay), and brilliant but twisted, Pluto (Michael Beach) primarily pull off. She is by turns horrified and numb, in her drugged state, to the extreme violence that they carry out. 

Their drug-addled and brutal existence is contrasted with the easygoing, yet hyper-talkative, wholesome nature of Bill Paxton’s Arkansas small town police chief. The Los Angeles detectives who travel there to await the killers are amused by his naivete, and such daily calls as scolding and cajoling a drunken, axe-wielding husband. His enthusiasm for being able to help with this more serious apprehension is downplayed by the roughhewn veterans, but his involvement becomes more complicated when past relationships are revealed. Carl Franklin directs with an assured hand, and followed it up in 1995 with another excellent neo-noir, the Walter Mosely adaptation, Devil in a Blue Dress.

Julia Devine

January 9, 2021

After viewing the film American Animals, back in 2018, I was fascinated with the rare book stealing premise, and wondered if there had been other films based on book heists (as opposed to art or jewelry thefts, which are much more prevalent). The only films that seemed to fit that bill were an MGM series from 1938-39 about Joel and Garda Sloane, a book dealing couple who stumble into a sideline of helping insurance companies retrieve their clients’ absconded tomes. The romantic/comedy/mystery premise, that is more than a nod to Warner Bros. Thin Man series, with the charismatic Nick (Wiliam Powell) and Nora (Myrna Loy) Charles, this series is lacking both the cute pet (Asta), and even a consistent starring team. The differences, both in style and substance between this series and American Animals, are a wide gulf

As is typical of films with sequels, the first in order, Fast Company (1938), has both the best couple chemistry, and most memorable pacing. Melvyn Douglas is at his most charming, and he parries and jabs in believable repartee (“If I’m not back in 30 days, you can marry the iceman”) with wife Florence Rice. Peppered with prominent stock actors, such as Shepperd Strudwick, Louis Calhern, Douglass Dumbrille, and George Zucco, the standout (predictably) is the ever-enticing Dwight Frye as a book forger. As usual in our film viewings, where Edwin & I frequently stop to look up actors, etc., at one point Edwin became focused on the idea of couples sleeping in individual beds. I knew from visiting historic houses (such as Bogie & Bacall’s honeymoon room at Malabar Farm), that it was not just film convention, for the ever-present code police, but was actually in real-life practice. But the history of the twin bed is a quite interesting read, as abbreviated in this blog, Edwardian Prominade. 

Fast and Loose (1939) teased with the inspired coupling of Robert Montgomery and Rosalind Russell as the bookish pair, but completely fizzled in their interaction. She doesn’t seem involved with either crime solving or books, spending most of her time in her own bedroom of the sprawling mansion where the whodunnit hijinks take place. In the meantime, Montgomery prowls throughout the night, following and flirting with another slate of sidekicks such as Reginald Owen, Ralph Morgan (the wizard of books?), Alan Dinehart, Ian Wolfe, and Joan Marsh.

The series goes totally off the rails with Fast and Furious (1939, NOT to be confused with the 2000-era franchise). Yes, Franchot Tone and Ann Southern are not up to the star value of the others, but the playful bickering has turned into mean-spirited malice and lechery. There are NO books involved! Only a brief scene in their office to even suggest what they do for a living. The crime revolves around money fraud and a beauty pageant, not theft of gorgeous artifacts. Ruth Hussey and Allyn Joslyn are interesting distractions, but the oddest feature is a choreographed water sequence……but of course……it’s directed by Busby Berkeley!

Although I had initially found it quite intriguing, on second viewing I found American Animals even more complex and nuanced. As someone who has always hated dramatized scenes in documentaries, I would think that I would find the contrast of the fictionalized movie with the actual person interviews off-putting, but I think they are probably one of the best things about the film. How director Bart Layton (who also made The Imposter, another film based on a bizarre character crime) layers the characters’ individual perceptions and memories, and how they each perceive their own and each other’s motivations is mesmerizing. And I love that this is actually an anti-caper film. Everything that can go wrong does, none of them are sophisticated, stylish, or smart. Layton has also created a dazzling piece cinematically with striking visuals, and an eclectic soundtrack with music including Elvis, Swinging Blue Jeans, Can, Donovan, Leonard Cohen, and Rodriguez.

And what is the fascination of young men with birds?? As this film used the central first edition Audubon prints as a visual theme, it reminded me of a This American Life episode (The Feather Heist) that I had heard, about another young man’s bird obsession that led to a more tragic (for the historic artifacts) theft. Another fascinating psychological dive into the motivations for a seemingly “normal” person to do something extraordinarily horrific.

Julia Devine

August 24, 2020