The Dark Corner (1946) - Henry Hathaway

Well finally a Hathaway film that actually is a film noir. This story has all the right formulas, a somewhat shady private detective, an even shadier past, a murder, a cover up, and even a dame or two. This seems to follow in a general trend of Fox film noir of not having the female be an antagonist. Lucille Ball plays the secretary here, and is an anchor, support, and companion for our hero, not the reason for his misery. She seems to fall right in line with the "female as crutch" roles given out in many of this studios film noirs, most typically Where the Sidewalk Ends, but Gene Tierney was slightly more motivating in that.

The film is shrouded in darkness, and that is of course the biggest characteristic of noir. Joe MacDonald (a Fox regular for years) did the cinematography, and in many scenes, particularly in Brad's (Mark Stevens) office the look is absolutely perfect. MacDonald wound up with a trio of best cinematography nominations, but won none.

Mark Stevens may not be a name in the noir genre, but he does a damn good job here. His character recalls a little of the reckless violent screenwriter of Nicholas Ray's In a Lonely Place. Mark doesn't seem to be able to function without at least a little drink. Not sure how intentional his drinking is, but later in the film when he's asked for a drink he says "Never touch the stuff", we know that there was a dependency. In that scene Mark has finally figured things out, put two and two together, and can now make his move without being loaded on sauce.

Lucille Ball got the top billing, even though she is more of a support for Stevens, but well she was the "Queen of the B's" at this point. One of her few non-comedic roles, she still manages to get most of the few laughs, and there's a slight chuckle to be had watching her bat. She's charming here and is never too far behind her man, and as Stevens' Brad gives up at nearly every corner, Ball's Kathleen is quick with an idea, even if it's a bad one.

Aside from a few brilliantly constructed night time shots, there is hardly anything here of overwhelming value. This was film noir by the books, and it touches all plot points necessary. The plot works, although not in an overly compelling way. Clifton Webb plays a bit of a villian again, and his character is so obsessively smart that it makes him a downright awesome noir villian. You should have suspected it, after seeing his rather young wife (Cathi Downs). Hollywood's way of saying dating an older man is fine, just be careful. Ironic when Mari (Downs) blows off thinking that the man she's having an affair with is too young to be intimate with the old Constance Collier, an actress as old proportionately to her on screen husband.

The Dark Corner remains a damn good film noir. Not among the all time best, but certainly a text book case. And from what I've seen the pick of the litter regarding the somewhat lackluster filmography of Henry Hathaway.

Grade B+