THE POSTMAN ALWAYS RINGS TWICE
US, 1946, 113 minutes, Black and white.
Lana Turner, John Garfield, Cecil Kellaway, Hume Cronyn, Leon Ames, Audrey Totter, Alan Reed.
Directed by Tay Garnett.
The Postman Always Rings Twice is one of several versions of James M. Cain celebrated novel. Filmed in France in the '30s-it was adapted to Italy during World War Two by Lucchino Visconti. There was a 1980s remake by Bob Rafaelson with Jack Nicholson and Jessica Lange in the central roles.
This 1946 version has become something of a classic, trying to portray sexual liaisons, murderous intent and fate and double-dealings - all within the limitations of the Hayes Office. On the whole, the writers and director Tay Garnett have been able to offer the material and the attitudes by way of suggestion. John Garfield is well cast as the drifter with itchy feet who becomes infatuated and who is prepared to kill. Lana Turner gives one of her best performances as the seductive Cora. Cecil Kellaway is excellent as her husband, a mixture of his frequent jollity with the meanness and ambition of an older man who has the possibility of life's fulfilment in his work and with his wife. The minor characters are less well sketched in: Leon Ames is patronising as the District Attorney but Hume Cronyn is effectively sinister as the Defence lawyer.
The film has fine black and white photography, relies on suggestion for the atmosphere of the characters and plot, but has an intrusively emotional musical score.
The film compares well with its franker '80s remake.
1. The status of the film? The various film versions?
2. The work of James M. Cain, the popularity of his books, the many film versions? His study of sexual relationships, crime, motivations, justice and fate, ironies and poetic justice? The film as a piece of Caine Americana?
3. The quality of the adaptation according to '40s standards of morality and taste? The problems in the motivation of the characters? In the justice of the ending? The film's reliance on suggestion, light and darkness, costumes and decor (especially Lana Turner's appearing in pure white costumes except for the end), compositions, moods? The atmospheric musical score - and times intrusive?
4. Frank - his voice-over and the irony that he was making his confession to the priest at the end? The value of the narrative for comment and analysis? Motivation?
5. The portrait of Frank: the wanderer, the lift from the District Attorney, the prospect of the short-time job, Nick, his fuss, Cora and her provocativeness? His taking the job, working, Cora's moods, dress and undress? Her humiliating him? with his work and Nick approving of him? After hours, the time to eat, the drink, Nick's guitar-playing, urging the two to dance, their going for the swim? The remark about Nick's death? Frank's power over Nick - persuading him to get the neon sign? Cora and Frank's infatuation, the decision to leave, walking along the road, the decision to return, getting the bus, Nick's criticism that Frank was wanting to rob him? The development of the plan and its detail for Nick's death? The irony of the ladder, the policeman arriving and seeing the cat? The cat short-circuiting the electricity? The change of plan, calling the doctor, the hospital presence and the D.A's being there? The return to Twin Oaks? Frank and Cora and the happy week? Lyrical? His decision to leave? his being away, wanting to see Cora again, hanging around the market? The encounters with the D.A.? The continued drinking of Nick, the news about Canada and Cora's reaction? The set-up, the policeman and the D.A. as witnesses to their drinking? The execution of the plot, the car going over the cliff but enough, Frank pushing it over but falling? The rescue? His being in jail, hospital? The D.A. persuading him to sign the document against Cora? The Defence lawyer and his set-up for confronting Cora? Her confession and Frank's helplessness? The deals, her going free? Frank in bondage to Cora? Her improving the place, his work? Kennedy's arrival and the blackmail about the signed confession? His accomplice? Frank bashing Kennedy? Cora's having to visit her mother, Frank's determination to get rid of Cora's impact, picking up the girl and going to Mexico, leaving the tie and Cora's later reaction? Cora's return, her anger, marrying him - and the formality of the arrangement? Cora's decision to leave, the reconciliation, the swim and the possibility of drowning? The happy reconciliation and the irony of her death? Frank's imprisonment, his about to be executed? The discovery of the note - evidence against Frank but proof that he was not being executed for Cora's death? John Garfield's portrait as persuasive and insightful?
6. Lana Turner as Cora: her first glamorous appearance, blonde, her white clothes? Provocative? The story of her life, men chasing her, Nick's offer of marriage? No love resulting? A passionate woman? her moods? Humiliating Nick? The heat, the dancing, the swim? The decision to leave, her putting the note in the till? Walking along the road, her realisation that it was futile, the return? The plan for Nick's death, her determination, coolness? The preliminaries, her hitting Nick? The change of plan, the devoted wife and the hospital bed? The happy week with Nick? Her anger at his leaving, her ignoring him-on his return? Her dismay at Nick's Canada plan? Her agreement that Nick should die? The arrest, the guilty plea in court, her anger at her lawyer, the confession - and the irony of its being for her defence lawyer? The trial, the plea, her being allowed to go free? The District Attorney's suspicions? The return, the money, her improving Twin Oaks? her making Frank work? The visit of Kennedy and the danger about the blackmail? Her visit to her mother, her changing of her clothes to black? The return and her jealousy about Frank's girlfriend? The possibility of suicide? Going for the swim, her suggesting they swim as far as possible, their return, the possibility of a future? The irony of her accidental death, the note in the till and her making Frank guilty?
7. Cecil Kellaway's performance as Nick: jolly, mean, working hard, his pride in Twin Oaks, playing music, drinking, pushing Cora and Frank together, the neon light, the laundry? The accusation against Frank of stealing? The attack in the bath, his recovering? The Canada plan and his bringing his own death on himself?
8. The District Attorney - his giving Frank a lift, calling him laddie, offer of help, suspicions, turning up, following? The pressure on Frank to sign the document? The rivalry with Keats, deals and bets? The course of justice? Keats and his smooth style, control, the variance of pleas, Cora's confession? The smart manoeuvres in court and his winning? Preferring the D.A.'s cheque to Cora's $10,000?
9. Kennedy, the private eye, the clash with Keats, the blackmail plan, his friend, being beaten by Frank?
10. The girl drifter and her throwing in her lot with Frank?
11. The film as a variation on the American dream? The bleakness of the outcome? Opportunities, drifters, motivation, passion, crime, fate and justice?
