The Glass Key (US, 1942)

True sado-masochism

Simplistic histories state The Maltese Falcon (1941) was the first film noir and so The Glass Key, also adapted from a Dashiel Hammett novel, counts as an early entry. Stranger on the Third Floor (1940) now tends to get the pioneering accolade though obviously the trends were lurking earlier as noir specialists Alain Silver and James Ursini’s new book, Film Noir Prototypes: Origins of the Movement, emphasises. The Glass Key doesn’t have an overtly noir look but then the celebrated The Big Sleep (1946) has zero (or near to zero) chiaroscuro lighting. There are a few scenes where shadows entrap characters but other traits of the genre are certainly present. There are also numerous low angle shots giving a quasi-expressionist feel to the mise en scene.

The plot’s convoluted and Veronica Lake seduces with a glance though she’s more femme than fatale. Apparently she was only 4 foot, 11 inches in height, so complimented Ladd who was only eight inches taller and they starred together in other films such as The Blue Dahlia (1946).

‘You’re looking at me kid’

The worldview is dark though political corruption is given a comic edge as if to say it is to be expected; America doesn’t seem very different now with the gerrymandering that went on in some southern states to suppress the black vote last November. The heavies are supremely psychotic and William Bendix is quite terrifying in the role as he almost cuddles Ladd’s Ed Beaumont as he anticipates the beating. Beaumont doesn’t seem too impartial to being battered either; there is sado-masochism in play. Beaumont’s escape from imprisonment is quite brilliantly done and the visceral violence in the film, though inherent in the genre, probably wasn’t matched until Kiss Me Deadly (1955). Bendix was in The Blue Dahlia too and I don’t think I’ve seen Brian Donlevy in a better role and he manages to convey honesty and corruption in one.

The director was Stuart Heisler and this is his best known film and although he does an excellent job it’s probable that cinematographer Theodor Sparkuhl was also a big influence on the film as he started his career in Germany and worked during the Expressionist period.

It’s slightly depressing that one of the reasons film noir remains compelling today is its nastiness. There’s little sugar coating that can make early Hollywood sickly. For example, All Quiet on the Western Front (1930) is a superbly shot World War I drama and grips until the protagonist’s mother starts gushing in a way that was conventional at the time. Little in noir is dated as women are often as much a narrative agent as men though there appearance is paramount; that’s true today. The failure of the law to bring evil convincingly to justice, and at the time the Production Code’s ‘law of compensating values’ insisted that bad be punished, is an entirely modern viewpoint. It’s true The Glass Key does have a soft ending but that’s not what lingers. Rather it’s the scene when Bendix is dishing out a fatal beating and Ladd’s Beaumont is looking on admiringly.

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