DARK-GALLERIES

THE DARK GALLERIES

A MUSEUM GUIDE TO PAINTED PORTRAITS IN FILM NOIR, GOTHIC MELODRAMAS, AND GHOST STORIES OF THE 1940S AND 1950S STEVEN JACOBS & LISA COLPAERT

THE DARK GALLERIES

Painting the Woman in Guest in the House (John Brahm, 1944)

THE DARK

GALLERIES A MUSEUM GUIDE TO PAINTED PORTRAITS IN FILM NOIR, GOTHIC MELODRAMAS, AND GHOST STORIES OF THE 1940S AND 1950S STEVEN JACOBS & LISA COLPAERT

ARAMER

Entering dark art galleries in The Dark Corner (Henry Hathaway, 1946)

10 Preface 13

Part One

INTRODUCTION: ART AND ARTISTS IN THE AMERICAN CINEMA OF THE 1940S AND 1950S

15 The Power of Portraits 19 Noir and Gothic Portraits 27 Death, Poe, and Wilde 30 Photographs 32 Artists and Models 37 Bad Art, Modernism, and Anti-Modernism 40 Crimes and Clues 47 Mad Artists 52 Van Gogh and Abstract Expressionism 54 Artists and Actors at Work 57 Artists behind the Screen 64 Publicity Materials

69 Part Two

AN ILLUSTRATED SURVEY OF NOIR AND GOTHIC ART, ARTISTS, MUSEUMS, AND COLLECTORS

70 Artists 78 Museums and Art Galleries 82 Collectors, Critics, and Connoisseurs 86 Paintings Concealing Safes 89 Modern Art in the Homes of Criminals

93 Part Three

MUSEUM CATALOGUE OF PAINTED PORTRAITS

I 95 Gallery [i.1] [i.2] [i.3] [i.4] [i.5] [i.6] [i.∑] [i.8]

95 97 97 98 99 99 100 100

of Dying Portraits

Portrait of Dorian Gray (The Picture of Dorian Gray, Albert Lewin, 1945) First Self-Portrait of Mr. Slade (The Lodger, John Brahm, 1944) Second Self-Portrait of Mr. Slade (The Lodger, John Brahm, 1944) Portrait of Johnny McQueen (Odd Man Out, Carol Reed, 1947) Portrait of Anthony John (A Double Life, George Cukor, 1947) Portrait of Fanny Skeffing­ton (Mr. Skeffington, Vincent Sherman, 1944) Portrait of Norma Desmond (Sunset Boule­vard, Billy Wilder, 1950) Portrait of Jeffrey Ashton (The Lost Moment, Martin Gabel, 1947)

II 101 Gallery [ii.1] [ii.2] [ii.3] [ii.4] [ii.5] [ii.6] [ii.∑] [ii.8] [ii.9] [ii.10] [ii.11] [ii.12] [ii.13] [ii.14] [ii.15] [ii.16] [ii.1∑]

102 103 104 104 104 105 105 106 106 107 107 108 108 108 109 109

110 110 [ii.19] 110 [ii.18]

Portrait of Gino Monetti (House of Strangers, Joseph L. Mankiewicz, 1949) Portrait Amos Kyne (While the City Sleeps, Fritz Lang, 1956) Portrait of Gail Wynand (The Fountainhead, King Vidor, 1949) Portrait of General McLaidlaw (Suspicion, Alfred Hitchcock, 1941) Portrait of Ballin Mundson (Gilda, Charles Vidor, 1946) Portrait of Michael O’Callaghan (I See a Dark Stranger, Frank Launder, 1946) Portrait of Mr. Anthony as Saint Francis (Strangers on a Train, Alfred Hitchcock, 1951) Portrait of Detective Sergeant Homer Higgins (Scarlet Street, Fritz Lang, 1945) Portrait of Mr. Warren (The Spiral Staircase, Robert Siodmak, 1945) Portrait of Mr. Paradine (The Paradine Case, Alfred Hitchcock, 1947) Portrait of Mr. Chase (Mr. Ace, Edwin L. Marin, 1946) Portrait of Lord Rohan (The Man in Grey, Leslie Arliss, 1943) Portrait of Jonathan Wooley (I Married a Witch, René Clair, 1942) Portrait of Samuel Wooley (I Married a Witch, René Clair, 1942) Portrait of Adam Fury (Blanche Fury, Marc Allégret, 1948) Portrait of Sir Hugo Baskerville (The Hound of the Baskervilles, Terence Fisher, 1959) Portrait of Sir Robin Beladon (Three Strangers, Jean Negulesco, 1946) Portrait of John R. Buckley (The Verdict, Don Siegel, 1946) Caricature of John R. Buckley (The Verdict, Don Siegel, 1946)

III 111 Gallery [iii.1]

of Patriarchs

of Matriarchs and Female Ancestors

112 Portrait of Mrs. Henry Vale (Now, Voyager, Irving Rapper, 1942) [iii.2] 112 Portrait of Mrs. Castle­man and Her Son (The Damned Don’t Cry, Vincent Sherman, 1950) [iii.3] 113 Portrait of Mrs. Lagana (The Big Heat, Fritz Lang, 1953) [iii.4] 113 Portrait of Mrs. Timber­lake (In This Our Life, John Huston, 1942) [iii.5] 114 Portrait of Mrs. Sloper (The Heiress, William Wyler, 1949) [iii.6] 114 Portrait of Christine Calvin (Dark Waters, André De Toth, 1944) [iii.∑] 114 Portrait of Sophie Albertson (The House on Telegraph Hill, Robert Wise, 1951) [iii.8] 115 Portrait of Alice Alquist as Theodora (Gaslight, George Cukor, 1944) [iii.9] 116 Portrait of Lady Caroline de Winter (Rebecca, Alfred Hitchcock, 1940) [iii.10] 117 Portrait of Azeald Van Ryn (Dragonwyck, Joseph L. Mankiewicz, 1946) [iii.11] 118 Portrait of Lady Clarissa Rohan and Child (The Man in Grey, Leslie Arliss, 1943) [iii.12] 118 Portrait of Mrs. Cunningham (The Seventh Veil, Compton Bennett, 1945) [iii.13] 118 Portrait of Saint Cecilia (The Burglar, Paul Wendkos, 1957) [iii.14] 119 Portrait of Mrs. Courtland (Dishonored Lady, Robert Stevenson, 1947) [iii.15] 119 Portrait of Mrs. Lowry (Footsteps in the Fog, Arthur Lubin, 1955)

IV 120 Gallery

of Ghosts

[iv.1]

120 Portrait of Mary Meredith (The Uninvited, Lewis Allen, 1948) 121 Portrait of Jennie Appleton (Portrait of Jennie, William Dieterle, 1949) [iv.3] 122 Portrait of Pandora Reynolds (Pandora and the Flying Dutchman, Albert Lewin, 1951) [iv.4] 123 Miniature Portrait of a Young Woman (Pandora and the Flying Dutchman, Albert Lewin, 1951) [iv.5] 123 Portrait of Carlotta Valdes (Vertigo, Alfred Hitchcock, 1958) [iv.6] 126 Self-Portrait of Midge Wood as Carlotta Valdes (Vertigo, Alfred Hitchcock, 1958) [iv.∑] 127 Portrait of a Lady (Corridor of Mirrors, Terence Young, 1948) [iv.8] 127 Portrait of Captain Daniel Gregg (The Ghost and Mrs. Muir, Joseph L. Mankiewicz, 1947) [iv.9] 128 Portrait of Paul Faber (The Amazing Mr. X, Bernard Vorhaus, 1948) [iv.10] 128 Portrait of Mrs. Kessler (Invisible Ghost, Joseph H. Lewis, 1941) [iv.2]

v 130 Gallery of Fatal Portraits [v.1] [v.2] [v.3] [v.4] [v.5] [v.6] [v.∑] [v.8]

131 132 132 133 133 134 134

[v.9]

134 135

[v.10]

135

[v.11]

135 136 136 136 138 140 141 141 142 144 144 145

[v.12] [v.13] [v.14] [v.15] [v.16] [v.1∑] [v.18] [v.19] [v.20] [v.21] [v.22]

Portrait of Dolores Ybarra (The Falcon in Mexico, William Berke, 1944) Portrait of Theresa Randolph (Whirlpool, Otto Preminger, 1949) Miniature Portrait of Ann Lawrence (Man in the Attic, Hugo Fregonese, 1953) Portrait of Ann Lawrence (Man in the Attic, Hugo Fregonese, 1953) Portrait of Marcella Henderson (Phantom Lady, Robert Siodmak, 1944) Portrait of Sugar Torch (The Crimson Kimono, Samuel Fuller, 1959) Portrait of Madeleine Renard, aka The Madonna’s Secret (The Madonna’s Secret, William Thiele, 1946) Portrait of Madeleine Renard (The Madonna’s Secret, William Thiele, 1946) Portrait of Madeleine Renard with Flowers (The Madonna’s Secret, William Thiele, 1946) Portrait of a Woman, aka The Night Is Long (The Madonna’s Secret, William Thiele, 1946) Portrait of Helen North (The Madonna’s Secret, William Thiele, 1946) Portrait of Ella Randolph (The Madonna’s Secret, William Thiele, 1946) Portrait of Linda North (The Madonna’s Secret, William Thiele, 1946) Portrait of Laura Hunt (Laura, Otto Preminger, 1944) Portrait of Matilda Frazier (The Unsuspected, Michael Curtiz, 1947) Portrait of Katherine Bosworth (A Stolen Life, Curtis Bernhardt, 1946) Portrait of Rosemary Blake (Strangers in the Night, Anthony Mann, 1944) Portrait of an Unknown Woman (The Dark Corner, Henry Hathaway, 1946) Portrait of Alice Reed (The Woman in the Window, Fritz Lang, 1944) Portrait of Francesca Cunningham (The Seventh Veil, Compton Bennett, 1945) Portrait of Allida Bederaux (Experiment Perilous, Jacques Tourneur, 1944) Portrait of Phyllis Brunner (Murder by Proxy, aka Blackout, Terence Fisher, 1954)

[v.23]

146 146 [v.25] 146 [v.26] 147 [v.2∑] 147

Portrait of Mrs. Paradine (The Paradine Case, Alfred Hitchcock, 1947) Portrait of Vivien Warren (Dear Murderer, Arthur Crabtree, 1947) Portrait of Laurie Durant (Whiplash, Lewis Seiler, 1948) Portrait of Jenny Marsh (Shockproof, Douglas Sirk, 1949) Portrait of Marianne and Marguerite Patourel (Green Dolphin Street, Victor Saville, 1947) [v.28] 148 Portrait of Olivia Harwood (So Evil, My Love, Lewis Allen, 1948) [v.29] 148 Portrait of Helen Wright (Humoresque, Jean Negulesco, 1946) [v.24]

vi 149 Gallery of Modern Portraits [vi.1] [vi.2] [vi.3] [vi.4] [vi.5] [vi.6] [vi.∑] [vi.8] [vi.9]

149 150 151 152 153 153 153 154 155

[vi.10]

156 156 [vi.12] 157 [vi.13] 158 [vi.11]

[vi.14]

158 [vi.15] 159 [vi.16] 159 [vi.1∑] 160

Portrait of a Woman in a Garden (The Second Woman, James V. Kern, 1950) Portrait of Nancy Blair, aka Cassandra (The Locket, John Brahm, 1946) Portrait of Mrs. Bonner (The Locket, John Brahm, 1946) Portrait of Christabel Caine Carey (Born to Be Bad, Nicholas Ray, 1950) Portrait of Linda Hamilton (The Man in the Net, Michael Curtiz, 1959) Portrait of Evelyn Heath as Saint Cecilia (Guest in the House, John Brahm, 1944) Self-Portrait of Peggy Born (Body and Soul, Robert Rossen, 1947) Portrait of Katherine March (Scarlet Street, Fritz Lang, 1945) Portrait of the First Mrs. Carroll, aka The Angel of Death (The Two Mrs. Carrolls, Peter Godfrey, 1947) First Portrait of Sally Morton (The Two Mrs. Carrolls, Peter Godfrey, 1947) Second Portrait of Sally Morton (The Two Mrs Carrolls, Peter Godfrey, 1947) Portrait of an Unknown Woman (Bluebeard, Edgar G. Ulmer, 1944) Portrait of Jeannette Le Beau, aka The Maid of Orléans (Bluebeard, Edgar G. Ulmer, 1944) Portrait of Ada Elcott (Kind Lady, John Sturges, 1951) Portrait of Mary Herries (Kind Lady, John Sturges, 1951) Portrait of a Murderer (The Big Clock, John Farrow, 1948) Portrait of a Man and a Woman (The Big Clock, John Farrow, 1948)

162 Bibliography 166 Index 174 About the Authors

Preface Picture a museum in which the portrait of Carlotta Valdes, an important prop in Alfred Hitchcock’s Vertigo, hangs on a wall next to the painted portrait of the title character of Otto Preminger’s Laura and opposite the uncanny portraits of the desired or murdered women in Fritz Lang’s Scarlet Street, George Cukor’s Gaslight, and Nicholas Ray’s Born to Be Bad. In an adjacent gallery, the visitor of this imaginary museum can contemplate the portraits of patriarchs that feature in films such as House of Strangers, Suspicion, Gilda, and Strangers on a Train.

This is the exact concept of this book. The Dark Galleries presents itself as a conventional museum guide of this fictitious collection of painted portraits, which play an important part in the plot or the mise-en-scène of several American (and some British) noir crime thrillers, gothic melodramas, and ghost stories of the 1940s and 1950s. Apart from an extensive introductory essay, this museum guide comprises about a hundred entries on the artistic and cinematic aspects of these painted portraits. As in a real museum, these portraits are thematically grouped in separate picture galleries. The six galleries of this museum contain portraits of dying characters, patriarchs, matriarchs and female ancestors, ghosts, fatal women, and modern portraits respectively.

Taking the fictitious for real, this book tallies with some of my earlier publications such as The Wrong House: The Architecture of Alfred Hitchcock (010 Publishers, Rotterdam, 2007), which was conceived as an architectural monograph containing floor plan reconstructions of a series of domestic buildings that feature in Hitchcock films. Moreover, some elements of this book concept go back to the late 1990s when I enjoyed contributing to the originally Dutch version of the Encyclopedia of Fictional Artists edited by Koen Brams – an English translation was published by JRP|Ringier, Zürich in 2010. Brams’ fascinating collection of fictitious artists, who are characters in novels and plays, was one of the sources of inspiration for this museum guide of noir and gothic paintings, which is written in collaboration with Lisa Colpaert. For this, both Lisa and I owe Koen our deepest gratitude.

We also owe thanks to various other individuals and institutions.

This book is the result of a research project focusing on the cinematic representations of artworks at the School of Arts of University College Ghent, Belgium. We are grateful for the support of this institution, which made the publication of this volume possible. We also benefited greatly from the help offered by several film librarians and archivists.

We specifically would like to thank staff members of the Margaret Herrick Library of the Academy of Motion Pictures Arts and Sciences and at the Warner Brothers Archives at the University of Southern California, both in Los Angeles. In particular, our gratitude goes to

12

Barbara Hall and Jenny Romero at the Herrick Library and Sandra Joy Lee Aguilar and Jonathon Auxier at the Warners Archive. In ­addition, we would like to acknowledge the staff of the library at Cinematek Brussels.

Some paragraphs of this book were published earlier as an a­ rticle in Dutch in the May/June 2012 issue of the Belgian art journal De Witte Raaf. We would like to thank editor Dirk Pültau for giving us the opportunity to test out the format of a museum guide. Other parts were published as an article in a theme issue on art and film of the Canadian film studies journal Cineaction in the fall 2013. We thank editor Susan Morison for her valuable remarks. Some of the ideas of this book also developed at conference panels or seminars such as a session on imaginary artists at the Association of Art Historians Conference in Warwick in 2011 and at the 2011 Summer Film Seminar organized

by VDFC in Antwerp. Other parts were developed in the context of a master seminar at the School of Arts at University College Ghent, and at a research seminar at the Department of Art-, Music-, and Theater Studies of Ghent University. We like to thank chairs, co-presenters, audience members, colleagues, and students for their critical remarks.

We also owe gratitude to Ivo Blom, David Bordwell, Paul Busch­ mann, Nathalie Cools, Karel De Cock, Hilde D’haeyere, Stefan Franck, Elias Grootaers, Koenraad Jonckheere, Lynda Nead, Tom Paulus, Nicolas Provost, Joost Van der Auwera, and Petra Van der Jeught.

We also thank MER. Publishers, who were immediately in favor of the museum guide format used in this book. Special thanks go to Susan Felleman (University of South Carolina), who accepted to co-supervise the research project as well as research assistant Vito Adriaensens, who contributed to this project with numerous valuable remarks and editorial assistance.

Steven Jacobs August 2013

13

PART ONE

INTRODUCTION: ART AND ARTISTS IN THE AMERICAN CINEMA OF THE 1940S AND 1950S

Enchanted portrait in The Woman in the Window (Fritz Lang, 1944)

The Power of Portraits In Alfred Hitchcock’s Suspicion (1941), there is a famous scene in which a police inspector explicitly focuses his attention on a cubist painting in the hall of the house of the protagonists. The painting is Pablo Picasso’s still life Pitcher and Bowl of Fruit (1931) and the policeman’s f­ ascination with it is striking, because it is “useless” from the point of view of ­narrative advancement. What’s more, the still life even halts the action for a while. In his influential 1976 article “Narrative Space,” Stephen Heath used the scene to begin an argument about the inextricable links between screen space, narrative, and the spectator’s psychological identification in classical film style.1 In Suspicion, there seems to be no psychological connection between the character and the Picasso painting, which also evokes a spatial realm completely at odds with the classical perspective of the film camera. In addition, there seems to be no symbolical correlation between the painting and the characters or the situation – a kind of relation that is often evoked in film scenes showing paintings, particularly those containing religious imagery. Hitchcock himself, for instance, used this symbolical dimension of paintings in The Wrong Man (1956) and Psycho (1960). In The Wrong Man, a picture of Christ as the Sacred Heart becomes invested with a strong sense of psychic closeness when the protagonist prays to it at a significant moment in the story. In Psycho (1960), Norman Bates’ voyeuristic peephole is covered by a painting representing Susanna and the Elders, an apocryphal story that “reveals several themes elucidated in Psycho: voyeurism, wrongful accusation, corrupted innocence, power misused, secrets, lust, and death.”2 Similarly, in Kiss of Death (Henry Hathaway, 1947), a former gangster looks at a large painting depicting Little Children Coming to Jesus when he visits his children in an orphanage. In Cat People (Jacques Tourneur, 1942), the apartment of Irena (Simone Simon) is decorated with artworks representing cats, including a little statue of King John of Serbia on horseback, who is piercing cats with his sword.

These kinds of relationships between an artwork and one of the characters of the story are not established in Hitchcock’s Suspicion.

However, the taking notice of the Picasso still life must be seen in relation to another painting featured in the film that also draws the characters’ attention. This painting is the portrait of General McLaidlaw, the father of Lina McLaidlaw, the film’s female protagonist played by Joan Fontaine. In contrast to Picasso’s post-cubist still life, this painting is perfectly integrated into the narrative. The explanation for this 1 2

Stephen Heath, “Narrative Space,” Screen 17, 3 (1976), 68–112.

Erik S. Lunde and Douglas A. Noverr, “Saying It with Pictures: Alfred Hitchcock and Painterly Images in Psycho,” in Paul Loukides and Linda K. Fuller (eds.), Beyond the Stars: Studies in American Popular Film: Volume 3: The Material World in American Popular Film (Bowling Green, OH: Bowling Green State University Popular Press, 1993), 101.

17

self-portrait in a richly decorated golden frame in his office whereas kind-hearted George Bailey (James Stewart) honors his deceased father with a simple photograph on the wall.

This differentiation had become highly popular in the United States in the late nineteenth and early twentieth centuries,ve possibilities of This differentiation between pictorial and photographic portraits is striking particularly when we take into account that, from a perspective outside the diegesis, many painted portraits featured in these films were actually retouched photographs. The famous portrait in Laura, for instance, was an enlarged photograph that was lightly brushed with paint to give it the appearance of an oil painting.50 No doubt, this was also the case with many of the other “oils” in tawdry golden frames included in this gallery of noir and gothic portraits. Instead of being based on pictorial qualities, the hypnotic powers of these painted portraits of the characters depend on photographic techniques and skills (apart from the cinematic ones mentioned above). However, this hybrid combination of pictorial and photographic techniques was already an established convention in the history of portrait painting since the nineteenth century. With the advent of photography, particularly in the United States many run-of-the-mill portrait-painting studios changed over to using the camera or actually painted in oils on top of photographs.51 Moreover, when oil portraiture had surrendered its primary function of recording a likeness to the new technique of photography, it emphasized its ability to offer the unique attractions of the expressive possibilities of paint. In a style of painting that is often thought of as the “Munich School” manner, which had become highly popular in the United States in the late nineteenth and early twentieth centuries, images of striking realism were combined with exciting and dynamic brushwork.52 Artists and Models A painted portrait also implies that an artist has been involved. In most films, however, the (fictitious) artist is unknown and even irrelevant to the story, which focuses on the relation between the painted portrait and its owners or beholders. Nonetheless, noir crime thrillers and melodramas are inhabited by quite a collection of artist characters.

Films such as Bluebeard (Edgar G. Ulmer, 1944), Scarlet Street (Fritz Lang, 1945), The Two Mrs. Carrolls, Guest in the House (John Brahm, 1944), Portrait of Jennie (William Dieterle, 1948), Whiplash (Lewis Seiler, 1948), 50 William Hare, Early Film Noir: Greed, Lust, and Murder Hollywood Style (Jefferson, NC: McFarland, 2003), 114.

51 Robin Simon, The Portrait in Britain and America. With a Biographical Dictionary of Portrait Painters 1680–1914 (Boston: G.K. Hall & Co, 1987), 132.

52 Simon, The Portrait in Britain and America, 19 and 48–49.

34

Artist, model and collector in The Locket (John Brahm, 1946)

Art class in The Locket (John Brahm, 1946)

Looking for clues in I Wake Up Screaming (H. Bruce Humberstone, 1941)

Murder mystery clue in Invisible Ghost (Joseph H. Lewis, 1941)

Murder mystery clue in The Hound of The Baskervilles (Terence Fisher, 1959) Murder mystery clue in The Falcon in Mexico (William Berke, 1944)

Smuggled Bellini painting in Captain Carey U.S.A. (Mitchell Leisen, 1950)

Smuggled paintings in Captain Carey U.S.A. (Mitchell Leisen, 1950)

46

Detail referring to a murder in Kind Lady (John Sturges, 1951)

Art forgery in Crack-Up (Irving Reis, 1946)

Oriental statuette containing heroin in The Lineup (Don Siegel, 1958)

Pre-Columbian statue containing microďŹ lm in North by Northwest (Alfred Hitchcock, 1959)

Oriental statue covering a camera in The Big Sleep (Howard Hawks, 1946)

Idol of Kwan Yin in Three Strangers (Jean Negulesco, 1946)

47

PART TWO

AN ILLUSTRATED SURVEY OF NOIR AND GOTHIC ART, ARTISTS, MUSEUMS, AND COLLECTORS

ARTISTS

Gaston Morel (John Carradine) in Bluebeard (Edgar G. Ulmer, 1944)

Christoffer Cross (Edward G. Robinson) in Scarlet Street (Fritz Lang, 1945)

Geoffrey Carroll (Humphrey Bogart) in The Two Mrs. Carrolls (Peter Godfrey, 1947)

Douglas Proctor (Ralph Bellamy) in Guest in the House (John Brahm, 1944)

70

Eben Adams (Joseph Cotten) in Portrait of Jennie (William Dieterle, 1948)

Norman Clyde (Robert Mitchum) in The Locket (John Brahm, 1946)

Gabriel Broome (Mel Ferrer) in Born to Be Bad (Nicholas Ray, 1950)

Mark Bellis (Ray Milland) in So Evil, My Love (Lewis Allen, 1948)

Michael Gordon (Dane Clark) in Whiplash (Lewis Seiler, 1948)

Hendrik van der Zee (James Mason) in Pandora and the Flying Dutchman (Albert Lewin, 1951)

71

The Mob (Robert Parrish, 1951)

Nightmare Alley (Edmund Goulding, 1947)

Slightly Scarlet (Allan Dwan, 1956)

88

MODERN ART IN THE HOMES OF CRIMINALS

Edgar Degas in Illegal (Lewis Allen, 1955)

Edgar Degas in New York Confidential (Russell Rouse, 1955)

Paul Cézanne in New York Confidential (Russell Rouse, 1955) Vincent Van Gogh in Phantom Lady (Robert Siodmak, 1944)

89

PART THREE

MUSEUM CATALOGUE OF PAINTED PORTRAITS

The following pages make up a museum catalogue comprising entries on about a hundred painted portraits that feature in noir thrillers, gothic melodramas, and supernatural ghost stories of the 1940s and the 1950s. As is the case in every museum, the paintings are grouped in different rooms. This museum consists of six galleries. Some of them are dedicated to portraits of specific character types such as (I) dying characters, (II) patriarchs, (III) matriarchs and female ancestors, and (IV) ghost-like figures. The largest gallery (V) shows fatal portraits of desirable women. The last gallery (VI) hosts an exhi­bition of portraits painted in a modernist style. Self-evidently, as in all museums, the organization of the galleries is to a certain extent arbitrary; several works could be put on display in another room. However, in each of the introductions to the galleries, we explain our choices and make explicit some of the interrelations between the exhibits.

Each catalogue entry briefly situates the portrait in the film’s narrative. It gives information on the portrait’s history, its relation to its creators, owners, and beholders. In short, it tells the story of the portrait before it became part of this museum collection. In the more extensive entries, attention is also drawn to art-historical aspects as well as to the ways the paintings are visualized in the mises-en-scène. Some entries provide information on the production of the portrait, mentioning the “real” artist who painted the picture.

As in every common art gallery, this museum holds famous masterpieces as well as lesser-known or less interesting works. This is reflected in the varying size of the catalogue entries. Longer entries, such as those dealing with the portraits in Laura (Otto Preminger, 1944), Scarlet Street (Fritz Lang, 1945), or Vertigo (Alfred Hitchcock, 1958), for instance, deal with the highlights of this museum, which are usually paintings that can be considered as principal characters in the films in which they feature. In addition, over the years, these paintings have also attracted much critical and scholarly attention, often becoming important topics in film theory.

I. Gallery of Dying Portraits It is no coincidence that the era of film noir and gothic melodramas spawned a film version of Oscar Wilde’s famous novel The Picture of Dorian Gray. In 1945, Albert Lewin, a director with highbrow affectations, adapted the novel for the screen for MGM. From many perspectives, Wilde’s novel has become the model for the ways in which painted portraits feature in film. The story about a painting that ages instead of its sitter prefigures the endless variations on the portrait as a harbinger of death. Like the paintings discussed in the gallery of matriarchs, Dorian’s altered portrait can, moreover, be interpreted as a return of the repressed and as a token of a family history marked by bloodshed. The death of the portrait’s sitter is also an important theme in The Lodger (John Brahm, 1944), Odd Man Out (Carol Reed, 1947), and A Double Life (George Cukor, 1947). Reed’s 1947 effort features an artist eagerly trying to paint the soul of a dying man. A Double Life inverts the plot of The Picture of Dorian Gray back to a “normal” situation; hence the portrait remains unblemished while the sitter ages. When the protagonist (Ronald Colman) is faced with his portrait, he is not only confronted with his downfall but also with his mortality. This is also the case in Mr. Skeffington (Vincent Sherman, 1944) and Sunset Boulevard (Billy Wilder, 1950), in which portraits function as a memento of the lost beauty and youth of the female protagonists and as a shrine to their socialite identities.

if a strange power guided the artist’s hand, as if the painting had a mind of its own. Hallward was very secretive about the portrait when he had finished it. He did not have any ambition to exhibit it and was reluctant to show it to visitors. The artist also did not want Dorian to meet Lord Henry Wotton (George Sanders), who thought the portrait to be Hallward’s best work and who could not believe that anyone as handsome as the man portrayed existed. The portrait’s function, to freeze and frame the model’s youthful beauty, would soon be reversed by Dorian’s Faustian wish that the picture grow old so that he could always remain young and beautiful.

The portrait first started changing when Dorian broke up with his fiancée and started living solely for pleasure. One night, Dorian noticed that a touch of cruelty had materialized in the mouth of his painted face. From then onward, Dorian refused to have anyone look at his portrait, even when his close friend Basil Hallward eventually decided that he wanted to

[I.1]

Portrait of Dorian Gray (Basil Hallward, 1886) Basil Hallward (Lowell Gilmore) painted the full-length portrait of the youthful and handsome Dorian Gray (Hurd Hatfield) in his London studio in 1886. It depicts Dorian Gray in a well-tailored suit standing next to a table that displays a black Egyptian statuette of a cat.

When Dorian posed for Hallward, it seemed as

95

exhibit the painting after all. He also moved the life-size portrait from the central room of his luxurious mansion, where it had stood among other objects of his extensive art collection, to his old study in the attic, which had been unused for years. Dorian would only show the dreadfully altered portrait to Basil Hallward decades later. The artist hardly recognized his painting and thought it to be beyond nature and reason. For fear of the artist revealing his secret, Dorian killed him in front of the hideous picture. After the murder, the hands in the portrait became marked with bloodstains. Later, in an effort to undo the spell, Dorian attempted to destroy the picture. As he planted his knife into the heart of the portrait, his own body in fact took the blow. Dorian took his own life trying to destroy the portrait. His stabbed body was found under the portrait, which had posthumously been restored to its original image of youth and beauty.

Lord Wotton first admires the picture of Dorian Gray in the artist’s studio, but the painting remains invisible to the spectator until the sitter himself is astonished by it. Through

a conventional shot/reverse shot of portrait and sitter, underscored by swelling music, the intimate relationship between Dorian and his painted counterpart is emphasized. Moreover, the shock that Dorian experiences when he first sees his perfect mirror image is transferred to the spectator by means of a color insert shot. A similar shot/reverse shot pattern is employed when Dorian sees the first traces of decay in the portrait. We are, then, witnesses to a second color insert shot in the scene in the attic where artist Basil Hallward lays eyes on his work of art that represents full-blown decay. The insertion of color once again comes as a shock to us, but this time out of horror rather than beauty. The portrait is thus cinematically animated twice by means of a color insert shot, but also through the moving shadow of the spinning lamp and Dorian’s silhouette as he kills Hallward, through the knife that rips the canvas and, finally, through a swirling fade when the decaying portrait is restored to its original form.

Dorian’s portrait dominates many key scenes. What’s more, whenever the portrait is absent, it is nevertheless present in the visualization of the Dorian Gray character, impersonated by Hurd Hatfield in an almost statuesque manner. As Felleman (1997: 51) has noted, Dorian is constantly framed by hallways, doors and mirrors. The protagonist is thus visually split; the “bodily Dorian becomes a static, unvarying visual simulacrum of a fantasy,” whereas “the portrait, although it is no more ‘real’ than the body, records visually the immaterial ‘substance’ of Dorian’s evil deeds” (1997: 50). Felleman (1997: 45) further refers to Dorian as an “object of desire (…) what a femme fatale is to the male protagonist in film noir: sexually alluring but enigmatic and potentially

96

treacherous.” Dorian’s ambiguous sexuality and enigmatic identity is indeed reminiscent of the film noir femme fatale, who is also often doubled by a painted portrait. Like most fatal portraits in this museum, Dorian’s portrait functions as a double both symbolically and cinematically.

Dorian’s narcissism is, like the femme fatale’s, further emphasized by the fact that he is often doubled by a mirror as well. Being an uncanny double, the portrait evokes an uncertainty about who is alive and who is dead, the portrait or its sitter. Although some fatal portraits clearly codify the actual death of their sitters (Phantom Lady, Whirlpool, The Crimson Kimono), others leave more room for doubt. The portrait consequently poses a threat to the portrayed (Laura, The Unsuspected, A Double Life). Dorian Gray’s portrait seems to be an inversion of the fatal portrait theme: it is not the life of its sitter that is threatened, but that of the portrait. Like many noir portraits, however, Dorian’s picture

is ultimately visualized next to the dead body of its sitter.

Lewin’s adaptation of The Picture of Dorian Gray is one of the few films that featured a painting in which the artists were credited. The portrait of the young Dorian Gray was made by academic portraitist, Henrique Medina, a Portuguese painter who lived in Hollywood for a few years, where he painted actresses’ portraits. According to IMDb, years after the film was released, a friend of Hurd Hatfield’s supposedly bought the portrait of the young Dorian and gave it to the actor. As Variety mentioned in its 02/26/1945 issue, American magic realist Ivan Le Lorraine Albright painted the portrait of Dorian Gray in its final stages of disintegration. His grotesque and exaggerated depictions of decay and corruption made Albright very well suited to do this painting, which currently resides in the Art Institute of Chicago.

The Picture of Dorian Gray (Albert Lewin, MGM, 1945, painted by Henrique Medina and Ivan Le Lorraine Albright)

[I.2]

First Self-Portrait of Mr. Slade (Slade, late 19th Century) [I.3] Second Self-Portrait of Mr. Slade (Slade, late 19th Century) Mr. Slade painted two miniature self-portraits that became important clues in the Jack the Ripper murder mystery. The first portrait of the deceased painter was in the possession of his brother (Laird Cregar), who deeply admired his work. “The life in those eyes! They are fine and clear. There is a sensibility about his lips.

You are looking at the work of a genius. It is as real as though he were alive. I can almost hear his voice again when I look at this.” The second, almost identical, self-portrait was painted

97

Sophie Patourel (Gladys Cooper), finds out that her lost love, Dr. Edmond Ozanne (Frank Morgan), William’s father, has returned; and a second time after Marianne and William return

from New Zealand, when Marianne finds out about William’s love for Marguerite.

Green Dolphin Street (Victor Saville, MGM, 1947)

had to rent a room from Olivia Harwood (Ann Todd), a virtuous missionary widow whom he had met on a boat returning from Jamaica.

Although Bellis considered himself a visionary artist, he painted the portrait of Olivia Harwood in a realist-bourgeois style. In the portrait, Harwood wears a bridal dress that she received from a girl in Jamaica who hoped it would make her joyful. She wore this dress the first time she posed for Bellis. Even though Olivia was hurt when she first saw her painted portrait, she recognized that this was the way she once thought she’d grow up to be. “You wouldn’t know me when I was at school. I was the leader of everything. I danced the best; I even looked the best. Why did you have to bring it all back to me? Everything that I wanted to be. Everything.

Time lost.” An issue of Variety (02/27/1947) reveals that artist Richard Kitchin, who also did the portrait for The Uninvited [IV.1], painted the portrait of Olivia Harwood.

[V.28] Portrait of Olivia Harwood

(Mark Bellis, c. 1890) Artist and rogue Mark Bellis (Ray Milland) was once described as “a fascinating character [who] seems to have committed every crime in the calendar: forgery, larceny, murder, burglary, theft.

We’ll exclude painting, though I gather this is outrageous enough to be considered a crime by the critics.” Due to financial issues, Bellis

So Evil, My Love (Lewis Allen, Paramount British Pictures, 1948, painted by Richard Kitchin)

[V.29] Portrait of Helen Wright

(Unknown Artist, c. 1940) This portrait adorned the luxurious Long Island beach house of Helen Wright (Joan Crawford), who was a wealthy, neurotic socialite who tried to forget about her unhappy marriage with Victor Wright (Paul Cavanagh) by excessive alcohol consumption. A patroness of the arts, she was the benefactress of young violinist Paul Boray (John Garfield), which ultimately resulted in a successful concert career for Boray. Helen Wright and Paul Boray fell in love but when she realized that their affair might not only destroy Boray’s concert career, but their lives as well, she committed suicide.

Director Negulesco frames Crawford together with her portrait in the key scene in which her character decides to kill her self.

Humoresque (Jean Negulesco, Warner Brothers, 1946)

148

VI. Gallery of Modern Portraits Most noir portraits are painted in a bourgeois realist style and in many cases the portrait is unmistakably a retouched photograph. An important subgroup, however, consists of modernist portraits. Strikingly, when portraits are executed in a modernist style, the artists who made them are almost always important characters in the film. The women portrayed often enthrall or haunt these modern artists, in contrast to the portraits painted in conventional styles, which rather seem to enchant other male characters who observe instead of create the painting. Non-naturalist styles are thus invoked in order to emphasize the enchanting or haunting qualities of the portraits. In many cases, their enigmatic nature is further stressed by a non-illusionist but also emphatically anti-dynamic – i.e. uncinematic – style referring to modernist movements such as Symbolism, Surrealism, and Magical Realism. Female characters are presented as ­petrified figures, or fossilized icons, that emphasize the lackluster nature of portraits and thus break the narrative and optical dynamics of the film.

Several portraits painted in a modernist style can be interpreted as instruments that channel desire. The artists are enabled to transform the desired woman into a sexually passive image, not by possessing the portrait, but by creating it. Scarlet Street (Fritz Lang, 1945), The Two Mrs. Carrolls (Peter Godfrey, 1947), and Bluebeard (Edgar G. Ulmer, 1944) connect art to voyeurism, sexuality, and violence by featuring artists that reveal themselves as frustrated Pygmalions who desperately try to mold their beloved ones into an ideal. In the process, they sometimes lose the ability to distinguish the original from the copy. This often results in madness or murder; a plot structure that, on the one hand, can be related to a century-old tradition of artists’ legends associating the artistic process with madness and crime. On the other hand, it tallies with a populist anti-art discourse that marked 1940s Hollywood cinema, in which various forms of non-naturalistic art were considered to be the work of madmen (Waldman 1982).

[VI.1]

Portrait of a Woman in a Garden (Del Lopez, c. 1945) Painted by Mexican modernist Del Lopez, this watercolor shows the face of a woman with streaming hair among plant-like forms.

Intertwined with the arabesques of nature, the woman’s face is reminiscent of Symbolist portraits, but the pictorial style of the plants rather refers to Fauvism, particularly the work of Raoul Dufy. The portrait represents Vivian Sheppard (Shirley Ballard), the former fiancée of architect Jeffrey Cohalan (Robert Young).

She died in a car crash the night before their

149

Bibliography — Auiler, Dan. Hitchcock’s Notebooks: An Authorized and Illustrated Look Inside The Creative Mind of Alfred Hitchcock (New York: Harper Collins, 2001).

— Auiler, Dan. Vertigo: The Making of a Hitchcock Classic (New York: St. Martin’s Griffin, 2000).

— Aumont, Jacques. Du Visage au cinéma (Paris: Editions de l’étoile, 1992).

— Balazs, Béla. “The Face of Man,” in Theory of the Film: Character and Growth of a New Art (New York: Dover Publications, 1952), 52–88.

— Bazin, André. “Ontologie de l’image photographique” (1945), in Qu’est-ce que le cinéma? (Paris: Cerf-Corlet, 2007), 9–17.

— Beck, Robert (ed.). The Edward G. Robinson Encyclopedia (Jefferson, NC: McFarland, 2002).

— Behlmer, Rudy (ed.). Memo from Darryl F. Zanuck: The Golden Years at Twentieth Century-Fox (New York: Grove Press, 1993).

— Belting, Hans. Likeness and Presence: A History of the Image Before the Era of Art (Chicago: University of Chicago Press, 1994).

— Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction” (1936), in Illuminations (London: Fontana, 1973), 217–58.

— Bogdanovich, Peter and Otto Preminger. “The Making of Laura,” On Film I, 1 (1970), 48–52.

— Bradshaw, Maurice. “Salisbury, Francis Owen (1874–1962),” in Oxford Dictionary of National Biography (Oxford: Oxford University Press, on line edition 2004).

— Brams, Koen (ed.). Encyclopedia of Fictional Artists, 1605–Today (Zürich: JRP|Ringier, 2010).

— Cotten, Joseph. Vanity Will Get You Somewhere: An Autobiography (San Francisco: Mercury House, 1987).

— Démoris, René. “L’Héritage de la peinture: le portrait impossible,” Iris 14–15 (Autumn 1992), 11–23.

— Deschner, Donald. “Anton Grot: Warners Art Director 1927–1948,” The Velvet Light Trap 15 (Fall 1975), 18–22.

— Doane, Mary Ann. The Desire to Desire: The Woman’s Film in the 1940s (London: Macmillan, 1988).

— Dolar, Mladen. “A Father Who is Not Quite Dead,” in Slavoj Žižek (ed.), Everything You Always Wanted to Know About Lacan… But Were Afraid to Ask Hitchcock (London: Verso, 1992), 143–50.

— Durgnat, Raymond. “The Family Tree of the Film Noir,” in Alain Silver and James Ursini (eds.), Film Noir Reader (New York: Limelight Editions, 1996), 37–51.

— Dyer, Richard. “Postscript: Queers and Women in Film Noir,” in Ann Kaplan (ed.), Women in Film Noir (London: British Film Institute, 1998), 123–29.

— Elsaesser, Thomas. “Mirror, Muse Medusa: Experiment Perilous,” Iris 14–15 (Autumn 1992), 147–59.

— Elkins, James. Pictures and Tears: A History of People Who Have Cried in Front of Paintings (New York: Routledge, 2004).

— Epstein, Edward Z. A Portrait of Jennifer: A Biography of Jennifer Jones (New York: Simon & Schuster, 1995).

— Felleman, Susan. “The Moving Picture Gallery,” Iris 14–15 (Autumn 1992), 191–200.

— Felleman, Susan. Art in the Cinematic Imagination (Austin: University of Texas Press, 2006).

— Felleman, Susan. Botticelli in Hollywood: The Films of Albert Lewin (London: Prentice Hall International, 1997).

162

— Freedberg, David. The Power of Images: Studies in the History and Theory of Response (Chicago: University of Chicago Press, 1991).

— Freeland, Cynthia. Portraits and Persons (Oxford: Oxford University Press, 2010).

— Fried, Michael. Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Chicago: University of Chicago Press, 1980).

— Fujiwara, Chris. Jacques Tourneur: The Cinema of Nightfall (Jefferson, NC: McFarland, 1998).

— Fujiwara, Chris. The World and its Double: The Life and Work of Otto Preminger (New York: Faber and Faber, 2008).

— Grant, Barry Keith and Fritz Lang. Fritz Lang: Interviews (Jackson: University Press of Mississippi, 2003).

— Grissemann, Stefan. Mann im Schatten: Der Filmmacher Edgar G. Ulmer (Vienna: Paul Zsolnay Verlag, 2003).

— Gunning, Tom. “In and Out of the Frame: Paintings in Hitchcock,” in Will Schmenner and Corinne Granof (eds.), Casting a Shadow: Creating the Alfred Hitchcock Film (Evanston IL: Mary and Leigh Block Museum of Art, Northwestern University, 2007), 29–47.

— Gunning, Tom. The Films of Fritz Lang: Allegories of Vision and Modernity (London: BFI, 2000).

— Hanson, Helen. Hollywood Heroines: Women in Film Noir and the Female Gothic Film (London: I.B. Tauris, 2007).

— Hare, William. Early Film Noir: Greed, Lust, and Murder Hollywood Style (Jefferson, NC: McFarland, 2003).

— Heath, Stephen. “Narrative Space,” Screen 17:3 (Autumn 1976), 68–112.

— Heisner, Beverly. Hollywood Art: Art Direction in the Days of the Great Studios (Jefferson, NC: McFarland, 1990).

— Henning, Robert Jr. and Marc Wanamaker. Destined for Hollywood: The Art of Dan Sayre Groesbeck (Santa Barbara: Santa Barbara Museum of Art, 2001).

— Herzogenrath, Bernd. “Ulmer and Cult/ure,” in Bernd Herzogenrath (ed.), Edgar G. Ulmer: Essays on the King of the B’s (Jefferson, NC: McFarland, 2009), 23–38.

— Hirsch, Foster. Film Noir: The Dark Side of the Screen (New York: Da Capo Press, 1981).

— Hirsch, Foster. Otto Preminger: The Man Who Would Be King (New York: Alfred A. Knopf, 2005).

— Hoban, Phoebe. Alice Neel: The Art of Not Sitting Pretty (New York: Sint Martin’s Press, 2010).

— Jacobs, Steven. “Sightseeing Fright: Alfred Hitchcock’s Monuments and Museums,” Journal of Architecture 11:5 (2006), 595–602.

— Jacobs, Steven. “Strange Exhibitions: Museums and Art Galleries in Film,” in Andre Jansson and Amanda Lagerkvist (eds.), Strange Spaces: Explorations into Mediated Obscurity (Farnham: Ashgate Publishing, 2009), 297–315.

— Jacobs, Steven. Framing Pictures: Film and the Visual Arts (Edinburgh: Edinburgh University Press, 2011).

— Jacobs, Steven. The Wrong House: The Architecture of Alfred Hitchcock (Rotterdam: 010 Publishers, 2007).

— Jenkins, Stephen. Fritz Lang: The Image and the Look (London: BFI Publishers, 1981).

— Jordan, Stephen. Bohemian Rogue: The Life of Hollywood Artist John Decker (Lanham, MD: The Scarecrow Press, 2005).

— Kellow, Brian. The Bennetts: An Acting Family (Lexington: The University Press of Kentucky, 2004).

— Kris, Ernst and Otto Kurz. Legend, Myth and Magic in the Image of the Artist: A Historical Experiment (New Haven: Yale University Press, 1979).

— Krutnik, Frank. In a Lonely Street: Film Noir, Genre, Masculinity (London: Routledge, 1991).

163

— Lower, Cheryl Bray and R. Barton Palmer. Joseph L. Mankiewicz: Critical Essays with an Annotated Bibliography and a Filmography (Jefferson, NC: McFarland, 2001).

— Lunde, Erik S. and Douglas A. Noverr. “Saying It with Pictures: Alfred Hitchcock and Painterly Images in Psycho,” in Paul Loukides and Linda K. Fuller (eds.), Beyond the Stars: Studies in American Popular Film: Volume 3: The Material World in American Popular Film (Bowling Green, OH: Bowling Green State University Popular Press, 1993), 97–105.

— Martin, Angela. “Gilda Didn’t Do Any of Those Things You’ve Been Losing Sleep Over!: The Central Woman of 40s Films Noirs,” in E. Ann Kaplan (ed.), Women in Film Noir (London: British Film Institute, 1998), 202–28.

— McGilligan, Patrick. Fritz Lang: The Nature of the Beast (New York: St Martin’s Press, 1997).

— McMullan, Jim and Dick Gautier. Actors as Artists (Boston: Charles E. Tuttle Company, 1992).

— Menegaldo, Gilles, Jacques Lourcelles, Nicolas Schmidt, Frank Lafond and Collectif.

“Jacques Tourneur: une esthétique du trouble,” CinémAction 120 (2006).

— Minturn, Kent. “Peinture Noire: Abstract Expressionism and Film Noir,” in Alain Silver & James Ursini (eds.), Film Noir Reader 2 (New York: Limelight Editions, 2003), 271–309.

— Mitchell, William J.T. What Do Pictures Want? The Lives and Loves of Images (Chicago: The University of Chicago Press, 2005).

— Modleski, Tania. The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York: Methuen, 1988).

— Muir, Florabel. “Just for Variety,” Variety (11/24/1947).

— Mulvey, Laura. “Visual Pleasure and Narrative Cinema,” in Sue Thornham (ed.), Feminist Film Theory: A Reader (Edinburgh: Edinburgh University Press, 1999), 58–69.

— Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image (London: Reaktion Books, 2006).

— Païni, Dominique. “A Detour for the Gaze,” Iris 14–15 (Autumn 1992), 5–6.

— Palmer, R. Barton. Hollywood’s Dark Cinema: The American Film Noir (New York: Twayne Publishers, 1994).

— Peucker, Brigitte. “The Cut of Representation: Painting and Sculpture in Hitchcock,” in Richard Allen and Sam Ishii-Gonzalès (eds.), Alfred Hitchcock: Centenary Essays (London: British Film Institute, 1999), 141–58.

— Peucker, Brigitte. The Material Image: Art and the Real in Film (Stanford, CA: Stanford University Press, 2007).

— Place, Janey. “Women in Film Noir,” in E. Ann Kaplan (ed.), Women in Film Noir (London: British Film Institute, 1998), 47–68.

— Place, Janey & Lowell Peterson. “Some Visual Motifs of Film Noir” (1974), in Alain Silver & James Ursini (eds.), Film Noir Reader (New York: Limelight Editions, 1996), 65–76.

— Polan, Dana. Power and Paranoia: History, Narrative, and the American Cinema, 1940–1950 (New York: Columbia University Press, 1986).

— Pollock, Griselda. “Artists Mythologies and Media Genius: Madness and Art History,” Screen XXI, 3 (1980), 57–96.

— Preminger, Otto. An Autobiography (New York: Doubleday, 1977).

— Ryley, Robert M. (ed.). Kenneth Fearing: Complete Poems (Orono, MN: National Poetry Foundation, 1994).

— Schleier, Merrill. Skyscraper Cinema: Architecture and Gender in American Film (Minneapolis: University of Minnesota Press, 2009).

— Schrader, Paul. “Notes on Film Noir” (1971), in Alain Silver & James Ursini (eds.), Film Noir Reader (New York: Limelight Editions, 1996), 53–64.

164

— Schultheiss, John. “The Noir Artist,” Films in Review 40, 1 (January 1989), 33–35.

— Simmel, Georg. Rembrandt: Ein Kunstphilosophischer Versuch (Leipzig: Wolff, 1917).

— Simon, Robin. The Portrait in Britain and America. With a Biographical Dictionary of Portrait Painters 1680–1914 (Boston: G.K. Hall & Co, 1987).

— Soussloff, Catherine M. The Absolute Artist: The Historiography of a Concept (Minneapolis: The University of Minnesota Press, 1997).

— Stewart, Garrett. Between Film and Screen: Modernism’s Photo-Synthesis (Chicago: University of Chicago Press, 1999).

— Sykora, Katharina. As You Desire Me: Das Bildnis in Film (Köln: Verlag der Buchhandlung Walther König, 2003).

— Tierney, Gene (with Mickey Herskowitz), Self-Portrait (New York: Wyden Books, 1979).

— Telotte, J.P. “Self-Portrait: Painting and the Film Noir,” Smithsonian Studies in American Art 3, 1 (Spring 1989), 3–18.

— Telotte, J.P. Voices in the Dark: The Narrative Patterns of Film Noir (Champaign, IL: University of Illinois Press, 1989).

— Toles, George. “The Gift of Amnesia in John Brahm’s The Locket,” Film International 7, 6 (December 2009), 32–55.

— Vernet, Marc. “Irrepressible Gaze,” Iris 14–15 (Autumn 1992), 9–10.

— Verschaffel, Bart. “Over dodenmaskers,” in Figuren/Essays (Ghent: aa50/Leuven: Van Halewyck/ Amsterdam: De Balie, 1995), 36–64.

— Vogel, Michelle. Gene Tierney: A Biography (Jefferson, NC: McFarland, 2005).

— Wager, Jans. Dangerous Dames: Women and Representation in the Weimar Street Film and Film Noir (Athens: OH University Press, 1999).

— Waldman, Diane. “The Childish, the Insane, and the Ugly: The Representation of Modern Art in Popular Film and Fiction in the Forties,” Wide Angle 5, 2 (1982), 52–65.

— Walker, Michael. Hitchcock’s Motifs (Amsterdam: Amsterdam University Press, 2005).

— West, Shearer. Portraiture (New York: Oxford University Press, 2004).

— Williams, Tony. “Phantom Lady, Cornell Woolrich and the Masochist Aesthetic,” in Alain Silver and James Ursini (eds.), Film Noir Reader (New York: Limelight Editions, 1996), 129–144.

— Wittkower, Rudolf and Margot Wittkower. Born Under Saturn. The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution (New York: W.W. Norton & Company, 1963).

— Woodall, Joanna (ed.). Portraiture: Facing the Subject (Manchester: Manchester University Press, 1997).

— Ziolkowski, Theodore. Disenchanted Images: A Literary Iconology (Princeton, NJ: Princeton University Press, 1977).

165

Index Affairs of Cellini, The 37 Agony and the Ecstasy, The 37 Aherne, Brian 151 Albright, Ivan Le Lorraine 59, 97 Aldrich, Robert 42, 50, 51, 52, 79, 90, 91 Allégret, Marc 102, 109 Allen, Lewis 41, 64, 71, 79, 89, 120, 121, 148 Alton, John 128 Amazing Mr. X, The 25, 26, 120, 128 Anderson, Judith 116 Andrews, Dana 103, 132, 137 Arden, Eve 39, 40 Arliss, Leslie 76, 102, 108, 118 Arp, Jean 159 Ashley, Edward 135 Asphalt Jungle, The 40, 41, 90 Audubon, James 64, 146 Auiler, Dan 125 Aumont, Jacques 24 Avery, Milton 91 Bacall, Lauren 35, 75 Bachelor and the Bobby-Soxer, The 37, 75 Backfire 25 Badel, Alan 51, 77 Bainter, Fay 114 Balázs, Béla 24 Ballard, Shirley 149 Balzac, Hononé 28 Baragrey, John 147 Bari, Lynn 128 Barker, Jess 82, 154 Barlach, Ernst 47 Barrett, Edith 141 Barrymore, Ethel 84, 85, 106, 158, 159 Barrymore, John 61 Barrymore, Lionel 31 Basehart, Richard 114 Bauer, Evgenii 19 Baxter, Anne 153 Bazin, André 27 Beavers, Mary 117 Bel Geddes, Barbara 126 Bellamy, Ralph 55, 70, 153 Bellan, Ferdinand 60, 123 Bellini, Jacopo 44, 46 Bellows, George 56, 138, 140 Belting, Hans 17, 38 Benda, Helena 115 Benjamin, Walter 18

Bennett, Compton 36, 73, 118, 144 Bennett, Joan 35, 60, 142, 143, 154, 155 Bergman, Ingrid 115 Berke, William 44, 46, 74, 81, 131 Bernhardt, Curtis 34, 72, 79, 85, 140 Bey, Turhan 128 Bickford, Charles 35, 75 Big Clock, The 34, 39, 47, 48, 72, 81, 84 159–60 Big Combo, The 42, 85 Big Heat, The 91, 111, 113, 155 Big Knife, The 50, 51, 58, 91 Big Sleep, The 45, 46 Birds, The 104, 116, 126 Birley, Sir Oswald 102 Black Widow 76 Blackmail 126 Blackout, aka Murder by Proxy 75, 131, 145 Blair, Betsy 158 Blanche Fury 102, 109 Blue Gardenia, The 35, 76 Bluebeard 32, 36, 47, 49, 58, 67, 70, 83, 149, 157, 158 Blueprint for Murder 57, 58 Body and Soul 35, 74, 153 Bogart, Humphrey 29, 36, 49, 70, 155, 156 Born to Be Bad 34, 60, 62, 63, 66, 67, 71, 79, 152 Born to Kill 25 Boyer, Charles 115 Brackman, Robert 56–57, 63, 64, 121, 122 Brahm, John 2, 25, 26, 32, 33, 34, 70, 71, 78, 84, 95, 98, 151, 153 Brennan, Walter 34, 67 Brent, George 144 Brian, David 112 Broken Lance 101 Bronzino, Agnolo 57, 58 Brooks, Geraldine 76 Browning, Robert 28 Brute Force 31 Burglar, The 42, 86, 118–19 Burr, Raymond 76 Cahill, Arthur 102 Cahn, Edward L. 43, 87 Calhern, Louis 40 Callejo, Cecilia 131 Calvert, Phyllis 118 Campaux, François 54 Capra, Frank 31 Captain Carey U.S.A. 44, 46, 81, 83 Carlson, Richard 128

166

Carradine, John 36, 49, 70, 157 Carter, Ann 155 Casement, Sir Roger 105 Cat People 15, 16, 35, 77, 80 Caulfield, Joan 138 Cavanagh, Paul 148 Cézanne, Paul 41, 89 Chaplin, Charlie 61 Chase, Ilka 121 Chase, William 56 Chute de la maison Usher, La 19, 29, 49 Clair, René 50, 51, 102, 108 Clark, Dane 67, 71, 72, 140, 145, 146 Clift, Montgomery 114 Clouzot, Henri-Georges 54 Coburn, Charles 113 Colby, Anita 64, 127 Coleman, Herbert 124, 125 Colman, Ronald 95, 99, 121 Compson, Betty 128 Connolly, James 105 Conover, Lily 49 Conspirators, The 42, 43 Constant, Benjamin 115 Conte, Richard 102, 103 Conway, Tom 131 Cooper, Gary 104 Cooper, Gladys 112, 148 Cording, Harry 133 Corot, Jean-Baptiste-Camille 125 Corridor of Mirrors 28, 47, 49, 120, 127 Cortese, Valentina 114 Cortez, Ricardo 84, 150 Cotten, Joseph 55, 56, 71, 121, 122 Coulouris, George 110 Courbet, Gustave 125 Couture, Thomas 125 Crabtree, Arthur 146 Crack-Up 39, 42, 45, 79, 83 Craven, Frank 113 Crawford, Broderick 41 Crawford, Joan 77, 112, 148 Cregar, Laird 97 Crimson Kimono, The 34, 35, 54, 72, 97, 130, 134 Cromwell, John 43, 87 Crossfire 35 Cukor, George 21, 26, 95, 99, 111, 116 Cummings, Robert 100 Curtis, Alan 133 Curtis, Donald 128 Curtiz, Michael 21, 29, 51, 58, 73, 74, 85, 91, 120, 139, 140, 153

Daisy Kenyon 35, 77 Dali, Salvador 39 Damned Don’t Cry, The 111, 112 Dark Corner, The 4, 24, 26, 28, 30, 36, 41, 42, 56, 78, 82, 120, 130, 141 Dark Mirror, The 53 Dark Passage 35, 75 Dark Waters 112, 114 Darnell, Linda 64, 127 Dassin, Jules 30, 31, 76 Daves, Delmer 35, 75 Davis, Bette 34, 58, 64, 67, 72, 99, 112, 113, 140 Day, Laraine 150 Day, Robert 54 De Chirico, Giorgio 122, 123, 159 de Havilland, Olivia 113, 114 de Kooning, Willem 54 de Laviglière, Nicolas 124 De Toth, André 112, 114 Dead Reckoning 43, 87 Dear Murderer 131, 146 Decker, John 60–63, 85, 154, 155, 157 Degas, Edgar 41, 43, 58, 89 Dekker, Albert 41, 73, 144 Delvaux, Paul 122, 123, 150 DeMille, Cecil B. 67 Destination Murder 43, 87 Dexter, John 136 Dieterle, William 21, 32, 55, 57, 65, 71, 79, 81, 83, 85, 101, 120, 122 Dishonored Lady 35, 47, 48, 77, 119 Dmytryk, Edward 35, 50, 51, 101 Doane, Mary Ann 20, 48, 111, 151, 156 Double Life, A 95, 97, 99 Douglas, Kirk 52 Downs, Cathy 141 Dr. Jekyll and Mr. Hyde 81 Dragonwyck 26, 111, 112, 117 Drake, Betsy 150 Dreyer, Carl Theodor 19 Dufy, Raoul 149 Dulles, John Foster 64 Durgnat, Raymond 19 Duryea, Dan 119 Dwan, Allan 43, 88 Dyer, Richard 42 Dying Swan, The 19 El Greco 37 Elephant Walk 101 Elliott, Charles Loring 125 Elsaesser, Thomas 18, 144, 145

167

Epstein, Edward Z. 122 Epstein, Jean 19, 29, 49 Esmond, Carl 73, 144 Evans, Maurice 75, 159 Evanson, Edith 112 Experiment Perilous 18, 24, 30, 34, 35, 36, 67, 73, 78, 130, 131, 144–45 Fairbanks, Douglas 61 Falcon in Mexico, The 44, 46, 74, 81, 131 Falkenberg, Paul 54 Farrow, John 34, 47, 72, 81, 84, 160 Fearing, Kenneth 160 Felleman, Susan 20, 21, 26, 27, 29, 96, 116, 123, 156 Female Jungle 30, 35 Ferren, John 60, 63, 124, 126 Ferrer, José 132 Ferrer, Mel 62, 71, 152 Field, Mary 41 Fields, W.C. 61 Fisher, Terence 44, 46, 48, 49, 75, 102, 109, 145 5 Fingers 42, 87 Fitzgerald, Walter 109 Fleming, Victor 81 Flynn, Errol 61 Fontaine, Joan 15, 60, 104, 116, 152 Footsteps in the Fog 119 Ford, Glenn 105, 113, 140 Forsythe, John 55 Fountainhead, The 36, 101, 104 Freedberg, David 17, 38 Freeland, Cynthia 27 Fregonese, Hugo 24, 25, 80, 132, 133 Fried, Michael 17 Fuller, Samuel 34, 54, 72, 130, 134 Fuoco, Il 19 Gabel, Martin 100 Gable, Clark 61 Gad, Urban 19 Gainsborough, Thomas 116, 124, 138 Garbo, Greta 61 Gardner, Ava 59, 122, 123 Garfield, John 35, 148, 153 Gaslight 21, 26, 111, 115–16 Gauguin, Paul 41, 154, 155 Genthon, Joanne 126 Geray, Steven 150 Ghost and Mrs. Muir, The 21, 25, 26, 34, 64, 75, 120, 127–28 Giannini, A.P. 102

Gilda 42, 86, 101, 104–105 Gilmore, Lowell 74, 95 Goddard, Paulette 64, 127 Godfrey, Peter 26, 29, 70, 149, 155, 156, 157 Gogol, Nikolai 28 Gough, Michael 109 Goulding, Edmund 43, 88 Granger, Stewart 109, 118, 119 Grant, Cary 37, 75, 104 Greco, El 57, 98, 158, 159 Green Dolphin Street 147–48 Greenstreet, Sidney 110 Gregg, Virginia 74 Grey, Lynda 121 Grisseman, Stefan 157 Groesbeck, Dan Sayre 67 Grot, Anton 139, 140 Guest in the House 2, 32, 55, 70, 153 Gunning, Tom 106, 126, 142, 143 Gynt, Greta 146 Haesaerts, Paul 54 Hale, Jonathan 106 Hals, Frans 43 Hanson, Helen 20, 21, 29, 111, 115, 116 Harding, Chester 125 Hardwicke, Cedric 104 Harris, Robert A. 125 Harrison, Rex 127, 128 Hart, Richard 147 Hasso, Signe 99 Hatfield, Hurd 73, 95, 96, 97, 138, 140 Hathaway, Henry 15, 16, 26, 56, 78, 82, 120, 141 Hawks, Howard 45, 46 Haworth, Ted 59, 105, 106 Hawthorne, Nathaniel 28 Hayward, Susan 100 Hayworth, Rita 105 Healy, George Peter Alexander 125 Heath, Stephen 15 Heiress, The 112, 114 Helm, Fay 151 Helmore, Tom 124 Henreid, Paul 49 Henri Matisse 54 Henri, Robert 56 Herzogenrath, Bernd 157 Hesse, Paul 64, 127 Hicks, Thomas 125 Hirsch, Foster 23, 132 Hitchcock, Alfred 15, 16, 21, 35, 39, 41, 43, 45, 46, 59, 60, 64, 73, 80, 90, 91, 94, 101,

168

102, 104, 105, 106, 107, 111, 116, 117, 120, 124, 125, 126, 146 Hoban, Phoebe 160 Hobson, Valerie 109 Hoffmann, E.T.A. 28 Holbein, Hans 123 Holden, William 100 Hound of the Baskervilles, The 44, 46, 102, 109 House of Strangers 101, 102–103 House on Telegraph Hill, The 111, 114–15 Hoyt, Joseph 85 Humberstone, H. Bruce 30, 31, 44 Hume, Benita 121 Humoresque 148 Hussey, Ruth 121 Huston, John 37, 40, 41, 42, 46, 90, 113 I Married a Witch 50, 51, 102, 108 I See a Dark Stranger 80, 105 I Wake Up Screaming 30, 31, 43, 44 I Walked with a Zombie 46, 47 Illegal 41, 58, 89 In This Our Life 113 Ingres, Jean-Auguste-Dominique 125 Inman, Henry 125 Invisible Ghost 43, 44, 120, 128–29 Isle of the Dead 46, 47 It’s a Wonderful Life 31 Ivan, Rosalind 106, 110 Jack the Ripper 24, 26, 97, 132, 133 Jackson Pollock 54 Jenkins, Stephen 106 Johnson, Nunnally 76 Johnson, Rita 160 Jones, Carolyn 153 Jones, Jennifer 56, 65, 121, 122 Kahlo, Frida 154 Katz, James C. 125 Kaye, Danny 138 Kellaway, Cecil 83, 108, 121 Kellow, Brian 143 Kemper, Charles 106 Kern, James V. 26, 82, 83, 150 Kerr, Deborah 105 Kind Lady 34, 36, 45, 46, 57, 75, 84, 158–59 Kiss Me Deadly 42, 79, 90 Kiss of Death 15, 16 Kitchin, Richard 64, 121, 148 Klee, Paul 42, 90 Kline, Franz 54

Knight, Patricia 147 Kohlmar, Fred 128 Kokoschka, Oskar 156 Kollwitz, Käthe 47 Kosleck, Martin 64, 140 Koster, Henry 37 Kreuger, Kurt 141 Kris, Ernst 24, 37 Kröger, Friedrich 125 Krutnik, Frank 151 Kurz, Otto 24, 37 La Cava, Gregory 37 Ladd, Alan 74, 153 Lake, Veronica 108 Lamarr, Hedy 48, 77, 119, 144 Lanchester, Elsa 48, 72, 159, 160 Lang, Fritz 22, 23, 29, 32, 35, 36, 41, 55, 60, 61, 66, 70, 76, 78, 80, 81, 82, 83, 91, 94, 101, 103, 106, 111, 113, 130, 142, 143, 149, 154, 155, 157 Lang, Walter 138 LaShelle, Joseph 137 Launder, Frank 80, 105 Laura 21, 22, 23, 28, 29, 32, 34, 36, 41, 56, 59, 85, 94, 97, 103, 120, 130, 132, 136–38, 139 Lawrence, Thomas 120 Lederer, Francis 77, 134, 135, 136 Lee, Anna 72, 134 Lee, Belina 145 Lee, Christopher 109 Leisen, Mitchell 44, 46, 81, 83 Leith, Virginia 76 Letondal, Henri 84 Letter, The 64 Lewin, Albert 21, 29, 30, 34, 37, 59, 71, 74, 95, 97, 120, 123, 140 Lewis, Joseph H. 42, 43, 44, 85, 120, 129 Lieven, Albert 73, 144 Lindbergh, Charles 63 Lindsell, Stuart 76, 118 Lineup, The 45, 46 Linley, Betty 114 Locket, The 24, 33, 34, 36, 48, 51, 71, 78, 84, 150–51 Lockwood, Margaret 118 Lodger, The 24, 25, 95, 97–98 Lorne, Marion 39, 73, 105 Lorre, Peter 76, 110 Lost Moment, The 100 Lubin, Arthur 119 Lubitsch, Ernst 40, 102

169

Lucky Partners 37 Lugosi, Bela 128 Lukas, Paul 144 Lupino, Ida 51 Lured 35 Lust for Life 37, 52, 53 McGilligan, Patrick 62 Mackay, Phoebe 118 Mckay, Scott 153 Mackenzie, Mary 49 Macready, George 42, 104 Madonna’s Secret, The 34, 36, 47, 49, 77, 130, 134, 135, 136 Magnus, Eduard 125 Maltese Falcon, The 42 Mamoulian, Rouben 137 Man in Grey, The 76, 102, 108, 118 Man in the Attic 24, 25, 80, 132, 133 Man in the Net 51, 74, 153 Mankiewicz, Joseph L. 21, 25, 26, 42, 64, 75, 87, 101, 103, 111, 117, 120, 128 Mann, Anthony 34, 41, 141 March, Fredric 108 Marin, Edwin L. 102, 107 Marlowe, Hugh 76 Marx Brothers 61 Masks of the Devil, The 19 Mason, James 43, 71, 98, 108, 118, 122, 123, 144 Massey, Raymond 104 Matisse, Henri 54, 153 Mazursky, Paul 54 Meader, George 85 Medina, Henrique 59, 97 Meredith, Burgess 40 Meyerhold, Vsevolod 19 Mikael 19 Miles, Vera 125 Milestone, Lewis 37 Milland, Ray 71, 121, 148, 160 Ministry of Fear 41, 91 Minnelli, Vincente 37, 52, 53 Minturn, Kent 19, 20, 47 Miró, Joan 43 Mitchell, W.J.T. 18, 38 Mitchum, Robert 48, 71, 150, 151 Mob, The 43, 88 Modigliani, Amadeo 160 Modleski, Tania 111, 116 Moon and Sixpence, The 37 Moorehead, Agnes 100 Morandi, Giorgio 42, 90

Moreau, Gustave 157 Morgan, Frank 148 Morrow, Neyle 134 Moulin Rouge 37 Mr. Ace 102, 107 Mr. Skeffington 74, 95, 99 Munch, Edvard 155 Murder by Proxy, aka Blackout 75, 131, 145 Murder, My Sweet 50, 51 Mystery of Doctor Isarov’s Portrait, The 19 Mystère Picasso, Le 54 Mystery Street 36 Naked City, The 30, 31 Naked Maja, The 37 Namuth, Hans 54 Neagle, John 125 Neel, Alice 160 Negulesco, Jean 42, 43, 45, 46, 54, 56, 110, 148 Neighbors 62 New York Confidential 41, 58, 89 New York Stories: Life Lessons 54 Newman, Azadia 137 Newton, Robert 72, 98 Night and the City 30, 31, 35, 76 Night Gallery 49 Nightfall 35 Nightmare Alley 43, 88 Ninotchka 102 No, No, Nanette 39, 40 North by Northwest 45, 46 North, Michael 139 Novak, Kim 124, 125 Now, Voyager 111, 112 Nye, Ben 128 O. Henry’s Full House 54 O’Brien, Pat 39, 42, 83 O’Neil, Barbara 132 O’Neill, Henry 150 O’Rorke, Brefni 105 O’Shea, Daniel 122 Oberon, Merle 40, 114 Odd Man Out 47, 72, 95, 98 Of Human Bondage 64 Olivier, Laurence 116 On the Riviera 138 Ophüls, Max 35, 76, 84 Orlac’s Hände 47 Osborne, Vivienne 117 Over-Exposed 35 Oxley, David 109

170

Païni, Dominique 18, 21 Palance, Jack 24, 51, 132, 133 Pall, Gloria 134 Palmer, Byron 133 Palmer, Lilli 74, 153 Palmer, R. Barton 23 Pandora and the Flying Dutchman 21, 34, 59, 67, 71, 120, 122–23 Paradine Case, The 64, 102, 104, 107, 116, 126, 130, 131, 146 Parnell, Emory 131 Parrhasius 27 Parrish, Robert 43, 88 Pastrone, Giovanni 19 Patrick, Gail 135, 136 Pearse, Patrick 105 Peck, Gregory 107, 146 Perret, Léonce 19 Peterson, Lowell 21 Peucker, Brigitte 117, 126 Phantom Lady 24, 35, 47, 49, 52, 53, 73, 89, 97, 100, 130, 131, 133 Phillip, John 125 Picasso, Pablo 15, 16, 41, 42, 54, 58, 90, 104, 140, 153 Picture of Dorian Gray, The (1915) 19 Picture of Dorian Gray, The (1945) 28, 29, 30, 34, 59, 74, 95–97, 140 Place, Janey 19, 21, 30, 130 Poe, Edgar Allan 27, 28, 29, 30, 36, 49, 98, 140, 142 Polan, Dana 20 Pollock, Griselda 37, 53 Pollock, Jackson 35, 54 Polony, Frank 59, 137, 138 Ponce De Léon, Fidelio 91 Ponto, Erich 85 Portman, Eric 127 Portrait, The 19 Portrait of Jennie 21, 23, 32, 34, 51, 55, 56, 63, 64, 65, 67, 71, 79, 81, 83, 85, 120, 121–22 Portrait ovale, Le 19 Powell, Dick 51 Powell, Mousie 64, 127 Preminger, Otto 21, 22, 23, 28, 35, 56, 77, 85, 94, 103, 120, 130, 132, 137, 138, 139 Price, Vincent 103, 117 Protazanov, Yakov 19 Psycho 15, 16, 43

Raksin, David 137 Raphael 141 Rapper, Irving 111, 112 Rattner, Abraham 59, 105 Ray, Man 59, 63, 123 Ray, Nicholas 34, 60, 62, 63, 66, 71, 79, 152 Rebecca 21, 111, 112, 116–17, 125 Rebel, The 54 Reckless Moment, The 35, 42, 76, 84, 85, 95, 98 Reed, Carol 37, 42, 47, 72, 85, 95, 98 Reed, Donna 147 Reis, Irving 37, 39, 45, 75, 79, 83 Rembrandt 27, 158, 159 Renoir, Jean 35, 75 Renoir, Pierre-Auguste 138 Richardson, Ralph 114 Robinson ,Edward G. 41, 55, 56, 60, 62, 70, 102, 103, 106, 142, 154, 155 Robson, Flora 121 Robson, Mark 46, 47 Rockefeller, John D. 63 Romney, Edana 127 Rooney, Mickey 61 Rope 41, 91 Rosenfeld, Alexander 67 Rossen, Robert 35, 74, 153 Rouault, Georges 50, 51, 52, 58, 91, 105, 138 Rouse, Russell 41, 89 Rousseau, Henri 154 Rowland, Roy 35, 48, 77 Russell, Elizabeth 121 Russell, Gail 120 Rutherford, Ann 64, 127, 136 Ryan, Frank 37 Ryan, Robert 152 Ryley, Robert 160 Salce, Luciano 37 Salisbury, Frank O. 64, 118, 144 Sanders, George 95 Sargent, John Singer 119 Sarra, Manlio 124, 125 Satan Triumphant 19 Saville, Victor 148 Scarlet Street 24, 32, 34, 36, 47, 49, 51, 55, 60, 61, 62, 70, 78, 81, 82, 83, 94, 101, 102, 106, 149, 154-55, 157 Schleier, Merrill 159 Schrader, Paul 23 Schultheiss, John 20 Scorsese, Martin 54 Scott, Lizabeth 49

Raft, George 107 Rains, Claude 40, 41, 85, 99, 138

171

Scott, Zachary 147, 152 Scourby, Alexander 113 Second Woman, The 26, 35, 36, 82, 83, 149–50 Secret Beyond the Door 36 Seiler, Lewis 32, 35, 71, 131, 147 Selznick, David O. 57, 64, 121, 122, 146 Serling, Rod 49 Seventh Veil, The 36, 64, 73, 118, 130, 144 Shaw, Victoria 72, 134 Shayne, Konstantin 123 Sherman, Vincent 25, 74, 95, 99, 111, 112 Shockproof 131, 147 Shop Around the Corner, The 102 Sidney, Sylvia 107 Siegel, Don 45, 46, 76, 110 Simmel, Georg 27 Simon, Norton 122 Simon, Simone 15, 77 Siodmak, Robert 35, 47, 53, 73, 89, 102, 106, 130, 133 Sirk, Douglas 35, 36, 101, 147 Sjöstrom, Victor 19 Skinner, Cornelia Otis 120 Sleep, My love 36 Slightly Scarlet 43, 88 Smith, Alexis 146 So Evil, My Love 71, 79, 148 So Goes My Love 37 Sokoloff, Vladimir 83 Solon, Ewen 109 Soussloff, Catherine M. 37 Spiral Staircase, The 102, 106 Stage Fright 41, 90 Stanwyck, Barbara 49, 60, 77, 156, 157 Starewicz, Wladyslaw 19 Sterling, Anne 158 Stevenson, Robert 35, 77, 119 Stewart, Garrett 38 Stewart, James 32, 124, 126 Stieler, Joseph Karl 125 Stirling, Linda 135 Stolen Face 48, 49 Stolen Life, A 34, 58, 64, 67, 72, 79, 85, 130, 140 Stone, Andrew L. 57, 58 Stone, Irving 53 Stössel, Ludwig 83, 157 Strangers in the Night 34, 130, 141 Strangers on a Train 39, 59, 73, 80, 101, 102, 105–106 Strudwick, Shepperd 84 Stuck, Franz 157

Sturges, John 34, 36, 45, 75, 84, 102, 159 Sturges, Preston 50, 51 Sullivan’s Travels 50, 51, 102 Sully, Thomas 125 Summerfield, Eleanor 75, 145 Sünden der Väter, Die 19 Sunset Boulevard 95, 100 Suspicion 15, 16, 18, 41, 58, 90, 101, 104, 116 Swanson, Gloria 100 T-Men 41 Tasca, Fausto 102 Telotte, J.P. 20, 23 Terry, William 141 That Uncertain Feeling 40 Thiele, William 34, 77, 130, 134, 135, 136 Thimig, Helen 141 Thin Man, The 43 Thin Man Goes Home, The 43 Third Man, The 42, 85 Thompson, J. Lee 54 Thorpe, Richard 43 Three Cases of Murder 48, 49, 51, 77 Three Coins in the Fountain 56 Three Strangers 45, 46, 110 Tierney, Gene 75, 117, 127, 132, 136, 137, 138 Todd, Ann 118, 144, 148 Tone, Franchot 47, 73, 133 Torres, Vincente 150 Totter, Audrey 138 Tourneur, Jacques 15, 16, 18, 35, 46, 47, 73, 77, 78, 80, 130, 145 Tourneur, Maurice 19 Toye, Wendy 48, 49, 77 Trilby 19 Trouble with Harry, The 55, 60, 124, 126 Turner, Lana 147 Two Mrs. Carrolls, The 24, 26, 29, 30, 32, 36, 47, 49, 52, 60, 67, 70, 149, 155–57 Tyler, Audubon 64, 107, 146 Ulmer, Edgar G. 32, 70, 83, 149, 157, 158 Uninvited, The 64, 120–21, 148 Unmarried Woman, An 54 Unsuspected, The 21, 29, 30, 34, 36, 40, 41, 58, 73, 85, 91, 97, 120, 130, 138–40 Valli, Alida 107, 146 van Dael, Jan-Frans 124 Van Dyck, Anthony 37, 124 Van Dyke, W.S. 43 Van Gogh, Vincent 52, 53, 54, 89 van Leyden, Ernst 60, 62, 63, 152

172

Van Loo, Charles-Andre 124 Varos, Remedios 123 Veidt, Conrad 47 Verdict, The 76, 110 Vermilyea, Harold 84 Vernet, Marc 19, 38 Vertigo 35, 60, 80, 94, 116, 117, 120, 123–26 VeSota, Bruno 30 Vickers, Martha 131 Vidor, Charles 42, 86, 101, 105 Vidor, King 36, 101, 104 Visite à Picasso 54 Vogel, John George 64, 127, 128 Vorhaus, Bernard 25, 26, 120, 128 Vosper, John 74, 99

Zaccardi, Luigi 124, 125 Zanuck, Darryl F. 128, 137 Zeuxis 27 Ziolkowski, Theodore 28

Wager, Jans 113 Waldman, Diane 38, 51 Walker, Helen 43 Walker, Michael 146 Walker, Robert 105 Warwick, Robert 103 Washburn, Bryant 74, 131 Webb, Clifton 41, 42, 56, 82, 85, 136, 141 Wendkos, Paul 42, 86, 119 What a Way to Go! 54 Wheeler, Lyle 138 While the City Sleeps 101, 103, 154 Whiplash 32, 71, 130, 131, 146–47 Whirlpool 97, 103, 130, 132 Whistler, James Abbott McNeill 133, 159 Wiene, Robert 47 Wilcox, Herbert 39, 40 Wilde, Cornel 147 Wilde, Oscar 27, 28, 30, 59, 95 Wilder, Billy 95, 100 Wilkie, David 125 Winterhalter, Franz Xavier 125 Wise, Robert 25, 111, 115 Witness to Murder 35, 48, 49, 77 Wittkower, Rudolf and Margaret 37 Woman in the Window, The 22, 23, 24, 29, 66, 67, 80, 130, 142–43, 155 Woman on the Beach, The 35, 75 Woodall, Joanna 111 Wright, Tom 49 Written on the Wind 101 Wrong Man, The 15, 16 Wyler, William 112, 114 Young, Robert 149 Young, Terence 28, 120, 127

173

Art book in The Portrait of Jennie (William Dieterle, 1948)

About the Authors Steven Jacobs is an art historian specialized in the relations between film and the visual arts. His other research interests focus on artistic visualizations of architecture, cities, and landscape in film and photography. His publications include The Wrong House: The Architecture of Alfred Hitchcock (010 Publishers, Rotterdam, 2007) and Framing Pictures: Film and the Visual Arts (Edinburgh University Press, 2011).

He currently teaches at the Department of Art-, Music-, and Theater Studies of Ghent University in Belgium.

Lisa Colpaert is a researcher at the School of Arts, University College Ghent. Her research interests focus on the representation of visual arts in film and costume design. She is also a fine arts/fashion design scholar and has a small fashion label.

Illustration Sources: all illustrations are digital frames of DVD or video copies of the films apart from the following stills or publicity materials: – p. 52: Cinematek Brussels – cover (front), cover (back), fronti­ spiece, p. 22 (top), p. 22 (bottom), p. 33 (top), p. 33 (bottom), p. 34, p. 65, p. 66 (top), p. 66 (bottom): Margaret Herrick Library, Academy of Motion Pictures Arts and Sciences, Beverly Hills, CA – p. 62: Reporters, Belgium This book is part of a research project on cinematic representations of artworks at the School of Arts, University College Ghent, Belgium. This project also includes the compilation film Incidents in a Museum (2013) by Steven Jacobs and Karel De Cock, the DVD box and accompanying booklet Art & Cinema: Belgian Art Documentaries (­published by Cinematek Brussels in 2013) as well as a book on sculpture in film to be published

by Edinburgh University Press in 2015.

In addition, this project will also result in a work by artist and filmmaker Nicolas Provost, which is based on the visual materials of this museum guide to noir and gothic portraits.

Project Supervisors: Steven Jacobs and Susan Felleman Project Collaborators: Vito Adriaensens, Lisa Colpaert, Nathalie Cools, Karel De Cock, Nicolas Provost

Published by AraMER: AraMER is an imprint of MER. Paper Kunsthalle Geldmunt 36 B-9000 Gent Belgium www.merpaperkunsthalle.org www.aramer.org Copy-editing: Vito Adriaensens and Petra Van der Jeught Book Design: Luc Derycke & Jeroen Wille, Studio Luc Derycke Printed at: New Goff, Gent © 2013 AraMER & MER. for this edition. © 2013 Steven Jacobs & Lisa Colpaert for this edition. isbn 978 94 9177 519 2 d/2013/7852/182

Cover: Portrait of Laura Hunt (Gene Tierney) in Laura (Otto Preminger, 1944) Back cover: Portrait and sitter (Joan Bennett) in The Woman in the Window (Fritz Lang, 1944)

Picture a museum in which the portrait of Carlotta Valdes, an important prop in Alfred Hitchcock’s Vertigo, hangs on a wall next to the painted portrait of the title character of Otto Preminger’s Laura and opposite the uncanny portraits of the desired or murdered women in Fritz Lang’s Scarlet Street, George Cukor’s Gaslight, and Nicholas Ray’s Born to Be Bad. In an adjacent gallery, the visitor of this imaginary museum can contemplate the portraits of patriarchs that feature in films such as House of Strangers, Suspicion, Gilda, and Strangers on a Train.

This is the exact concept of this book.

The Dark Galleries deals with American (and some British) films of the 1940s and 1950s, in which a painted portrait plays an important part in the plot or the mise-enscène. Particularly noir crime thrillers, gothic melodramas, and ghost stories feature painted portraits that seem to hold magical power over their beholders.

In addition to an extensive introductory essay, this museum guide presents about one hundred entries on the artistic and cinematic aspects of noir and gothic painted portraits.

“This is a highly original piece of research that analyzes an apparently marginal aspect of film visuality but demonstrates the centrality of the painted image to the narrative of American cinema in the 1940s and 1950s.” – Lynda Nead (Birkbeck College), author of The Haunted Gallery: Painting, Photography, and Film c. 1900 (2008) “The topic treated here is a fascinating subject and a valuable addition to cross-medial research on cinema and painting.” – Ivo Blom (Vrije Universiteit Amsterdam) “The Dark Galleries sketches in an entertaining way the confrontation between the classicism of Hollywood and the modernist stance of the art and artists in film noir.” – Tom Paulus (University of Antwerp)