Customer Reviews

This Gun for Hire 42

5 star:		(4)
4 star:		(7)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

This Gun for Hire was based on the Graham Greene novel A Gun for Sale and was considerably toned down and glammed up for the early 40s movie going public. Not that there's anything wrong with that.

I found this movie rather enjoyable, it is easy to see why Ladd and Lake were made into a screen team. They are supported by Laird Cregar as a plotting spy with no stomach for violence and Robert Preston as Veronica Lake's cop boyfriend. Alan Ladd steals the show as Raven, a killer for hire who really only likes cats. (as a cat lover, I was automatically more sympathetic to him) Cregar's Gates betrayed him to the cops and now he wants revenge.

Raven and Lake's Ellen, a nightclub magician, cross paths throughout the movie and she begins to strip down his tough guy veneer to reveal an abused childhood. Armed with her brains and a considerable amount of flag waving, Ellen tries to persuade Raven to give up his vengeance and uncover an Axis plot.

Ladd, Lake and Cregar are all marvelous but the usually wonderful Preston (best known for his smooth con-man in Music Man) isn't given much to work with and his cop character feels flat especially next to Raven.

This movie is really a must-see for any fan of 40's films and even with its flaws (I also found the final image to be annoying and totally against Lake's independant character), it is still a pleasant way to pass an evening.

Grahame Greene's novel "A Gun For Sale" is brought to excellent life in this 1942 early film noir. This was Alan Ladd's breakthrough performance, and although he is billed under the title with introducing credits, he had made many films prior to this, often in small, unrewarding roles, sometimes uncredited. His Philip Raven is cold-blooded, ruthless, but vulnerable, his abusive past always foremost in his mind, although he shows a soft spot for cats, children, and Veronica Lake. In their first pairing, Ladd and Lake show the electric intensity that made them a great screen pair of the 1940s. Both were petite, blond, with cool acting styles that belied their sometimes sensitive natures, no matter what kind of a tough front they presented. Lake's character, Ellen Grahame, is a nightclub performer (her vocals were dubbed by Martha Mears), who finds herself drawn into spying on her rather suspicious boss. Laird Cregar is the almost sympathetic villain, Gates, who burned Raven and in doing so, has signed his own death warrant. Robert Preston portrays Ellen's fiancée, Lt. Michael Craven, who is determined to capture Raven. When Ellen unwittingly finds herself alongside Phillip on a train, she ends up in on his "job" and, later in the proceedings, as his 'hostage'. They soon form a rather tentative bond as Raven relates his horrendous childhood beatings at the hand of a nasty relative. She reaches out to him, and although he rejects her comfort (he thinks she's trying to make him "go soft"), he agrees to help her get Gates to reveal his dastardly plans for America involving bombs (this was during WW2, after all). There is an almost misty eyed longing in their faces, sensing that maybe, if in another time or another place, things might have been different. A touching moment when Raven rests his head on Lake's shoulder on the train, his telltale deformed wrist exposed.

There can be no good ending for this killer, for he is a bad guy. But after pulling off what he was so set on doing, he also has redeemed himself through his friendship with Ellen. "Did I do okay for you?" Phillip asks her with his dying breath, to which she responds with a compassionate smile and nod. A tiny grin briefly crosses his face before he closes his eyes. Ellen embraces Michael, uttering the somewhat inane phrase, "Oh, Michael, my darling, hold me." Fade out to final credits.

The other films Ladd and Lake made together are becoming increasingly hard to find; there really ought to be a DVD box set.

The DVD looks very good; however, there are no extras included, not even the original theatrical trailer. But even without the special features, it's worth having in your collection, especially if you are a fan of Alan and Veronica or film noir.

In the world of film noire I found all the elements here, with wonderful casting. Lake and Ladd are imbued with a gorgeous chemistry, there is an underlying element that suggests that if the circumstances had been different:they would easily have succumbed to each other. This is indeed Ladd at his best,he carries the subtle,seething world of hatred just beneath the surface, and the camera is fascinated by the intensity of his physical gestures, and facial expressions. In particular when he recounts the nature of the injury to his wrist, you get a window into how his mind works and what motivates him to be who he is. Lake is strong, and vulnerable and I see no mistep in her performance. This is a film that mesmerized me when I was much younger and I still find it to do so. Laird Cregar as Willard Gates is as oily as grease and I felt his performance too was a standout,a coward at the core but willing to have murder done on his behalf . I enjoyed the whole spy-thing interwoven into the plot, and as well very memorable atmospherics, especially the scene where Ladd and Lake are trapped in the railroad yards; the fog just added an extra dimension to the scene. I also found Robert Preston did a fine job too in his role as Lake's detective love interest with an understated performance, but with just the right touch of resolve to win through the day.

This was the first time Alan Ladd and Veronica Lake were in the same film together, and when box office receipts exploded because of the gritty and tortured performance of Ladd as the killer Raven, Paramont knew it had a star. The chemistry of Ladd and Lake together was electric also, and Paramont also knew it had a couple. Ladd might not have gotten her in this one, but they ended up together in the other three films they would make and everyone loved it.

This was a dark and star making performance from Ladd. From the very first scene, as Raven stops on the stairs, gun in hand, to pause and decide if he should shoot the little girl who has seen him, he was a star. Raven has been double crossed by "Neptune Club" owner Willard Gates (Laird Cregar) and is out to settle the score. Ellen Graham (Veronica Lake) has a nightclub act and a cop boyfriend played by Robert Preston.

The government wants Ellen to help get the goods on Alvin Brewster (Tully Marshall) who runs a chemical company that has sold poisonous gas to the Japanese and also happens to be Gates's boss, the man pulling all the strings. But when Ellen senses the pain inside Raven and becomes his only friend, other than cats, we know the bad guys don't have a chance.

Doom follows Phillip Raven also though, his horrific chidhood slowly revealed to Ellen, his willing captive. She begins to reach Raven and make him human once more, maybe human enough to make the ultimate sacrifice for his country, and put his personal demons to rest. It was a teriffic turn from Ladd and one of his most memorable roles.

It's a good movie made great by Ladd's performance. It was also the beginning of screen magic for he and Lake. You have to see this movie if you like crime noir and/or you like Ladd and Lake, and how could you not? They were lightening in a bottle and the cork is blown completely off here....

Although not as well-known as the celebrated 40's team of Bogart and Bacall of Warner Bros., Paramount's version consisting of the dimunitive yet dynamite duo of Alan Ladd and Veronica Lake (he 5'5", she 5'1") were quite a draw in their day with their smoldering chemistry together--ironic, considering the two detested one another off the set. Their first pairing in this film helped it become a surprise hit and made the unknown Ladd a star and the already popular Lake an even bigger one. Ladd gives a disturbing and riveting performance as Raven, a stone-cold, misogynistic, cat-lovin' hired gun close to nobody and with no loyalties--only to himself--as a result of a torturous childhood in the care of a horrible aunt. Lake displays her usual provocative coolness as Ellen Graham, a sultry but sweet nightclub singer with a penchant for cleverly incorporating magic tricks into her act (her rendition of "Now You See It, Now You Don't" is very memorable, indeed) and finds her loyalties divided between her cop boyfriend and outlaw Ladd when she becomes his willing hostage and they develop a strange bond. Their paths cross when Raven sets out to get chemical executive/nightclub owner Willard Gates, who double-crossed him by paying him for a rubout with hot money, and when Lake goes on a mission as "secret agent" for a U.S. senator by getting a job with go-between Gates to discover the real power behind him. The film flaps its patriotic wings from that point when it is revealed that a mercenary and treacherous ancient-man named Alvin Brewster (Tully Marshall), Gate's boss and the one in charge, has sold poison gas to the highest bidder--in this case, the Japanese. In their divergent missions Raven and Ellen encounter many close calls along the way, but in the end she ends up safe and sound in her boyfriend's arms, while Raven finds true peace when he dies--but not before he discovers the only true friend he has ever known in Ellen, his lost humanity and a patriotism which had previously been nonexistent. Excellent performance also from Laird Cregar as mild-mannered, violence-averse Gates; Robert Preston as Ellen's cop is somewhat bland but convincing enough; and watch quickly for a pre-stardom Yvonne de Carlo. This is a dark story which nevertheless was a great, morale-boosting movie when it was released during WW2 with its strong theme of patriotism and underlying one of redemption--and its still a great see even today.

This is an excellent film that captures the amorality of the hitman. This is far better than "The Professional" or any other contender. Alan Ladd does some of his best work in this film and Veronica Lake is marvelous. This is an exciting picture. Don't miss it.

"This Gun For Hire" is a watered down, glammed up version of Graham Greene's novel A Gun for Sale. It represents the first of four cinematic outings that teamed sultry Veronica Lake with the stoically handsome Alan Ladd, a potent cocktail of personalities that proved to be much in demand over the next decade. Perhaps a tad heavy on sentimentality than most film noirs, the plot concerns Philip Raven's (Ladd) obsession with Ellen Graham (Veronica Lake) a nightclub dancer with a rough and rumble cop boyfriend, Michael Crane (Robert Preston). Ellen is supposed to be working on exposing Alvin Brewster (Tully Marshall), a chemical company CEO who sold poisonous gas to the Japanese. But an odd and Freudian driven relationship surfaces between Ellen and Raven when she senses his childhood pain and angst. Ellen becomes Raven's willing captive, in the process transcending his nightmares and making him more human. The very first scene in this film is so incredibly chilling it begs special mention. After having been double crossed by ne'er-do-well, Williard Gates (Laird Cregar), Raven (Ladd) contemplates killing an innocent little girl who has seen him. Even though the resulting decision is typical "golden age" morality, Ladd makes one believe, if only for a moment, that such cold blooded silencing might be possible.

THE TRANSFER: Universal's DVD transfer is remarkably solid and clean. The gray scale is very well balanced with deep solid blacks and whites that are almost pristine. There's a hint film grain and some age related artifacts. Also, some edge enhancement and pixelization occur, but nothing that will distract from a visual presentation that is a considerable improvement over previously issued VHS tapes. The audio is mono and very well represented. There are no extras on this disc. Nevertheless, it is a good disc to add to your library of classic cinema.

"This Gun For Hire" is a watered down, glammed up version of Graham Greene's novel A Gun for Sale. It represents the first of four cinematic outings that teamed sultry Veronica Lake with the stoically handsome Alan Ladd, a potent cocktail of personalities that proved to be much in demand over the next decade. Perhaps a tad heavy on sentimentality than most film noirs, the plot concerns Philip Raven's (Ladd) obsession with Ellen Graham (Veronica Lake) a nightclub dancer with a rough and rumble cop boyfriend, Michael Crane (Robert Preston). Ellen is supposed to be working on exposing Alvin Brewster (Tully Marshall), a chemical company CEO who sold poisonous gas to the Japanese. But an odd and Freudian driven relationship surfaces between Ellen and Raven when she senses his childhood pain and angst. Ellen becomes Raven's willing captive, in the process transcending his nightmares and making him more human. The very first scene in this film is so incredibly chilling it begs special mention. After having been double crossed by ne'er-do-well, Williard Gates (Laird Cregar), Raven (Ladd) contemplates killing an innocent little girl who has seen him. Even though the resulting decision is typical "golden age" morality, Ladd makes one believe, if only for a moment, that such cold blooded silencing might be possible.
THE TRANSFER: Universal's DVD transfer is remarkably solid and clean. The gray scale is very well balanced with deep solid blacks and whites that are almost pristine. There's a hint film grain and some age related artifacts. Also, some edge enhancement and pixelization occur, but nothing that will distract from a visual presentation that is a considerable improvement over previously issued VHS tapes. The audio is mono and very well represented.
BOTTOM LINE: There are no extras on this disc. Nevertheless, it is a good disc to add to your library of classic cinema.

In his first feature role, Alan Ladd portrays a laconic hit man whose life remains isolated from the emotionalism of society. Raven's (Ladd) daily solitude is evident in the opening scene when he awakens at mid-day in a boarding room and begins preparation for his next assignment. As Raven straightens his rumpled clothes, he checks his pistol and reviews the address of his next victim. The scene echoes the solitary sequences that professional gunmen presumably rehearse before each date with death. Director Frank Tuttle captured the inner realm of the urban psychopath and provided other directors such as Martin Sorcese ( Taxi Driver) and Edward Dmytryk ( The Sniper) with scenic inspiration. Adapted from a Graham Greene novel, This Gun For Hire released in 1942 cleverly channels Raven's violent obsessiveness into a patriotic cause. Japan's bombing of Pearl Harbor in 1941 justified vindictive recourse in Amercian filmmaking. When an aging industrial tycoon ( Tully Marshall) plans to secretly sell poisonous gas to the Japanese military, a stage girl (Veronic Lake) is hired to investigate Marshall's connections. One of the middlemen is Gates (Laird Cregar) who unknowingly has hired Lake as a magician in his nightclub. Gates had previously hired Raven for a hit, but paid Raven in marked ten dollar bills. Raven and Lake's path cross as the two enter a tenuous relationship. Raven's revelation that as a child he was slashed with a hot iron by his aunt left more than a disfigured, grotesque wrist. Psychologically scarred by a woman, Raven fears the closeness of human contact. Although Lake is engaged to the detective trailing Raven, she is the only person to penetrate Raven's rancorous persona. In the film's climaxing sequence, Raven coldly states: "You tried to hurt my friend". That Raven has acknowledged another person as a friend, especially a woman, is cathartic. This Gun For Hire is a seventy-five minute B+ Paramount thriller. It might have attained a higher status if Ladd and Lake's character involvement became more complex. Still, This Gun For Hire is a high grade film and a portend for Ladd and Lake screen vehicles such as: The Glass Key and The Blue Dahlia.

When the public saw Ladd as Raven, the social misfit with the disfigured hand, he became an overnight sensation & the pairing of Lake and Ladd would prove to be hot stuff! The chemistry between these rather dimunitive actors is startlingly apparent in every scene in which they play together....... (they were like a poor man's Bogie and Bacall!) A thoroughly entertaining little gem, the film also offers an interesting performance from the obese Laird Cregar as the cowardly "fat man who eats peppermints". Essentially a B picture, the key scenes are memorable nevertheless. Raven likes cats: "they don't need nobody; they're on their own" and got his disfigured hand by reaching for "a lousy piece of chocolate" as a kid. A cult status B flick with intriguing performances which aid the slightly dated and artificial aspects of the story considerably.