Fog Island (1945)
Guest Blogger: John Grant, author of A Comprehensive Encyclopedia of Film Noir: The Essential Reference Guide, due on shelves at the end of October. Check out Noirish, John Grant’s noir blog that goes above and beyond the Encyclopedia.
A creaky but enjoyable gothic noir, with secret passageways and skulls galore.
Embittered after five years in the pen for an embezzlement of which he was innocent, during which time his beloved wife Karma was murdered, Leo Grainger (Zucco)—rendered as “Grainer” in the credits—lives in his spooky, pirate-built mansion on remote Fog Island with his stepdaughter Gail (Douglas), who likewise seeks reclusion because of the shame of Leo’s supposed crime.
Leo invites to the island the people he believes were involved in the theft and set him up for the fall: phony seeress Emiline Bronson (DeWit) of the Emiline Bronson Psychic Research Laboratory, erstwhile colleagues Alec Ritchfield (Atwill) and John Kavanaugh (Cowan), Leo’s personal secretary Sylvia Jordan (Borg), and another business associate, Jackson Kingsley, who proves in the event to have recently died; his son Jeff (Whitney) comes in his stead, eager for the excuse to reunite with Gail, his old college sweetheart. Also on the island, having come clandestinely, is the company’s accountant, sent up the river at the same time as Leo: “Doc” Lake (Keith).
The night of their arrival, Leo tells his guests he has called them here for retribution, although he obfuscates about what the word might mean in this context; if any of them are innocent, for example, their retribution might be against him for having lost them money. Since he has introduced Kavanaugh to his home with “Strangely enough, it was built by pirates . . . but you shouldn’t find any difficulty in finding your way around, John”, we can guess this latter definition of the word is not the one foremost in Leo’s mind.
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Featuring rumpled PIs, shyster lawyers, corrupt politicians, double-crossers, femmes fatales, and, of course, losers who find themselves down on their luck yet again, film noir is a perennially popular cinematic genre. This extensive encyclopedia describes movies from noir’s earliest days – and even before, looking at some of noir’s ancestors in US and European cinema – as well as noir’s more recent offshoots, from neonoirs to erotic thrillers. Entries are arranged alphabetically, covering movies from all over the world – from every continent save Antarctica – with briefer details provided for several hundred additional movies within those entries. A copious appendix contains filmographies of prominent directors, actors, and writers.
With coverage of blockbusters and program fillers from Going Straight (US 1916) to Broken City (US 2013) via Nora Inu (Japan 1949), O Anthropos tou Trainou (Greece 1958), El Less Wal Kilab (Egypt 1962), Reportaje a la Muerte (Peru 1993), Zift (Bulgaria 2008), and thousands more, A Comprehensive Encyclopedia of Film Noir is an engrossing and essential reference work that should be on the shelves of every cinephile.
Posted on October 10, 2013, in Film & TV and tagged encyclopedia, Film Noir, Fog Island, George Zucco, Ian Keith, Jacqueline DeWit, Jerome Cowan, john grant, John Whitney, Limelight Editions, Lionel Atwill, noir, noirish, Sharon Douglas, Veda Ann Borg. Bookmark the permalink. Leave a comment.