On trial for murder, Larry Ballantyne regurgitates an unbelievable story. He recounts how he philanders to other women while his rich loving wife Gretta tries to keep him in line. According... See full summary »
Angie Evans, fast-rising nightclub singer, interrupts her career to marry struggling songwriter Ken Conway. When Ken lucks into a career as chart-topping radio crooner, Angie is forced into... See full summary »
A young girl from the "sticks" comes to the city to live with her wealthy relatives. At first she is the objection of derision and made fun of because of her unsophisticated nature, but it ... See full summary »
Two bank robbers, Cliff Banks and Sam Baker go their separate ways while being chased by the law. Now fleeing alone, Cliff begins to reflect, via flash back, the various events and unsavory... See full summary »
Emily Blair is rich and deaf. Doctor Vance, who grew up poor in Blairtown, is working on a serum to cure deafness which he tries on Emily. It doesn't work. Her sister is carrying on an ... See full summary »
Reporter Kenny Blake (Hugh Beaumont) falls in love with scheming Toni Kirkland ('Ann Savage') not knowing that she is married to Harvey Kirkland (Russell Hicks), a man years older than she.... See full summary »
Paul Raden (Albert Dekker), hopelessly insane son of Maxim Raden, hated owner of the Radentown mills, is in a strait jacket in a secret room in the family mansion, while the body of his father is lowered into a grave. Twenty-five years earlier, the brutal father had hurled Paul against a wall when the young boy had tried to defend his mother and, with his brain injured forever, Paul's last memory, before descending into the shadows on insanity, was his mother's agonized scream. At the graveside are Dr. Ben Saunders (Harry Carey), Paul's twin brother John (Albert Dekker) and John's wife Elaine (Frances Farmer). Pompey (Ernest Whitman'), the family servant who has cared for and guarded Paul and kept the family secret for a quarter of a century,watches from afar. That night Dr. Saunders tells John that his twin, who he thought dead, is alive as the father, refusing to commit him to an institution, had bribed the doctor to sign a false death certificate and then bury another child's body ... Written by
Les Adams <email@example.com>
One of over 700 Paramount productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
I had one of them Frenchmen living here last year. Honest to goodness every time you'd turn 'round, that Frenchman was grabbin' your hand and kissing until he'd like to pull the skin off.
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'Among the Living (1941)' sits in the middle-ground between film noir and horror. The horror elements are obvious: the use of twins, representing the duality of man, recalls a more literal take on the themes of Stevenson's "Dr Jekyll and Mr Hyde." But even the "evil" twin himself is not a monster, as he is often described. Like Frankenstein's Creature, he is merely a social outcast, corrupted by the abuse of the true monsters, and who ultimately finds it impossible to assimilate into society. Like a frightened animal, Paul Raden struggles to understand the violent, cynical world in which he's been thrust, and the injustices knowingly done to him, combined with the years of abuse he endured at the hands of a dominating father, lead him to murder out of sheer terror. In many ways, Paul resembles the character of Lennie in Steinbeck's "Of Mice and Men," a simpleton with a brutish strength that he can't reconcile with his own child-like desires.
Though one would stop short of calling this a film noir, there are certainly traces of the necessary elements. Most prominent is the theme of hidden family secrets, of a shameful past coming back to haunt wrongdoers, as in 'The Strange Love of Martha Ivers (1946).' The corruptive influence of power is also referenced as in the latter film, the primary sinner of 'Among the Living' (Raden, Sr., who is dead by the film's beginning) resides in a town that bears his name. The viewer can draw two conclusions: either that only through committing sin can a man attain power, or that from power itself is borne the desire to perpetrate crime, for he now has the means to conceal his misconduct. The latter is certainly true for the otherwise-respectable Dr. Saunders (Harry Carey), who just once compromised his professional integrity, and, twenty-five years later, finds that this one transgression has blackened his soul and destroyed his future.
John Raden (Albert Dekker) is the film's hapless protagonist, an honest guy who unwillingly stumbles upon his family's dirty secret. Via a succession of ill-fated coincidences, implying the forces of Fate that would later pervade the film noir movement, John finds himself on trial for murder, thrust protestingly into an ad hoc mob trial that recalls Peter Lorre's judgement in 'M (1931).' Dekker is excellent in the dual- roles of John and Paul Raden, with the "bad" half always distinguishable, not just by his grizzled beard and raggedy clothing, but by the way he carries himself: slouched shoulders, arms held awkwardly, innocent and perplexed eyes upturned at the eccentricities of this unfamiliar society. Susan Hayward plays Millie, a minor femme fatale. She's an angel when you first see her, but the way she knowingly toys with Paul's naivete is quite repulsive, and her nastiness during the courtroom trial is similarly brutal. Notably, director Stuart Heisler would progress onto full-blown noir the following year with the Hammett adaptation 'The Glass Key (1942).'
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