Gefährliche Leidenschaft (1950)

Gefährliche Leidenschaft: Directed by Joseph H. Lewis. With Peggy Cummins, John Dall, Berry Kroeger, Morris Carnovsky. Two disturbed young people release their fascination with guns through a crime spree.

“The original title of u0026quot;Gun Crazyu0026quot; was u0026quot;Deadly Is the Female,u0026quot; and they ainu0026#39;t kidding. If you thought Faye Dunawayu0026#39;s Bonnie Parker was the more ruthless member of the crime duo that gave Arthur Pennu0026#39;s 1967 film its name, wait till you get a load of Peggy Cumminsu0026#39;s Annie in this little known cheapie from 1949. I wouldnu0026#39;t want to get on this womanu0026#39;s bad side; she can shoot cigarettes out of peopleu0026#39;s mouths, for Godu0026#39;s sake.u003cbr/u003eu003cbr/u003eu0026quot;Gun Crazyu0026quot; is such an obvious influence on Pennu0026#39;s u0026quot;Bonnie and Clydeu0026quot; that I canu0026#39;t believe the later film doesnu0026#39;t credit it directly. Though the 1949 film is based on a short story that appeared in the u0026quot;Saturday Evening Postu0026quot; and the 1967 film worked with an original screenplay, both films could have been adapted from the same source. They portray the Annie/Bonnie character as bored and restless, turned on by the thought of crime and by a manly man who can really use his u0026quot;gun.u0026quot; The Bart/Clyde character is tickled by the idea of being a virile stud in the eyes of his lover, but is ultimately too sensitive for the life they choose. And both films do a good job of portraying the desperation that plagues both couples, the isolation and loneliness they create for themselves and can never break out of, and the ultimate futility of their actions, since the u0026quot;lawu0026quot; is going to catch up with them sooner or later.u003cbr/u003eu003cbr/u003ePeggy Cummins is really good in this. I donu0026#39;t know what else sheu0026#39;s been in, but her baby-doll voice creates an effective contrast to her colder-than-ice attitude. Sheu0026#39;s crooning into her loveru0026#39;s ear one minute and itching to kill someone the next. And you have to dig those French-inspired fashions that would cause a sensation nearly 20 years later when Dunaway donned them again for Pennu0026#39;s film.u003cbr/u003eu003cbr/u003eI thought John Dall was at first odd casting for the role of Bart. Annie is supposed to think of him as a manu0026#39;s man, and Dall, with his willowy physique and gentle mannerisms is far from that. But then when we realize that heu0026#39;s at heart really too gentle for the life he and Annie have chosen for themselves, his casting makes sense.u003cbr/u003eu003cbr/u003eThere are some small touches to this film that really add to its immediacy and realism. I loved the scenes of Annie and Bart driving to and from their heist jobs, shot from the back seat of the car as if we are a member of their gang. They have really funny and natural banter back and forth about where to park, etc. which I have to believe was improvised to some extent. The ending of the film, a face off in a creepy swamp, is eerie, and thereu0026#39;s a small twist in the last seconds of the film that might be easy to miss but may give you some things to think about if you catch it.u003cbr/u003eu003cbr/u003eItu0026#39;s interesting, and rather depressing, that one of the main themes of this film is the obsession with guns and violence that pervaded the country nearly 60 years ago, and here we are a handful of wars later, still dragging around the same old obsessions. Michael Mooreu0026#39;s recent documentary u0026quot;Bowling for Columbineu0026quot; could have just as easily been called u0026quot;Gun Crazy,u0026quot; if that title werenu0026#39;t already taken by this forgotten little blast of a movie.u003cbr/u003eu003cbr/u003eGrade: A-“