Johnny O’Clock (1947)

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Johnny O’Clock (1947) – R. Rossen

Dick Powell made a successful career transition from “juvenile” singer/dancer (e.g., 42^nd Street, 1933) to film noir protagonist (e.g., Murder, My Sweet, 1944), with a surprising amount of edge and darkness in his later films.  But as Johnny O’Clock, a casino money-man, he seems unsure of himself in a role that requires him to be cold and selfish but also warm toward women in trouble and ultimately okay with a chummy police detective (Lee J. Cobb).  It’s possible that the events of the film have unsettled him:  his former partner, a bad cop who kills for the casino and wants a better deal, is now going over his head to the boss (Thomas Gomez) whose wife is Johnny’s ex (but still in love with Johnny who is uninterested). When the cop’s young girlfriend turns up dead, Johnny and the girl’s sister (Evelyn Keyes) investigate (as does Cobb) and fall in love.  Soon, Johnny’s on the outs with everyone and we know who is responsible, probably before he does (but he soon enough does).  Despite the interesting cast, there isn’t enough noir bite here – possibly because we can’t really like or dislike Johnny or even feel sorry for him.  First time director Robert Rossen would produce a real noir classic with his next film, Body and Soul (also 1947), aided by Abraham Polonsky’s script.  This one’s okay but if you’re new to noir, start your journey somewhere else.