In the web of passions

from Wikipedia, the free encyclopedia
Movie
German title In the web of passions
Original title The Postman Always Rings Twice
Country of production USA
original language English
Publishing year 1946
length 103 minutes
Age rating FSK 16
Rod
Director Tay Garnett
script Harry Ruskin
Niven Bush
production Carey Wilson for
Metro-Goldwyn-Mayer
music George Bassman
camera Sidney Wagner
cut George White
occupation
synchronization

In the Net of Passions (original title: The Postman Always Rings Twice , German alternative title: The bill without the host ) is an American film noir by Tay Garnett from 1946 and the third film adaptation of James M. Cain's novel Wenn der Postmann rings twice . The film tells the story of Cora and Frank, who passionately kill Cora's husband. They get away with their act with impunity, but when Cora dies in a car accident, Frank is wrongly accused of murder and sentenced to death. The main actors Lana Turner as the seductive femme fatale Cora and John Garfield as her dilapidated vagabond Frank make the film a pioneer for the genre of the erotic thriller and one of the cash-rich works through their game, in which erotic attraction becomes the mainspring for a crime of film noir.

plot

Frank Chambers, nowhere to be found, hitchhikes upstate California and is dropped off at a diner called Twin Oaks . Frank sees the “MAN WANTED” sign in front of the diner and applies for a job with owner Nick Smith. Nick hires the young man. Frank soon meets Cora, Nick's wife. He is fascinated by the attractive blonde dressed all in white. The two feel drawn to each other, but Cora first plays with Frank, on the one hand erotically stimulating him with words, but on the other hand keeping him cool. After a night swim in the sea together, the two finally get closer. Cora says that she did not marry the much older, naive Nick out of love, but only to ensure security in her life.

Cora wants to leave Nick for Frank. When Nick is out of the house, Cora and Frank leave in a hurry, but return before Nick notices anything. Cora doesn't want to do without her financial security. She suggests that Frank murder her husband together to be free for each other. Her plan is to kill Nick while he's taking a bath. Cora is supposed to carry out the deed and then leave the locked bathroom through the window via a ladder to simulate an accident. During the attempted murder, however, a cat climbs up the ladder and triggers an electrical short circuit in the roof lights. A policeman becomes aware of what is happening, so Cora's and Frank's plan has failed. Nick is passed out and is hospitalized. Since he cannot remember what happened, the two can cover up the attempted murder as an accident. Only District Attorney Sackett, who dropped Frank off in front of the Twin Oaks , is skeptical.

When Nick is released from the hospital, Frank leaves the Twin Oaks and goes hiking again. But he can't forget Cora. A little later, he happened to meet Nick at a market in Los Angeles , who urged him to return. The passion between Cora and Frank flares up again. When Nick reports that he wants to sell the Twin Oaks and move to northern Canada with Cora to take care of his paralyzed sister, Cora and Frank make another decision to kill Nick. On a three-way car trip, they make Nick get drunk. While Cora drives the car, Frank kills her husband from the back seat with a wine bottle. When they crash the car with the dead Nick down a cliff, it initially gets stuck. District Attorney Sackett, who watched the trio depart and followed the car, arrives at the scene. After the vehicle finally crashes and Frank is injured, Sackett confronts Cora with the accusation that she was the murderer of her husband and also presents a motive: Nick recently took out life insurance for $ 10,000.

Sackett tries to convict Cora of the murder and persuades Frank that Cora wanted to kill both men so that she wouldn't have to share the insurance money with anyone. Frank was innocent, he was also drunk after all. Frank turns against Cora and wants to testify against her. Cora files a confession with her lawyer Arthur Keats, which also incriminates Frank. Before the Supreme Court , Keats negotiates a deal with Sackett: since Sackett has no witnesses or clear evidence to support his murder charge, Keats pleads for manslaughter . Sackett agrees with a heavy heart and Cora is only sentenced to probation . Cora and Frank return to the Twin Oaks , but their relationship is now marked by suspicion. To legalize their coexistence, they get married. When Cora goes away to visit her sick mother after a heart attack, Frank starts a relationship with a girl (Madge Gorland). Cora returns after her mother dies. Frank and Cora now have to defend themselves against an attempt at blackmail: The clerk of the lawyer Keats threatens to convey Cora's written confession to the public prosecutor.

Frank and Cora finally speak out. Frank regrets his relationship with Madge and confesses his love to Cora. Cora tells him she is pregnant. The two go to the sea to renew their love with a bath. Cora is saved from drowning by Frank. The two go home happy. Frank asks Cora for a kiss while driving. When they kiss passionately, the car comes off the lane - and Cora dies in the accident. Frank is charged with Cora's murder, found guilty, and sentenced to death . On death row he tells his life story to a priest. Sackett brings Frank the news that the governor has turned down Frank's pardon. Frank asks the priest to pray for him and Cora. He hopes to see his beloved again after his death.

History of origin

Literary source and history

James M. Cain, author of the novel The Postman Always Rings Twice

The Postman Always Rings Twice , published in 1934, was Cain's first novel and in the public reception it brought it directly into the vicinity of hard-boiled authors such as Hammett or Chandler ; a classification that Cain always resisted. Characteristic for the novel are the realism of the laconic descriptions and a directness and authenticity in the language. It was unusual for a detective novel at the time that the perpetrator and not a police officer or detective told the story, as well as the close connection between sexuality and crime.

MGM secured the film rights to the novel as early as 1935, but the Breen office immediately made it clear that filming would not be possible under the censorship conditions of the Hays Code . The novel was filmed twice in Europe: in 1939 Pierre Chenal shot a French version under the title Le dernier tournant , and Luchino Visconti adapted the book in 1943 for his first film Ossessione , the first major work of Italian neorealism . MGM took action against this unauthorized editing of the material and obtained a ban on performing ossession in the United States.

Pre-production

It was not until the success of the film adaptations of Cain's follow-up novels Double Indemnity by Paramount in 1944 (directed by Billy Wilder ) and Mildred Pierce by Warner in 1945 (directed by Michael Curtiz ) encouraged MGM to tackle the project. These films showed MGM how adult topics such as sex and violence could be implemented on film under the conditions of the Hays Code. The subject of In the Net of Passions was considered unusual for an MGM film. The studio had specialized in family-friendly and commercially successful music films and comedies and was considered conservative and risk-averse.

Producer Carey Wilson wanted Lana Turner to lead because he saw it as an impetus for her career to expand her image through the role of Cora as femme fatale. Other departments of MGM were also preparing film projects at the time, for which they wanted to win Turner as one of the great female stars of the studio. The decisive factor was Tay Garnett's conversation with Lana Turner, in which he convinced her that the role of Cora offered the greater acting challenge compared to the other projects.

Joel McCrea and Cameron Mitchell were initially under discussion for the male lead , but those responsible ultimately chose John Garfield, who was loaned to MGM by Warner at the time. Garfield was able to allude against his image at Warner, where he embodied mostly carefree and amusing characters, and drew on experience he had gained as a penniless wandering young actor at the time of the Great Depression .

production

Filming began in June 1945 and continued until November 1945. Garnett and Wilson decided to only let Turner appear in white clothes in order to make them appear less sensual and lascivious and to set a contrast to the immorality inherent in the figure. It also turned out that the chemistry between the main actors was right and that they were able to implement the passionate relationship between the film characters very well.

Turner behaved absolutely professionally on the set and self-critically examined the samples every day. Garnett describes her character as warm and helpful, in contrast to her image as a cool sex symbol. Filming went smoothly to the point when it was time to film the scenes of Frank and Cora taking a night swim in the ocean. Fog prevailed for several days at the planned location of Laguna Beach , so they moved to San Clemente Beach . There, too, the shooting was delayed by fog. Garnett was under pressure and an alcohol-related tantrum broke out, causing Garnett to be withdrawn from filming by the studio for a week and production suspended. Garnett's biographer Nott spreads the story that Turner and Garnett had a short-term affair that week.

synchronization

The German dubbed version was created in 1954 in the MGM synchronization studio in Berlin . Cora's and Nick's surname "Smith" was changed to the name "Mill", which is easier to pronounce for German tongues. The film then opened in German cinemas on August 20, 1954 under the title Im Netz der Passenschaften .

role actor Voice actor
Cora Mill Lana Turner Eleanor Noelle
Frank John Garfield Hans Quest
Arthur Keats Hume Cronyn Kurt Meisel
Nick Mill Cecil Kellaway Alfred Balthoff
Kyle Sackett Leon Ames Siegfried Schürenberg

reception

Publication and contemporary criticism

The film was released in US cinemas on May 2, 1946. The advertising campaign was tailored to the two stars of the film, especially Lana Turner. Since MGM feared that Turner's star persona could be harmed by her portrayal of a man-murdering vamp, the studio launched photo stories in the press accompanying the film's release, which showed Turner as a loving mother with her then two-year-old daughter Cheryl.

The Net of Passions grossed almost four million dollars when it was first released in US cinemas, making it one of the few film noirs to become box-office hits in the 1940s and 1950s . Cain himself was enthusiastic about the film and gave Lana Turner a leather-bound copy of the novel with a personal dedication as a thank you for her portrayal. Turner rose to one of Hollywood's highest-paid female stars with In the Net of Passions ; her annual income in 1946 was $ 226,000.

Bosley Crowther wrote in the New York Times on May 3, 1946 , that the film featured the best roles of their careers for Lana Turner and John Garfield. The critic praises the film's realistic approach, which is true to the book, and the "well-constructed" script that does justice to the original . The film is a "serious confrontation with an American tragedy" and shows that the desire for happiness cannot be satisfied through the path of sin. Variety noted that the leading actors would use "the best of their talents" for their roles . As in Cain's book, there is “ little audience sympathy for the characters” and the script is “concise and unaffected” .

In West Germany, the Catholic film critics ( 6000 films , 1963) expressed "considerable reservations" against the film and described the plot as "tailored to sensation" .

aftermath

The film adaptations of Cain's novels resulted in a whole series of productions that were based on the successful role models and thematized triangular stories in the area of ​​tension between sexuality and crime. In the following years, Cain tried to protect his intellectual property and to take action against the exploitation of his motives, but he had little success. The Postman material also enjoyed popularity in the film business in later times: In 1981, Bob Rafelson directed his version of the novel with Jack Nicholson and Jessica Lange in the lead roles; In 1998 a Hungarian version was created under the title Szenvedély , directed by György Fehér . Even Christian Petzold's film Jerichow from 2009 is loosely based on Cain's novel.

Classification and evaluation

Morella and Epstein praise the film as "stylish and tight" ; he has the same qualities as Cain's book. For Hare, In the Net of Passions is “a milestone” in Garnett's work, which is otherwise characterized by conventional melodramas and adventure films. Werner sees the work in its relationship to the further development of film noir as a "key film of the movement" , as it ironically addresses a crime out of passion, but criticizes the "sometimes unsuitable MGM glamor" . In the Net of Passions, Conard judges its motifs and themes to be archetypal for film noir, he points out all the essential conventions: “The typical noir narrative, the femme fatale, the alienated and lost antihero [...]. [The film] has a feeling of disorientation, pessimism and a rejection of traditional ideas about morality. "

Robson feels the film is "pretty flat" , a typical MGM product. The script is "nowhere near as effective as Chandlers and Wilders [for double indemnity]" . Assuming that Cain's Double Indemnity was written as a follow-up product to The Postman Always Rings Twice to make money, the opposite impression arises with the films made after the novels. Muller judges that the film falls short of the novel and lacks its directness; he is only "tamed Cain" .

Film analysis

Staging

Visual style

The web of passions does not correspond to the lighting codes and camera strategies that are generally associated with film noir. The film is thematically assigned to film noir, but in its visual style it makes use of the standard stylistic practices of mainstream Hollywood films of the time, which MGM cultivated and refined to a particular degree. Instead of low-key lighting and expressive stylization through light and shadow, In the Net of Passions there is a high-key lighting in the glamorous style of MGM music films and comedies of the time. Garnett only occasionally makes use of visual accents from the cinematic language of noir, for example when he lets the light come in between the slats of a blind to give some scenes with Cora and Frank a claustrophobic atmosphere.

The visual elaboration of the scene in which Cora and Frank meet for the first time was received as outstanding. Basinger called the first picture of Turner "one of the most famous of American pin-up credit history" and states: "An entire generation remembered this" : From Frank's point-of-view perspective captures the camera in a panning shot a Lipstick that fell to the floor. The camera pans from the lipstick higher to its owner Cora, up her legs, over the body, dressed entirely in white in hot pants and a crop top , to her face. This camera work gives the scene "an atmosphere like under high voltage, so powerful and convincing in its natural sensuality and its visual inventiveness that film enthusiasts have not stopped talking and writing about it since," Hare notes. Merker compares the scene to the first appearance of Rita Hayworth in Gilda and that of the main character in Kubrick's Lolita .

dramaturgy

The film narration is structured as a voice-over by Frank's voice from the off : he tells his fateful story on death row to his confessor. The film becomes one big flashback and thus corresponds to the fatalistic attitude of the film noir, that the fate of the protagonists is irrevocably predetermined from the beginning. Frank's story takes on the “gesture of a confession” , as Werner notes , from the situation in which he reports . Frank tells everything that happened openly, but it remains unclear to the viewer whether he is objectively reproducing the truth or whether mechanisms of repression or justification subject Frank's report. According to Paul Werner , the film draws its tension out of the uncertainty as to whether Frank's words or the images shown are to be trusted .

In addition, the viewer's moral positioning is made more difficult because the report is from the perspective of an offender who is also a victim. Werner sees the combination of voiceover and flashback as the equivalent of Cain's narrative strategy in the novel, in which the first-person narrator keeps a cool distance from himself and his actions.

Logical breaks in the film are mainly seen in the figure of Cora. Her character, which fluctuates between arrogance and helplessness, is in no way satisfactorily explained by the “highly stylized images” and Turner's “theatrical acting” , the logic of action is therefore “extremely fragile” . Above all, it remains unclear why Cora once married Nick, who is almost a caricature. The lovers' hasty attempt to flee and Frank's later escape cannot find any conclusive explanation from the plot.

Themes and motifs

Social background

In contrast to the novel and the other film adaptations, Im Netz der Passionen almost completely omits the social background of the story. The plot was moved from the time of the Great Depression to the present when the film was being made, so topics such as mass unemployment and the fate of the destitute migrating were not the focus. Maiwald states that immediately after the end of the Second World War, it was neither desirable nor cash-rich to address the deprivations of bad times in film. The immigration problem that Cain touches on in the novel is also not reflected in the film: in the book, Cora's husband is Nick Papadakis and is a Greek immigrant, in the film this background is missing and the character is called Nick Smith.

irony

The irony of fate is the main leitmotif of the film: the anti-hero gets away with a murder committed, but is punished with death for a murder he did not commit. This main theme is supplemented by further ironic plot aspects. Merker, for example, draws a connection between the hamburger , who burns on the grill the first time Frank and Cora meet, to the cat who is electrocuted while attempting to murder Nick, to the end of Frank, who is waiting on death row for "roasted" " to become.

The protagonists convey further aspects of irony: It is the district attorney Sackett who drops Frank down in front of the restaurant at the beginning of the film; the same figure who finally revealed to him that his pardon was rejected. The character of Nick also contributes to the ironic undertone of the film: through his naive, idiot nature, his childlike innocence, he is always involved in the emergence of situations without realizing it, which drive Cora and Frank ever deeper into their mutual passionate dependence.

eroticism

The ambiguous sign “MAN WANTED” , which lures Frank into the Twin Oaks , makes it clear that passion based on physical attraction is a main drive of the film plot. However, due to the restrictions of the Hays Code, the film avoids any clear representation of sexuality. Sensuality is conveyed through imagination and suggestion. The layout of the Cora as, according to Maiwald, "inviolable like a catwalk model, entranced like a Venus" ensures a distanced stylization of the erotic, which is reinforced by Cora's white clothing; this counteracts "ironically the symbol of innocence from beginning to end," as Merker notes.

Through the coolness of the contemplation - at least in the first part of the film - Cora becomes a symbol of the femme fatale , the "embodiment of deadly beauty" , as Morella and Epstein note. Muller cites this aspect of the feminine in Cain: “One of Cain's major contributions to noir was his way of dealing with the female characters. They are powerful, almost elementary forces of nature. Cain's men put their faith on these women just as believers put theirs on God. A coin toss decides whether they bring life or death. "

Guilt and fate

The fact that the sexual attraction between Frank and Cora ultimately turns into love no longer plays a role in the noir context of the film: their fate is already sealed by the immorality of their actions, love can no longer offer redemption. Merker explains: “Lust, deception, deception, desire, suspicion, blackmail, money, love, sex, power, these are the classic noir elements between the femme fatale and the man who falls for it, between the two who don't can let go more of each other, and when they finally realize that they love each other - too - it is too late. "

When the couple becomes aware of their love, the two try to wash away their guilt by bathing in the sea. You come across as "warm-hearted and desperate, not cold-blooded and calculating" . Merker also confirms that after their deed, the two were not characterized by cold unscrupulousness and the lack of remorse, but were in the face of their love "outside of all humanity, the crime is not for them" .

The fact that both ultimately die through their culpable involvement and in giving in to their passions gives the film a moralizing quality. Dickos notes: “Cora is not allowed to live out the passion that she feels so intensely for Frank, because it comes into conflict with the limiting character of marriage, with loyalty [...]. The fact that she expresses her needs with intense desire is a rebellious act that can only be atoned for by her death and that of her lover. " With this end, " eroticism and sex dissolved completely in a moral sense of justice and religiously based agape , " adds Maiwald . Merker calls the film a "Melo Noir" because of this determining quality of culpable behavior .

literature

Literary template

Secondary literature

  • Tay Garnett , Fredda Dudley Balling (collaboration): Light Your Torches and Pull Up Your Tights. Arlington House, New Rochelle 1973, ISBN 0-87000-204-X .
  • Norbert Grob (Ed.): Film genres - Film noir. Philipp Reclam jun., Stuttgart 2008, ISBN 978-3-15-018552-0 .
  • William Hare: Early Film Noir - Greed, Lust and Murder Hollywood Style. McFarland & Company Inc., Jefferson and London 2003, ISBN 0-7864-1629-7 .
  • Oliver Jahraus, Stefan Neuhaus (Hrsg.): The erotic film - On the media coding of aesthetics, sexuality and violence. Königshausen & Neumann, Würzburg 2003, ISBN 3-8260-2582-2 .
  • Joe Morella, Edward Z. Epstein: Lana - The Public an Private Lives of Miss Turner. Dell Publishing, New York 1972, ISBN 0-440-14817-0 .
  • Robert Nott: He Ran All The Way - The Life of John Garfield. Limelight Editions, New York 2003, ISBN 0-87910-985-8 .
  • Paul Werner : Film noir - The shadow games of the "black series". Fischer Taschenbuch Verlag, 1985, ISBN 3-596-24452-8 .

Web links

Individual evidence

  1. ^ Eva Sattlegger: Film Noir and Hard-Boiled Fiction - Classics of Film Noir and their literary predecessors. VDM Verlag Dr. Müller, Saarbrücken 2008, ISBN 978-3-639-06127-7 , p. 76.
  2. ↑ a b Helmut Merker: In the network of passions in: Grob: p. 115.
  3. ↑ Hare: p. 134. In fact, Visconti's film was not allowed to be shown in the USA for the first time until 1977.
  4. ↑ Andrew Spicer: Film Noir . Pearson Education Ltd., Harlow 2002, ISBN 0-582-43712-1 , p. 38.
  5. ^ Hare: p. 130.
  6. ^ Morella / Epstein: p. 81.
  7. ↑ Nott: p. 177.
  8. ↑ a b Nott: p. 179.
  9. ↑ Morella / Epstein: p. 82. Turner's platinum-blonde hair in this film was not the director's idea of ​​the director; Lana Turner wore this hairstyle even before filming.
  10. ↑ a b c d Morella / Epstein: p. 82.
  11. ^ Jeanine Basinger: Lana Turner. Pyramid Publications, New York 1976, ISBN 0-515-04194-7 , p. 68.
  12. ^ Garnett: p. 265.
  13. ↑ Nott: p. 180.
  14. ↑ In the Net of Passions (1946) ( Memento of the original from March 6, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. in Arne Kaul's synchronous database; Retrieved September 16, 2010. @1@ 2Template: Webachiv / IABot / www.synchrondatenbank.de
  15. ↑ a b Morella / Epstein: p. 83.
  16. ↑ Jane Ellen Wayne: The Golden Girls of MGM. Carroll & Graf Publishers, New York 2002, ISBN 0-7867-1303-8 , p. 177.
  17. ^ Hare: p. 143.
  18. ↑ Andrew Spicer: Film Noir. Pearson Education Ltd., Harlow 2002, ISBN 0-582-43712-1 , p. 41.
  19. ^ Hare: p. 134.
  20. ↑ Review by Bosley Crowther in the New York Times
  21. ↑ Critique of Variety
  22. ↑ 6000 films. Critical notes from the cinema years 1945 to 1958 . Handbook V of the Catholic film criticism, 3rd edition, Verlag Haus Altenberg, Düsseldorf 1963, p. 208.
  23. ↑ Monograms Apology for Murder, for example, is a blatant copy of Double Indemnity .
  24. ^ Eddie Muller: Dark City - The Lost World of Film Noir. St. Martin's Press, New York 1998, ISBN 0-312-18076-4 , p. 59.
  25. ↑ Christian Petzold in an interview in Tagesspiegel on January 5, 2009
  26. ^ Hare: p. 131.
  27. ↑ Werner: p. 196.
  28. ↑ Mark T. Conard: Nietzsche and the Meaning and Definition of Noir in: Mark T. Conard (Ed.): The Philosophy of Film Noir. The University Press of Kentucky, Lexington 2006, ISBN 978-0-8131-2377-6 , p. 7.
  29. ^ Eddie Robson: Film noir. Virgin Books Ltd., London 2005, ISBN 0-7535-1086-3 , p. 56.
  30. ^ Eddie Robson: Film noir. Virgin Books Ltd., London 2005, ISBN 0-7535-1086-3 , p. 70.
  31. ^ Eddie Muller: Dark City - The Lost World of Film Noir. St. Martin's Press, New York 1998, ISBN 0-312-18076-4 , p. 58.
  32. ^ Frank Krutnik: In a Lonely Street - Film Noir, Genre, Masculinity. Routledge, London and New York 1991, ISBN 0-415-02630-X , p. 26.
  33. ↑ a b Helmut Merker: In the network of passions in: Grob: p. 116.
  34. ^ Jeanine Basinger: Lana Turner. Pyramid Publications, New York 1976, ISBN 0-515-04194-7 , p. 67.
  35. ↑ Hare: p. 137. A resolution of the sequence in still images can be found here  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. .@1@ 2Template: Dead Link / www.tcf.ua.edu  
  36. ↑ Helmut Merker: In the network of passions in: Grob: S. 113.
  37. ↑ Werner: p. 70.
  38. ↑ Werner: p. 86.
  39. ↑ Werner: p. 87.
  40. ↑ Klaus Maiwald: “A place is no better than its sign, is it?” Self-repeal of the erotic in Bob Rafelson's The Postman Always Rings Twice in: Jahraus / Neuhaus: p. 86.
  41. ↑ Klaus Maiwald: “A place is no better than its sign, is it?” Self-repeal of the erotic in Bob Rafelson's The Postman Always Rings Twice in: Jahraus / Neuhaus: p. 72.
  42. ↑ Helmut Merker: In the Net of Passions in: Grob: p. 118. Merker adds that the film also loses a mythological allusion that is contained in the novel: Cora and Frank's first attempt at murder of the Greek Nick takes place there in the bathtub, just as Agamemnon was once murdered in the bath by his wife Klytaimnestra and her lover Aigisthus .
  43. ↑ Helmut Merker: In the Net of Passions in: Grob: S. 114. The fate that Frank expects is not the electric chair , but the gas chamber .
  44. ^ Hare: p. 140.
  45. ↑ Helmut Merker: In the network of passions in: Grob: S.114
  46. ^ Hare: p. 138.
  47. ↑ Klaus Maiwald: “A place is no better than its sign, is it?” Self-repeal of the erotic in Bob Rafelson's The Postman Always Rings Twice in: Jahraus / Neuhaus: p. 76.
  48. ^ Eddie Muller: Dark City - The Lost World of Film Noir. St. Martin's Press, New York 1998, ISBN 0-312-18076-4 , p. 59.
  49. ↑ Helmut Merker: In the network of passions in: Grob: S. 117.
  50. ↑ Alain Silver & James Ursini / Paul Duncan (eds.): Film Noir. Taschen Verlag, Cologne 2004, ISBN 3-8228-2268-X , p. 27.
  51. ↑ a b Helmut Merker: In the network of passions in: Grob: p. 118.
  52. ^ Andrew Dickos: Street with No Name - A History of the Classic American Film Noir. The University Press of Kentucky, Lexington 2002, ISBN 978-0-8131-2243-4 , p. 158.
  53. ↑ Klaus Maiwald: "A place is no better than its sign, is it?" Self-repeal of the erotic in Bob Rafelson's The Postman Always Rings Twice in: Jahraus / Neuhaus: p. 80.
This version was added to the list of articles worth reading on December 18, 2008 .