George Marshall, 1946
Starring: Alan Ladd, Veronica Lake, William Bendix
“Bourbon straight with a bourbon chaser.”
Three Navy pilots return home to California from the war in the South Pacific: Johnny Morrison, George Copeland, and Buzz Wanchek, whose lingering head wound causes him agonizing headaches and periods of black out. Instead of an enthusiastic homecoming, Morrison learns that his wife, Helen, has adopted a lifestyle of constant partying. She has had at least one affair and killed their young son when she drove drunk one night and crashed the car. Feeling murderous, he leaves her. Buzz, meanwhile, gets a call from Helen and goes to her hotel to look for Johnny. Not knowing who she is, he buys a drink and is coerced back to her room. She is also dropped in on by Eddie, her no good boyfriend, and “Dad,” the hotel detective. Later that night, she is killed and Johnny is the main suspect. Johnny, meanwhile, has found a new hotel and has crossed paths with the attractive Joyce. They hit it off, but she also happens to be Eddie’s estranged wife. Can he figure out who Helen’s killer is before he’s arrested?
This is the third pairing of film noir duo Alan Ladd and Veronica Lake after the excellent This Gun for Hire and the mediocre The Glass Key. The Blue Dahlia falls somewhere between the two, thanks to a hardboiled script from the master, Raymond Chandler. Chandler had an odd screenwriting career. Aside from The Blue Dahlia, he adapted James Cain’s Double Indemnity with director Billy Wilder and worked on Strangers on a Train with Hitchcock for a time, though his own novels – Lady in the Lake, The Big Sleep, and Farewell, My Lovely – were all adapted by other writers. He was nominated for an Academy Award for The Blue Dahlia, though he got stuck on the script and had to go on a massive drinking binge to finish it (he had a life-long struggle with alcoholism and was trying to abstain at that particular time in his career). It is his great dialogue that makes the film, with lines like “You got the wrong lipstick on,” when Ladd punches his wife’s lover in the jaw.