Loretta Young with a fateful letter. Image: TCM

Serious Question: Is there such a thing as a domestic film noir?

And: Can a film noir take place in the bright California sunshine?

Here’s our query: In the 1951 “B” movie, Cause for Alarm! (exclamation point included), there are many noir-ish elements, such as a situation that quickly Spirals out of control, a reluctance to call law enforcement, and the use of flashbacks and narration.

Now, scenes in film noir often take place at night, but there’s more than physical darkness afoot. There’s also a darkness of purpose, and the darkness in a person’s soul.

Besides, setting a noir in a sunny L.A. neighbourhood gives it a surreal, This-Can’t-Be-Happening feel.

But we’re getting ahead of ourselves.

In Cause for Alarm!, Loretta Young stars as an exhausted woman caring for her ailing husband (Barry Sulivan). She’s given up her entire life for this man, who’s become an unstable psychopath. He’s jealous, he doesn’t like neighbours coming to the house, and he demands an exact itinerary of Young’s day.

Worse still, he suspects Young of having an affair with his doctor, and believes they are Plotting to murder him. He writes a rambling letter to the Los Angeles District Attorney outlining this alleged plot, a letter he cruelly asks Young to mail.

Sullivan tells her the contents of the letter after she gives it to the postman, and says he’ll kill her and make it look like self defense.

“[Murder is] in your mind,” he snarls. “That’s why you feel so guilty, isn’t it?”

It’s a charge she doesn’t deny. However, the exertion of threatening to kill her causes a fatal heart attack, and he collapses.

Barry Sullivan shares his murderous feelings. Image: Heart of Noir

The movie unfolds in more-or-less real time, and there are several Hitchcockian touches, such as a chatty relative who won’t leave, and a nosy neighbour who openly studies Young with suspicion.

And Young does act suspiciously. Look at the choices her character makes immediately following her husband’s death:

  • She doesn’t check Sullivan’s body to see if he still has a pulse.
  • She doesn’t call police or the doctor.
  • She says nothing to the pharmacist who phones about her husband’s prescription.
  • She leaves the house to intercept the letter while her husband’s body remains upstairs.

We don’t judge her for these decisions, because (A) she’s Loretta Young, and (B) she’s fighting for her life. Things would be very Bleak indeed, if a certain letter were to land in the Attorney General’s In-Box.

What’s implied, but never stated, in true noir fashion, is that the police cannot be trusted to get to the Truth of the Matter. Young must sort this out herself.

A terrifying realization. Image: FilmBooster

Cause for Alarm! has the feel of an early Made-for-TV movie, and it’s surprising this thrifty, urgently-punctuated film came from MGM studios. Even the title suggests a Poverty Row production.

It seems the film served as a template for Young’s later, and popular, long-running anthology series, The Loretta Young Show (1953-1961). This television series opened each week with introductory comments from Young, who grandly sweeps through a door onto the set, wearing the most beautiful clothes imaginable.

Young, born in 1913, was an Oscar-winning actress who began appearing in movies as a toddler, but her career didn’t really gain traction until WWII. The holiday favourite, The Bishop’s Wife (1947), is one of her best-remembered films.

By the early 1950s, however, her film career was starting to wane, but she found new life on television.

Even though it’s now in the public domain – and looks it – Cause for Alarm! is still a brisk, riveting movie that showcases Loretta Young’s tremendous talent.

Have you seen this film? What do you think? Would you call it a “domestic” film noir?

This is a contribution to THE 2nd ANNUAL FAVORITE STARS IN B MOVIES Blogathon, hosted by Films From Beyond

Cause for Alarm! starring Loretta Young, Barry Sullivan, Bruce Cowling. Directed by Tay Garnett. Written by Mel Dinelli & Tom Lewis. Metro-Goldwyn-Mayer, 1951, B&W, 74 mins.

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