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At another bar, Eleanor finds another clue in Frank's painting on the wall. At Frank's workplace, a department store, Eleanor finds the letter, which states that Frank is at "the place where he first lost her." Eleanor realizes that the location is on the beach near an amusement park. Eleanor and Danny rush to the beach, where Frank is finishing a large sand sculpture.
At another bar, Eleanor finds another clue in Frank's painting on the wall. At Frank's workplace, a department store, Eleanor finds the letter, which states that Frank is at "the place where he first lost her." Eleanor realizes that the location is on the beach near an amusement park. Eleanor and Danny rush to the beach, where Frank is finishing a large sand sculpture.


With Eleanor taking a terrifying rollercoaster ride to elude the police, Danny is revealed as the villain as he confronts Frank at gunpoint. Eleanor rushes to the scene upon hearing a gunshot and sees Danny's body floating in the water. She is tearfully reunited with Frank.
With Eleanor taking a terrifying roller coaster ride to elude the police, Danny is revealed as the villain as he confronts Frank at gunpoint. Eleanor rushes to the scene upon hearing a gunshot and sees Danny's body floating in the water. She is tearfully reunited with Frank.


==Cast==
==Cast==
Line 62: Line 62:


==Production==
==Production==
Production on the film was announced in [[trade publication]]s in January 1950, initially with the working title ''Man on the Run''.<ref>{{Cite news|title=Ann Sheridan's Next Movie to Be a Comedy with Cops and Gangsters: Looking at Hollywood.....|author=Hopper, Hedda|date=Jan 13, 1950|work=Chicago Daily Tribune|page=A6}}</ref> As part of the casting process, actor J. Farrell MacDonald was then "borrowed" from 20th Century Fox for the supporting role of the sea captain before filming began on 20 March.<ref>{{cite news|title=FILMLAND BRIEFS|work=Los Angeles Times|date=May 23, 1950|page=A6}}</ref><ref>{{cite news|title=TWO MOVIE FIRMS MERGE INTERESTS: Fidelity and Erskine Also List Ambitious Schedule for the New Production Company Western Slated for Flynn|author=THOMAS F. BRADY|date=Mar 6, 1950|page=28}}</ref> The film was shot on location in San Francisco as well as at [[Pacific Ocean Park|Ocean Park Pier]] in [[Santa Monica, California|Santa Monica]] for the amusement park and [[roller coaster]] scenes.<ref>{{cite news|title=ALONG BROADWAY: Roller Coaster 'Throws' Texas' Ann Sheridan|author=Barron, Mark|work=Los Angeles Times|date=Oct 15, 1950|page=D10}}</ref>
Ann Sheridan was announced as the female lead in January 1950, with the film's working title as ''Man on the Run''.<ref>{{Cite news |author=Hopper |first=Hedda |date=1950-01-13 |title=Ann Sheridan's Next Movie to Be a Comedy with Cops and Gangsters |work=[[Chicago Tribune]] |page=6, Part 2}}</ref> In February, it was reported the producers were facing problems with the script and had changed writers.<ref>{{Cite news |last=Gwynn |first=Edith |date=1950-02-09 |title=Edith Gwynn's Hollywood |work=[[The Cincinnati Enquirer]] |page=7}}</ref>


Sheridan was reported to have negotiated to receive a large portion of the film's profits and was paid $150,000 for her work.<ref>{{Cite news |last=Johnson |first=Erskine |date=1950-03-18 |title=In Hollywood |work=[[Dunkirk Evening Observer]] |location=[[Dunkirk, New York]] |page=7}}</ref> [[20th Century Studios|Twentieth Century-Fox]] paid Fidelity Pictures $50,000 to delay production of the film while Sheridan completed work on ''[[Stella (1950 film)|Stella]]''.<ref>{{Cite news |last=Graham |first=Sheilah |date=1950-03-28 |title=Hollywood |work=[[The Scranton Times]] |page=21}}</ref> Rumors circulated that she was ill after having transitioned directly from ''Stella'' to ''Woman on the Run'', which she vehemently denied.<ref>{{Cite news |last=Schallert |first=Edwin |date=1950-05-12 |title=Jan Sterling to Play Tierney Rival; Story Shapes for Kirk Douglas |work=[[Los Angeles Times]] |page=9, Part II}}</ref>
⚫
[[Ross Hunter]] worked as dialogue director on the film. He later produced some movies starring Sheridan at Universal helping launch Hunter's producing career.<ref>{{Cite news|title='Red Badge' Off-Beat Casting Revel; Bruce Cabot Does Top Bad Man|author=Schallert, Edwin|date=Aug 7, 1950|work=Los Angeles Times|page=B9}}</ref>

Production for ''Woman on the Run'' began in early May.<ref>{{Cite news |date=1950-05-05 |title=Production Schedule |work=[[Los Angeles Evening Citizen News]] |page=17}}</ref> The film was shot on location in San Francisco, although some night scenes set in San Francisco were filmed in the Court Hill section of Los Angeles.<ref>{{Cite news |date=1950-05-11 |title=Filmland Briefs |work=[[Los Angeles Times]] |page=16, Part II}}</ref> The amusement park and [[roller coaster]] scenes were filmed at [[Pacific Ocean Park|Ocean Park Pier]] in [[Santa Monica, California|Santa Monica]].<ref>{{cite news|title=ALONG BROADWAY: Roller Coaster 'Throws' Texas' Ann Sheridan|author=Barron, Mark|work=Los Angeles Times|date=Oct 15, 1950|page=D10}}</ref> Sheridan, who had a great fear of roller coasters dating back to a childhood accident at an amusement park, took eight full rides on the Ocean Park Pier roller coaster during the course of filming the sequence.<ref>{{Cite news |last=Sloan |first=Lloyd L. |date=1950-05-20 |title=Gary Cooper to Produce Full-Length Ski Film |work=[[Los Angeles Evening Citizen-News]] |page=9}}</ref><ref>{{Cite news |last=Parsons |first=Louella |date=1950-05-26 |title=Loretta Young, Joseph Cotten Will Be Teamed |work=[[Los Angeles Evening Citizen-News]] |page=23}}</ref> Filming wrapped in mid-June 1950.<ref>{{Cite news |last=Johnson |first=Erskine |date=1950-06-15 |title=Pipple Talk Too Much Says Dizzy-Hats Carmen |work=[[The Ottawa Citizen]] |page=29}}</ref>

⚫
[[Ross Hunter]] worked as dialogue director for the film as well as for several other films starring Sheridan at Universal.<ref>{{Cite news|title='Red Badge' Off-Beat Casting Revel; Bruce Cabot Does Top Bad Man|author=Schallert, Edwin|date=Aug 7, 1950|work=Los Angeles Times|page=B9}}</ref>

According to film noir historian [[Eddie Muller]], much of the film's dialogue was [[Improvisational theatre|improvised]], a rarity for the era, and no [[Continuity (fiction)|continuity]] script was completed.<ref name=":0">{{Cite news |last=Metz |first=Nina |date=2015-08-27 |title=‘Woman on the Run’ a noir treasure that was nearly lost |url=https://www.chicagotribune.com/2015/08/27/woman-on-the-run-a-noir-treasure-that-was-nearly-lost/ |access-date=2024-06-27 |work=[[Chicago Tribune]]}}</ref>


==Reception==
==Reception==
In 1950, the critic [[Bosley Crowther]] of ''[[The New York Times]]'' gave the film a generally positive review:{{blockquote|Since it never pretends to be more than it is, "Woman on the Run", which began a stand at the [[Olympia Theatre (New York City)|Criterion]] yesterday, is melodrama of solid if not spectacular proportions. Working on what obviously was a modest budget, its independent producers may not have achieved a superior chase in this yarn about the search by the police and the fugitive's wife for a missing witness to a gangland killing. But as a combination of sincere characterizations, plausible dialogue, suspense and the added documentary attribute of a scenic tour through San Francisco, "Woman on the Run" may be set several notches above the usual cops-and-corpses contributions from the Coast ... "Woman on the Run" will not win prizes but it does make crime enjoyable.<ref>[http://movies.nytimes.com/movie/review?res=9C00E3D8113BE23ABC4850DFB767838B649EDE Crowther, Bosley]. ''[[The New York Times]]'', film review, November 30, 1950. Accessed: August 18, 2013.</ref>}}
In a contemporary review for ''[[The New York Times]]'', critic [[Bosley Crowther]] wrote:<blockquote>Since it never pretends to be more than it is, "Woman on the Run" ... is melodrama of solid if not spectacular proportions. Working on what obviously was a modest budget, its independent producers may not have achieved a superior chase in this yarn about the search by the police and the fugitive's wife for a missing witness to a gangland killing. But as a combination of sincere characterizations, plausible dialogue, suspense and the added documentary attribute of a scenic tour through San Francisco, "Woman on the Run" may be set several notches above the usual cops-and-corpses contributions from the Coast ... "Woman on the Run" will not win prizes but it does make crime enjoyable.<ref>{{Cite news |last=Crowther |first=Bosley |date=1950-11-30 |title=The Screen: 3 Films Have Premieres Here |url= |access-date= |work=[[The New York Times]] |page=42 |issn=}}</ref></blockquote>''[[Los Angeles Times]]'' reviewer Philip K. Scheuer wrote:<blockquote>For a [[Alfred Hitchcock|Hitchcock]]-type thriller ... 'Woman on the Run' is really quite a presentable little affair, directed (after one of the talkiest openings on record) with fair imagination by Norman Foster, who also collaborated on the screen play. His roller-coaster finish, at any rate, demonstrates what applied cinematics can do to make the spectator breathe hard over a situation which, if he were thinking hard instead, would quickly establish itself as coming mighty close to the preposterous.<ref>{{Cite news |last=Scheuer |first=Philip K. |date=1950-10-30 |title=Ann Sheridan Woman on Run in Thriller |work=[[Los Angeles Times]] |page=11, Part II}}</ref></blockquote>


== Restoration ==
In a more current assessment of the drama, reviewer Farran Smith Nehme in 2016 praised Sheridan's performance in ''[[Film Comment]]''.<ref>{{Cite news|url=https://www.filmcomment.com/blog/late-tears-1949-woman-run-1950/|title=Too Late for Tears (1949) + Woman on the Run (1950) – Film Comment|date=2016-05-06|work=Film Comment|access-date=2017-08-09|language=en-US}}</ref> Also, according to film historian Philippa Gates, ''Woman on the Run'' is one of very few noir films foregrounding a heroine's quest, and especially one where "the heroine's quest is not necessarily complicated by [heterosexual romance ..., in fact] the love interests are absent for the majority of the story".<ref>Philippa Gates, "Independence Unpunished: The Female Detective in Classic Film Noir", in Robert Miklitsch ed., ''Kiss the Blood off My Hands: On Classic Film Noir'' (Urbana: Univ. of IL Press, 2014), 21. See also Gates' full-length book on the subject of female detectives in film, ''Detecting Women: Gender and the Hollywood Detective Film'' (SUNY Press, 2011). {{ISBN|1-4384-3405-7}}</ref>
In 2003, a pristine print of the film was located in Universal's vault, but it was destroyed in the [[2008 Universal Studios fire|2008 Universal lot fire]]. The film was thus believed to be lost, with the only extant copies being numerous poor-quality [[VHS]] transfers typical of public-domain films. However, the film's negative and soundtrack were found in the [[British Film Institute]]'s collection, and the Film Noir Foundation and [[Hollywood Foreign Press Association]] funded a complete restoration by the [[UCLA Film and Television Archive]]. The restored film premiered in August 2015.<ref name=":0" />


==See also==
==See also==

Revision as of 22:12, 27 June 2024

For the 1993 American drama film, see Woman on the Run: The Lawrencia Bembenek Story. For articles with a similar title, see Women on the Run (disambiguation).
Woman on the Run
Film poster by Reynold Brown
Directed byNorman Foster
Screenplay byAlan Campbell
Norman Foster
Ross Hunter (dialogue)
Based on"Man on the Run"
1948 story in American Magazine
by Sylvia Tate
Produced byHoward Welsch
StarringAnn Sheridan
Dennis O'Keefe
CinematographyHal Mohr
Edited byOtto Ludwig
Music byArthur Lange
Emil Newman
Color processBlack and white
Production
company
Fidelity Pictures Corporation
Distributed byUniversal Pictures
Release date
  • November 29, 1950 (1950-11-29) (New York City)
Running time
77 minutes
CountryUnited States
LanguageEnglish

Woman on the Run is a 1950 American crime film noir directed by Norman Foster and starring Ann Sheridan and Dennis O'Keefe.[1] The film was based on the April 1948 short story "Man on the Run" by Sylvia Tate. It was filmed on location in San Francisco. The film's title is somewhat misleading, as its plot involves a man, not a woman, who is on the run.

The film exists in the public domain and was restored and preserved by the UCLA Film & Television Archive.

Plot

In San Francisco, artist Frank Johnson observes the gunshot murder of an important trial witness by a gangster seeking extortion money. Noticing Frank, the murderer takes shots at him. When the police arrive, inspector Martin Ferris learns that Frank, the sole witness, could identify the killer in a lineup, so he detains Frank to be given protective custody. When Frank sees bullet holes in the chest area of his shadow on a nearby wall and realizes how close he had come to death, he panics and surreptitiously escapes the police.

Ferris learns from Eleanor Johnson, Frank's wife, that the marriage is greatly strained and that Frank has disclosed little about his life to her. She informs Ferris that Frank has a longstanding habit of running from situations and events.

Reporter Danny Legget insinuates himself into Eleanor's life and assists her in the search for Frank. Danny makes romantic advances, but Eleanor rediscovers her feelings for Frank the longer that he is away. Ferris and the police are also seeking Frank, and undercover officers tail Eleanor wherever she goes.

At a Chinese nightclub that Frank frequents, a waiter gives Eleanor a note left by Frank. In the letter, Frank tells Eleanor that he will send a letter to his workplace informing her of his location. Danny learns that Suzie, a Chinese dancer, has a sketch of him that was given to her by Frank, so he steals the drawing. Soon after, Suzie falls from a window to her death, and the nightclub staff cannot believe that she would commit suicide.

At another bar, Eleanor finds another clue in Frank's painting on the wall. At Frank's workplace, a department store, Eleanor finds the letter, which states that Frank is at "the place where he first lost her." Eleanor realizes that the location is on the beach near an amusement park. Eleanor and Danny rush to the beach, where Frank is finishing a large sand sculpture.

With Eleanor taking a terrifying roller coaster ride to elude the police, Danny is revealed as the villain as he confronts Frank at gunpoint. Eleanor rushes to the scene upon hearing a gunshot and sees Danny's body floating in the water. She is tearfully reunited with Frank.

Cast

Production

Ann Sheridan was announced as the female lead in January 1950, with the film's working title as Man on the Run.[2] In February, it was reported the producers were facing problems with the script and had changed writers.[3]

Sheridan was reported to have negotiated to receive a large portion of the film's profits and was paid $150,000 for her work.[4] Twentieth Century-Fox paid Fidelity Pictures $50,000 to delay production of the film while Sheridan completed work on Stella.[5] Rumors circulated that she was ill after having transitioned directly from Stella to Woman on the Run, which she vehemently denied.[6]

Production for Woman on the Run began in early May.[7] The film was shot on location in San Francisco, although some night scenes set in San Francisco were filmed in the Court Hill section of Los Angeles.[8] The amusement park and roller coaster scenes were filmed at Ocean Park Pier in Santa Monica.[9] Sheridan, who had a great fear of roller coasters dating back to a childhood accident at an amusement park, took eight full rides on the Ocean Park Pier roller coaster during the course of filming the sequence.[10][11] Filming wrapped in mid-June 1950.[12]

Ross Hunter worked as dialogue director for the film as well as for several other films starring Sheridan at Universal.[13]

According to film noir historian Eddie Muller, much of the film's dialogue was improvised, a rarity for the era, and no continuity script was completed.[14]

Reception

In a contemporary review for The New York Times, critic Bosley Crowther wrote:

Since it never pretends to be more than it is, "Woman on the Run" ... is melodrama of solid if not spectacular proportions. Working on what obviously was a modest budget, its independent producers may not have achieved a superior chase in this yarn about the search by the police and the fugitive's wife for a missing witness to a gangland killing. But as a combination of sincere characterizations, plausible dialogue, suspense and the added documentary attribute of a scenic tour through San Francisco, "Woman on the Run" may be set several notches above the usual cops-and-corpses contributions from the Coast ... "Woman on the Run" will not win prizes but it does make crime enjoyable.[15]

Los Angeles Times reviewer Philip K. Scheuer wrote:

For a Hitchcock-type thriller ... 'Woman on the Run' is really quite a presentable little affair, directed (after one of the talkiest openings on record) with fair imagination by Norman Foster, who also collaborated on the screen play. His roller-coaster finish, at any rate, demonstrates what applied cinematics can do to make the spectator breathe hard over a situation which, if he were thinking hard instead, would quickly establish itself as coming mighty close to the preposterous.[16]

Restoration

In 2003, a pristine print of the film was located in Universal's vault, but it was destroyed in the 2008 Universal lot fire. The film was thus believed to be lost, with the only extant copies being numerous poor-quality VHS transfers typical of public-domain films. However, the film's negative and soundtrack were found in the British Film Institute's collection, and the Film Noir Foundation and Hollywood Foreign Press Association funded a complete restoration by the UCLA Film and Television Archive. The restored film premiered in August 2015.[14]

See also

References

  1. ^ Woman on the Run at the AFI Catalog of Feature Films.
  2. ^ Hopper, Hedda (1950-01-13). "Ann Sheridan's Next Movie to Be a Comedy with Cops and Gangsters". Chicago Tribune. p. 6, Part 2.
  3. ^ Gwynn, Edith (1950-02-09). "Edith Gwynn's Hollywood". The Cincinnati Enquirer. p. 7.
  4. ^ Johnson, Erskine (1950-03-18). "In Hollywood". Dunkirk Evening Observer. Dunkirk, New York. p. 7.
  5. ^ Graham, Sheilah (1950-03-28). "Hollywood". The Scranton Times. p. 21.
  6. ^ Schallert, Edwin (1950-05-12). "Jan Sterling to Play Tierney Rival; Story Shapes for Kirk Douglas". Los Angeles Times. p. 9, Part II.
  7. ^ "Production Schedule". Los Angeles Evening Citizen News. 1950-05-05. p. 17.
  8. ^ "Filmland Briefs". Los Angeles Times. 1950-05-11. p. 16, Part II.
  9. ^ Barron, Mark (Oct 15, 1950). "ALONG BROADWAY: Roller Coaster 'Throws' Texas' Ann Sheridan". Los Angeles Times. p. D10.
  10. ^ Sloan, Lloyd L. (1950-05-20). "Gary Cooper to Produce Full-Length Ski Film". Los Angeles Evening Citizen-News. p. 9.
  11. ^ Parsons, Louella (1950-05-26). "Loretta Young, Joseph Cotten Will Be Teamed". Los Angeles Evening Citizen-News. p. 23.
  12. ^ Johnson, Erskine (1950-06-15). "Pipple Talk Too Much Says Dizzy-Hats Carmen". The Ottawa Citizen. p. 29.
  13. ^ Schallert, Edwin (Aug 7, 1950). "'Red Badge' Off-Beat Casting Revel; Bruce Cabot Does Top Bad Man". Los Angeles Times. p. B9.
  14. ^ a b Metz, Nina (2015-08-27). "'Woman on the Run' a noir treasure that was nearly lost". Chicago Tribune. Retrieved 2024-06-27.
  15. ^ Crowther, Bosley (1950-11-30). "The Screen: 3 Films Have Premieres Here". The New York Times. p. 42.
  16. ^ Scheuer, Philip K. (1950-10-30). "Ann Sheridan Woman on Run in Thriller". Los Angeles Times. p. 11, Part II.
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