Release Date: July 8th, 1950
Directed by: John Farrow
Written by: Charles Bennett, Leo Rosen
Music by: Roy Webb
Cast: Robert Mitchum, Faith Domergue, Claude Rains, Maureen O’Sullivan
RKO Radio Pictures, 80 Minutes
“I wish you’d stop calling her my daughter. She happens to be my wife!” – Frederick Lannington
Where Danger Lives is a fairly underrated and forgotten film-noir. But it stars Robert Mitchum, so it automatically has a certain level of coolness and solid gravitas. Add in the intense and always engaging Claude Rains and you’ve got something really worthwhile. Plus, Faith Domergue was exceptional as this film’s femme fatale.
I actually didn’t know about this film until Eddie Muller featured it on TCM’s Noir Alley, which is a program you should check out on TCM every Sunday at 10 a.m. EST, if you are a true fan of film-noir. That was not a shameless plug, I just love watching Noir Alley.
This picture is interesting for a lot of reasons. It pairs up two old school badasses, Mitchum and Rains, has a good plot twist when Mitchum’s character suffers a concussion in the middle of the twisty topsy turvy noir-esque proceedings and then starts pitching more narrative curveballs at you.
From a stylisitic standpoint, the film is a pretty standard noir. It’s not visually breathtaking but it is still a beautiful looking picture that is well crafted. It is also directed by John Farrow, whose hand was also in the noir movies, His Kind of Woman, also with Mitchum, and The Big Clock. I’d say this is the best of the three and it is stripped of the flamboyancy that came with the other two. It’s an “on the run” film and the sets are mostly car interiors and road stop locations. It feels grounded in realism more than the others, which had a sort of fantastical grandiose Hollywood feel.
Due to the concussion element of the story, Mitchum’s Dr. Jeff Cameron is in a state of paranoia and confusion. It adds a really interesting dynamic to the film and kind of makes it seem like it could be a big scary hallucination. Mitchum sells it well and him being a doctor going through this condition allows for some good medical explanation of his situation and an understanding of what his fate could be. It makes the film play like a race against time, at least for his character.
The fact that Domergue’s Margo Lannington is nuts and becomes more and more unhinged, also brings another level of instability to the main characters’ dilemma. You know that she isn’t trust worthy and she’s a femme fatale with a bad case of psychosis. This doesn’t bode well for Jeff and his concussed brain. Really, this film is an examination of multiple mental conditions operating in a noir landscape.
The story doesn’t end well for the two main characters, although we get a rare moment where a femme fatale shows some humanity after all the problems she was instrumental in creating. Maybe she actually did care for Jeff and wasn’t just using him like so many other similar characters in the noir narrative style. That, along with the unique type of paranoia on display here, makes this an interesting and worthwhile experience that saved this from becoming a carbon copy of dozens of films before it.