McGivern investigates Trevor's many screen representations in detail, often focusing on contemporary dominant historically specific concepts of American society and culture that gave rise to the Western and Film Noir. She delves deep into the life and image of Claire Trevor, looking at how her starring roles often seemed to reflect the tensions, paradoxes and contradictions of a bleak and uncertain future for many Americans who existed in a period of unprecedented national power and prosperity.

Claire Trevor was unparalleled throughout a Hollywood acting career that spanned seven decades. She found reward and critical acclaim hard to come by despite being unexpectedly Oscar nominated as Best Supporting Actress for just a few seconds of powerful dialogue in the movie Dead End (1937), and although she eventually won an Oscar for her portrayal of a down and out gangsters moll in Key Largo (1948), she never really 'made it' to the stratospheric heights of stardom that others took for granted. Despite her magnificently sensitive portrayal of Dallas opposite John Wayne in Fords Stagecoach (1939), a cursory glance in her direction might suggest she was subsequently type-cast in Poverty Row Westerns even as she later transformed into the bad-girl of Film Noire. However she was gloriously successful as a stage performer, radio celebrity and television star and fully deserving of this modern retrospective. The diversity of roles she was prepared to tackle and take in her stride set her apart from more glamorous colleagues and made her the go-to darling of those leading producers and directors who sought out a thoroughly professional and unfussy actress.It seemed that she could almost effortlessly raise the level of what might otherwise have been a humdrum characterisation into one of heart-wrenching clarity. Here, McGivern investigates Trevors many screen representations in detail, often focussing on contemporary dominant historically specific concepts of American society and culture that gave rise to the Western and Film Noire. She delves deep into the life and image of Claire Trevor, looking at how her starring roles often seemed to reflect the tensions, paradoxes and contradictions of a bleak and uncertain future for many Americans who existed in a period of unprecedented national power and prosperity.

Claire Trevor was unparalleled throughout a Hollywood acting career that spanned seven decades. She found reward and critical acclaim hard to come by despite being unexpectedly Oscar nominated as Best Supporting Actress for just a few seconds of powerful dialogue in the movie Dead End (1937), and although she eventually won an Oscar for her portrayal of a down and out gangsters moll in Key Largo (1948), she never really 'made it' to the stratospheric heights of stardom that others took for granted. Despite her magnificently sensitive portrayal of Dallas opposite John Wayne in Fords Stagecoach (1939), a cursory glance in her direction might suggest she was subsequently type-cast in Poverty Row Westerns even as she later transformed into the bad-girl of Film Noire. However she was gloriously successful as a stage performer, radio celebrity and television star and fully deserving of this modern retrospective. The diversity of roles she was prepared to tackle and take in her stride set her apart from more glamorous colleagues and made her the go-to darling of those leading producers and directors who sought out a thoroughly professional and unfussy actress. It seemed that she could almost effortlessly raise the level of what might otherwise have been a humdrum characterisation into one of heart-wrenching clarity. Here, McGivern investigates Trevors many screen representations in detail, often focussing on contemporary dominant historically specific concepts of American society and culture that gave rise to the Western and Film Noire. She delves deep into the life and image of Claire Trevor, looking at how her starring roles often seemed to reflect the tensions, paradoxes and contradictions of a bleak and uncertain future for many Americans who existed in a period of unprecedented national power and prosperity.

Claire Trevor (1910-2000) is best remembered as the alluring blonde femme fatale in such iconic noir films as Murder, My Sweet (1944) and Raw Deal (1948). Yet she was a versatile performer who brought rare emotional depth to her art. She was effective in a range of diverse roles, from an outcast prostitute in John Ford's classic Stagecoach (1939) to the ambitious tennis mother in Hard, Fast and Beautiful (1951) to the embittered wife of a landowner in William Wellman's overlooked gem My Man and I (1952). Nominated for three Oscars, she deservedly won Best Supporting Actress for her portrayal of Gaye Dawn, a gangster's broken-down moll in Key Largo (1948). The author covers her life and career in detail, recognizing her as one of the finest actresses of her generation.

In this revised and expanded edition of his essential volume Dark City Dames, Eddie Muller—Turner Classic Movies host and author of Dark Cityand Noir Bar—offers a uniquely intimate look at the women who defined film noir, now featuring updated text, photos, and 10 new star profiles. Film noir was the dark side of the movies’ happily-ever-after mythology. Sinister and sexy, it forged a new icon: the tough, independent dame. Determined, desirable, dangerous when cornered, she could handle trouble—or deal out some of her own. If you thought these women were something special onscreen, wait until you meet the genuine articles. In Dark City Dames, acclaimed film historian Eddie Muller takes readers into the world of six women who made a lasting impression in this cinematic terrain—from veteran “bad girls” Audrey Totter, Marie Windsor, and Jane Greer to unexpected genre fixtures Evelyn Keyes, Coleen Gray, and Ann Savage. The book provides in-depth profiles of these formidable women during the height of their careers, circa 1950, as they balanced love and career, struggled against typecasting, and sought fulfillment in a ruthless business. Their personal stories—teeming with larger-than-life characters like Howard Hughes, Louis B. Mayer, Robert Mitchum, Otto Preminger, and John Huston—offer a fascinating counterpoint to their movies. Then Dark City Dames revisits each woman fifty years later, to witness their hard-won—and triumphant—survival. On every page their own voices ring through, reflecting on their lives with as much passion, pain, intelligence, energy, and humor as any movie script. Muller conducted far-ranging interviews with the original six women profiled in Dark City Dames, in the process becoming a friend and confidante to each. In this revised and expanded edition, he updates their stories and shares illuminating, never-before-told memories of his time with them. This edition also includes compelling new profiles of ten additional women who left an indelible mark on film noir, including Joan Bennett, Gail Russell, Rhonda Fleming, and Claire Trevor—all packaged in a stunning redesign that offers the ultimate look at performers who helped define a still-resonant and inspiring epoch of Hollywood history.

The author of Dark City: The Lost World of Film Noir introduces readers to the genre's sizzling femme fatales, from Jane Greer and Claire Trevor to Ann Savage and Evelyn Keyes. Reprint.

Though often thought of as primarily a male vehicle, the film noir offered some of the most complex female roles of any movies of the 1940s and 1950s. Stars such as Barbara Stanwyck, Gene Tierney and Joan Crawford produced some of their finest performances in noir movies, while such lesser known actresses as Peggie Castle, Hope Emerson and Helen Walker made a lasting impression with their roles in the genre. These six women and 43 others who were most frequently featured in films noirs are profiled here, focusing primarily on their work in the genre and its impact on their careers. A filmography of all noir appearances is provided for each actress.