Things About Peggy Cummins in Gun Crazy. This is my entry in the For the Love of Film (Noir) blogathon, hosted by Marilyn Ferdinand and The Self- Styled Siren. The blogathon is also a fundraiser, where readers and writers and anyone can donate to the Film Noir Foundation, an organization which helps restore classic films. There is a Pay. Pal account associated with the Blogathon through which you can donate: Click here to donate. Every little bit helps!

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Joseph Lewis’ brilliant, erotic, and hugely influential Gun Crazy was originally called Deadly Is the Female (which could be a secondary title to almost every film noir ever made). Watch Indecent Proposal Online (2017). Peggy Cummins, as Annie Laurie Starr, is definitely deadly. She’s a sharp- shooter, and she makes her living doing shooting shows with a traveling circus, daring good shots in the audience to come up and take her on.

Although she is obviously a deadly shot, the “female” isn’t the deadly thing in this movie. What is deadly is the pairing of the two: She picks Barton (John Dall) out of a crowd at one of her shows, and they engage in a shooting competition which is blatantly sexual, and a giant hook for the both of them. They cleave to one another almost immediately. It’s a dare. What is love to these two is not tenderness or communication, but how close they both can come to blowing the other one’s brains out. Annie Laurie would never have been an upright citizen, she’s too ruthless, but she may have gone on in an unremarkable way, breaking men’s hearts, giving them the shaft, nothing too out of the ordinary, if she hadn’t met Barton.

It is their chemistry that is deadly. Together, they become a terrifying combination of elements, psychosexual, manipulative, and 1. History is full of murderous duos, those who perhaps would never go off the rails alone but who require that “other” to push them over the edge.

There was Leopold and Loeb. There were the Papin sisters, in France, maids who murdered their employer. There was Pauline Parker and Juliet Hulme, whose murder of one of the girls’ mothers inspired Peter Jackson’s Heavenly Creatures. Then, of course, there was Bonnie and Clyde, a movie that references Gun Crazy at almost every turn (even down to Faye Dunaway’s beret, which makes her look like a svelte revolutionary). In fiction, we have the deadly duos as well.

Lady Macbeth hissing to her husband, We fail? But screw your courage to the sticking place,And we’ll not fail. In other words, “Don’t be such a pussy.” There are certain types of men who are not susceptible to such insults (try saying something like that to John Wayne, he’d laugh in your face), and then there are others who are weak, there is a faultline in their characters making them vulnerable, suggestible.

Macbeth required his wife to turn him into the murdering psychopath that he became. Two elements combine. It is an alchemical reaction, bringing forth monsters. And so I believe that Gun Crazy is the perfect title for this dark and sexy noir: it’s an attention- getting title, but far more accurate than Deadly Is the Female, which puts most of the blame on the girl.

She is definitely the drive, but without his passive, helpless, and sexually- charged submission she would be just another petty thief, screwing men out of their wallets and their hearts. Nothing that would make the front pages. Through her relationship with Barton, Annie Laurie Starr hits the big time. Peggy Cummins makes an indelible impression as Annie Laurie. It is one of my favorite performances of all time.

The female in film noir is often the “other”, the mysterious force- of- nature that strolls into a man’s life and knocks over all his chess pieces. She is often ruthless.

Her blood pressure doesn’t rise like other humans: she remains calm and in control. Her surface may be hot and compelling (Barbara Stanwyck’s blonde bangs and anklet in Double Indemnity), but her heart remains uninvolved, as she calculates her way towards getting what she wants.

Annie Laurie has those elements, but she adds to it a hot- blooded subtext. While she does use Barton in order to free herself from the circus, you also get the sense that she needs him, she can’t breathe without him. It makes for a truly disturbing picture, because you get caught up in their weird violent little belljar, and you start to root for the both of them, even though they are wreaking havoc.

It is their bond that cannot be denied. Annie Laurie knows how to play Barton. She’s got him by the balls, so to speak, and here, in Gun Crazy, the sexual nature of such deadly duos is made explicit. I get the feeling that Barton has never been laid before, at least not how she does it. She knows that that’s one of the hooks for him, so she uses it. However, I get the sense that that’s a hook for HER as well.

This is what Peggy Cummins brings to the noir table, it is something unique. These two drive each other crazy. Here are 5 things about Peggy Cummins in Gun Crazy, a performance for the ages. There’s something in the way she eats. Movie actresses didn’t eat like that back then, and it is rare to see them eat like that now. Movie actresses delicately twirl their fork in a plate of linguine, and take tiny neat bites.

Eating is awkward in films, and I know some directors who try to avoid showing it at all, just to avoid the hassle. Does Julia Roberts have parsley in her teeth? Is there a bit of tomato sauce on the side of Charlize Theron’s face? Forget it, let’s just cut the scene. I remember the first time I saw Gun Crazy, and I was in love with it from the opening shot, but it was at the moment in the diner when I saw her dig into that hamburger that I felt that tell- tale prickly- goosebumpy feeling on the back of my neck. That goosebumpy feeling is what happens when I realize I am in the presence of something real.

Peggy Cummins attacks that hamburger, voraciously, you can even hear her breathing through her nose as she eats. It’s actually kind of gross, and is just right for the character. Actresses often avoid looking unattractive, and it’s easy to see why. They are judged so harshly on their appearances already. Why open themselves up to criticism? Or if they play “unattractive”, they keep one foot back through the Glamour Door, so that we in the audience know that “that is not really them”.

Peggy Cummins has none of those worries. She digs her front teeth into that burger, oblivious to the world, chewing hard but not waiting to swallow before going back in for another giant bite. It is a metaphor for the character, obviously, but not the way she plays it. She plays it on the level: “Dammit, I’m effing STARVING.” 2. There’s something in the way she runs.

There are a couple of scenes where the duo has to make a run for it. They rob the payroll office at a giant meat- packing factory and have to flee with the loot. Then, after their crime spree across the country, they realize, while dancing at an arcade in Santa Monica, that they have to run for it. Now. We see the two of them barreling down a sidewalk together.

She drops her purse. They hustle back for it. Annie Laurie and Barton have been in this thing together from the beginning. They huddle over floor plans, smoke cigarettes, and argue over tactics. They hold each other close, breathing in one another’s breath. And here, they run for their lives.

Often, in movies, when a male and female run from something together, the male maintains his alpha- status, while running, and holds the hand of the female (as though she can’t run without his assistance.