Naked Alibi (1954)

Naked Alibi (1954) is a cop on the edge psycho killer chase thriller that endeavours to spill the ills of suburban America into the criminal wilds of Mexico, as an unhinged killer baker bridges the merciless and pointless gap between the normative strains of the American Dream and the animal flavours of the real world of criminal human agony.

The two tend to meet flatly in the face of the stylistically drowning form of mid 50s noir, when the residues of dramatised psychologically criminality, portrayed with such fun in the 1940s, turn to sour and serious and usually quite odd and unexplained abnormality, as the noir ideals begin to fade mid-decade.

Naked Alibi  (1954) stands as a testament to the enduring allure of film-noir, even as the genre evolved through the 1950s. The film brings together a trio that guarantees a noir masterpiece: Sterling Hayden, Gloria Grahame, and the shadowy ambiance of noir cinematography.

Cop shop blues in Naked Alibi (1954)

Set against the backdrop of almost entirely nocturnal scenes, Naked Alibi  is in the classical and neurotically entertaining fantastic and slightly weird storytelling that is as dark as the city streets it portrays. Gene Barry delivers a performance that is keen enough to provide an object lesson in the keystones of the style, embodying a character that flips from a mild-mannered family man to a violent, thrill-seeking murderer in the blink of an eye. His portrayal is a perfect fit for the noir genre, despite initial doubts about his casting.

Sterling Hayden plays a cop on the edge, one whose methods are as questionable as his determination is unwavering. Fired for his borderline brutal tactics, he remains doggedly on the trail of the psychopathic character played by Barry, whom he suspects from the outset.

Gloria Grahame adds her considerable noir credentials to the mix as a seedy nightclub singer south of the border. Her character, entangled with Barry’s con-man persona, endures deception and mistreatment yet shines as the quintessential sultry, resilient damsel.

Late diner in Naked Alibi (1954)

The film’s pacing is impeccable, with a storyline that grips the viewer and drags them through a world where almost all light is artificial, and danger lurks at every turn. The brutality and seediness of the film’s world are matched by its sharp dialogue and compelling cinematography.

Notably, the film features a young Chuck Connors in an early role, matching Hayden’s imposing presence. Additionally, the character of Little Petey, a streetwise Mexican youth, leaves a lasting impression and serves as a pivotal element of the plot.

Gloria Grahame’s entrance in the film is quite a number as she lip-syncs to Jo Anne Greer’s performance of Cole Porter’s  Ace in the Hole.  It’s a poignant portrayal of external allure reflecting inner disconnection; her body moves not with joy but as a melancholic token of last-resort bargaining.

It's cheap as hell and reaches backwards to a style and a time that is becoming quite confused. Night clubs in noir are always places of crime, the night is electrified, and people leave their homes after dark and nothing good comes of it. There's mugging and hoods and stolen goods, and this is the cheapo soundtrack, known once as glamour.

Each movement in such a 1950s bar room song conveys a weary resignation, underscoring the inescapable trap of the situation. This scene adds yet another layer to why Grahame is an indispensable icon of the film noir genre, especially when flung cheaply on to the stage like this.

Violent cop Sterling Hayden falls foul of photographer while beating up suspect Gene Barry at an open window in Naked Alibi (1954)

While the 1950s saw a trend towards police procedural elements diluting the essence of pure noir,  Naked Alibi  manages to retain the core components that make noir captivating. It’s a dark, brutal, and seedy journey that is a must-see for fans of the style. One of the more likely undersung examples of the fading weirdness of 1950s film noir, and perhaps one for the collectors. Nobody ever asked for a film noir recommendation and was given Naked Alibi, but Naked Alini was proof that the style powered on, even after being rinsed by the CIA.

Despite its low budget, the film delivers high entertainment value and stands as a shining example of film-noir’s relevance and vitality, even in the late date of 1954. This film is a reminder that the shadows and tough characters of noir will always find a place on the silver screen.

In this gripping noir film, a resolute homicide detective who has distinct tendencies in the area of violent-copism remains on the trail of a suspected murderer of a police officer, despite being removed from the police force. The movie may have a few far-fetched elements, but overall, it’s a solid entry in the genre. For a film that is technically rather late in the style, it not only remains framed in the squarer-sized aspect of the classic genre-style, but also holds to its themes merrily, with the dingy club and the singer, the violent cop and the psycho baker being but a few crazed elements adding to the wonder.

The film is elevated by exceptional performances from Sterling Hayden, whose role echoes his character in  Crime Wave,  and the talented Gloria Grahame, whose portrayal is reminiscent of her role in  The Big Heat.  Gene Barry also delivers a commendably manic performance, but discussing his role further would reveal too much. 

Naked Alibi (1954) yet produces this shot of Sterling Hayden, one of the more quintessentially composed film noir images possible

All that could be said of it is that if you like bonkers bakers, then this is your movie. It's one of the picture's great discrepancies that nobody ever asks why a baker would have to go on an extended business trip. But apparently bakers go on extended business trips.

The narrative surprises with a twist in the second act that deviates from the expected  Loophole  narrative. Grahame’s appearance as a nightclub singer is somewhat unconventional, which might be intentionally reflective of her character’s discomfort. The film is well-paced, featuring intense scenes, excellent cinematography, and sharp dialogue. While it may not be among the most iconic, it’s certainly a film worth watching, particularly for fans of Gloria Grahame.

Keen to let the craziness flow, a few taglines were dreamed up by the creators of Naked Alibi, and were displayed as follows:

The Cop, The Killer and the Border Town Woman!

The story of a love with the law at its heels!

Gloria Grahame in Naked Alibi (1954)

Naked Alibi, this crime drama from 1954, boldly promises much but delivers an experience that diverges from its title. The film lacks any actual nudity or alibis, clothed or otherwise. It does, however, feature as we continue to mention, Gloria Grahame, whose talents seem underutilized in the role of Marianna, a saloon singer entangled in a murky plot on the US-Mexico border. 

She finds herself caught between a violent ex-cop, played by Sterling Hayden, and a suspected cop-killer, portrayed by Gene Barry, whom the former is doggedly pursuing.

The narrative aspires to the complex and shadowy realms of film noir but ends up weaving a tale that is difficult to follow. Hayden appears disengaged, seemingly more interested in his salary than in navigating the script’s shortcomings. Barry, on the other hand, grapples with the inconsistencies of his character, who oscillates between a wrongfully accused baker and a flamboyant gangster leading a double life without explanation.

Sterling Hayden epitomized rugged masculinity in films like  The Asphalt Jungle,   The Killing,  and  The Godfather.  Standing 6 feet 5 inches tall, his well-built and ruggedly handsome appearance seldom showed a smile or soft emotion. His commanding screen presence was particularly effective in the 1954 film  Naked Alibi,  where he played Joe Conroy, a Chief of Detectives accused of police brutality—a charge that seemed plausible. 

In the film, when a local baker named Al Willis, portrayed by Gene Barry, is wrongly arrested and mistreated, Hayden’s character observes without emotion. Willis, who has a loving wife and child, is released after it becomes clear his arrest was a mistake. However, when the officer who mistreated Willis is murdered, Conroy immediately suspects Willis.

Naked Alibi  toys with its viewers through a screenplay by Laurence Roman, based on a story by J. Robert Bren and Gladys Atwater. After the murder, Willis flees from the police but is captured and released again due to lack of evidence and external pressures. 

The plot intensifies when two officers die in an explosion, and Conroy, convinced of Willis’s guilt despite his outwardly innocent life, continues to pursue him. Conroy’s relentless pursuit leads to his dismissal from the police force after he’s photographed assaulting Willis. Still, he follows Willis to Border Town, where the narrative escalates with the introduction of Gloria Grahame’s character, Marianna, in a seedy bar called El Perico.

In the film, Gene Barry delivers a compelling performance as Al Willis, a hard-drinking, belligerent California baker and prime suspect in a string of vicious police murders. Sterling Hayden portrays Chief Joe Conroy, the former chief of police detectives who, after being dismissed for excessive force, relentlessly tracks Willis to a desolate Mexican town.

Gloria Grahame (1923-81) was an absolute film noir figure, as much a key to the style as any, Grahame’s presence in cinema tempt us to ascribe superlatives to her distinctiveness. Grahame began her movie career in 1944. In just two years, she transitioned from minor roles as a pretty wee girl to more significant supporting roles in films such as in It’s a Wonderful Life, ultimately achieving a quirky form of stardom that set her apart from her contemporaries.

Grahame possessed a face that would have made her a standout actress in the silent film era. Her sleepy, appraising eyes, upturned nose, and provocatively thin upper lip which she was known to alter through surgery gave her an enigmatic allure. Her facial expressions and the way she carried herself—marked by a challenging tilt of the head and a mix of seductive and exuberant body language—were compelling silent-era qualities. 

However, her success in the sound era was greatly enhanced by her voice, an instrument as distinctive as her appearance. It was honeyed and sleepy, mirroring her eyes, with an amused lilt and a sibilant way with consonants that added layers to her performances.

One of Grahame’s most memorable roles was as Debby in Fritz Lang’s The Big Heat. That is where the fans turn up at least. This tragicomic portrayal has become legendary among movie buffs and is essential for understanding the noir genre's complex portrayal of women. Debby epitomized the post-war era’s easy acquisitiveness and casual and reckless, sexuality. She was a modern character who, despite her financial dependency, belonged solely to herself. This independence is what draws her to the tormented cop and ultimately leads her into a world of trouble.

Pyjama cop in Naked Alibi (1954)

Grahame's ability to capture such multifaceted characters was evident in many of her other noir films, including Crossfire, In a Lonely Place, Sudden Fear, Human Desire, Naked Alibi, and Odds Against Tomorrow. Each of these roles allowed her to explore darker emotional shadings, cementing her reputation as a versatile and dynamic actress within the genre.

Beyond noir, Grahame showcased her versatility in a variety of roles. She delivered a delightfully pure performance as Ado Annie in Oklahoma! and won an Academy Award for Best Supporting Actress for her portrayal of Dick Powell’s daffy, unfaithful wife in The Bad and the Beautiful. These roles demonstrated her range and her ability to captivate audiences across different genres. Despite her busy career and the brevity of her life, Grahame left an indelible mark on Hollywood, standing out as one of its great originals.

Nothing in Naked Alibi does match the film noir heights of the formerly mentioned films, but Naked Alibi is still a spot-on film noir, crazed at the edges perhaps, but solid in its style, with Hayden and Barry fitting their roles perfectly. Gloria Grahame shines as Willis’s girlfriend Marianna, a bar singer, adding to the film’s gritty charm. 

This engaging crime thriller boasts a strong film noir vibe, enhanced by Russell Metty’s atmospheric black and white cinematography and Lawrence Roman’s script, which, despite some inconsistencies, remains captivating. Marcia Henderson also gives a notable performance as Willis’s wife, Helen. The film’s ensemble and stylistic elements combine to create a small but memorable thriller that keeps viewers hooked enough to keep going, just to see perhaps where and how this weirdness might conclude.

Post-World War I, Surrealists like André Breton used cinema to challenge conventional tastes and liberate daily life. They engaged in a Romantic endeavour, dipping in and out of cheap theatres, absorbing and writing about the imagery. Cinema, akin to a vivid dream, was a source of wonder for them and a catalyst for their poetic creativity. 

Gloria Grahame in Naked Alibi (1954)

They developed a synthetic criticism, as termed by Louis Aragon, focusing on the hidden, often sensual, meanings in brief scenes or shots. Despite the rising cost of movies, which ended Breton’s frequent cinema visits, film remained a medium of obsession. It occasionally produced odd visuals and sensual lighting effects, allowing viewers to escape strict narratives and explore personal fantasies.

The film’s visual impact is heightened by Russell Metty’s cinematography, which offers striking black-and-white visuals. Produced by Ross Hunter, known for his melodramas, and directed by Jerry Hopper,  Naked Alibi  moves at a brisk pace. 

Sterling Hayden in Naked Alibi (1954)

While Sterling Hayden’s tough portrayal is central to the film’s appeal, performances by Gloria Grahame and Gene Barry add depth to their characters. Additionally, Chuck Connors makes a cameo as a police captain, much to the delight of  The Rifleman  fans. Although  Naked Alibi  may not reach the pinnacle of Hayden’s best work, it remains a compelling police drama that captures the audience’s attention.

Director Jerry Hopper seems unfazed by the implausible storyline, the squandering of his cast’s potential, or the film’s hastily assembled appearance. Shot predominantly on the Universal back-lot, the film’s setting is all too familiar, and its low-budget nature is betrayed by the overabundance of empty wooden crates in the background.

The production values are so modest that Naked Alibi  resembles a mediocre television drama of the era rather than a cinematic spectacle. Hopper’s vision falls short of the stylish and memorable low-budget film noir thrillers of the early 1950s. The muddled plot, lackluster cinematography, and a cast merely going through the motions fail to capture the essence of noir.

For aficionados of Gloria Grahame,  Naked Alibi  might be a curious piece to explore. However, for the general audience, there are undoubtedly more engaging and fulfilling ways to spend one’s time, given the film’s shortcomings and missed opportunities to shine within the film noir genre.

Dennis Broe’s book  Film Noir, American Workers, and Postwar Hollywood  discusses the evolution of film noir and its connection to labor history. He notes that as labor unions gained acceptance and respectability, the central noir character transitioned from a fugitive criminal to a law-abiding cop.

This shift reflects the broader societal changes and the genre’s intimate relationship with the working class and their struggles during the post-war period. 

The  Vigilante Cop  category, which includes 14 films released between 1953 and 1958, exemplifies this transformation within film noir, showcasing how the genre adapted to the times and continued to resonate with audiences. Broe’s analysis extends to the Cold War and post-9/11 America, offering a comprehensive look at film noir’s enduring legacy.

 "The cop goes outside the law not as a fugitive but in order to better enforce the law [and to get] revenge…The intuitive investigation of the hard-boiled detective and the scientific deduction of the procedural are replaced here by an investigative technique that ‘consists of beating up the suspects to force confessions" (Dennis Broe)

Most literature on film noir highlights the private detective as a classic symbol and archetype. However, the private investigator seldom plays the lead role in these films. 

On the other hand, the ‘damsel in distress’ often goes unrecognized in scholarly texts, despite being central to numerous film noir narratives. When detective film noirs are discussed, the emphasis is on the private detective’s struggles against a dangerous woman, a deceitful environment, and a complex storyline, examining themes of male identity and the struggle for control.

Naked Alibi (1954)

Directed by Jerry Hopper

Genres - Crime, Drama, Thriller, Film Noir, Violent Cop Noir  |   Release Date - Oct 1, 1954  |   Run Time - 86 min. | Naked Alibi (1954) on Wikipedia