The Web (1947)

The Web (1947) is a fast-moving entertaining late-early period and slightly preposterous but fun film noir filler, with Ella Raines, Edmond O'Brien, Vincent Price and William Bendix, so that is certainly a stern and select noiresque collection of faces to do the actin'.

The Web (1947) is in effect a Private Investigator film noir (P.I. Noir) although the character played by Edmond O'Brien is supposed to be a lawyer, although he functions entirely as a P.I,. being hired to be a bodyguard, carrying and using a gun, hanging with his coat collars up in alleyways, and more and more traditional and common P.I. behaviours.

He doesn't get down to none legal work, that is for sure. Other than the top and tail styling back of his maligned blue collar character, played by Tito Vuolo, with typical Vuoloism.

It's not unlike Jake Gittes in some aspects, this relationship Edmond O'Brien has, although as noted, he is not a gumshoe, but very much a lawyer by trade. In which he becomes the perfect patsy, patsified into all manner of crime, and accompliced to the end by Ella Raines in a super satisfying romance with all the cigarettes a girl and boy could wish for.

Classic film noir, boxes ticked, epic might not be the theme but the theme and the style are clear and antique, and genuine, and as noirish as any of the greats.

The opening of The Web (1947) shows comic music as we then explore the then corporate America born from the ashes of WW2, too busy for the individual, who is bumped from desk to desk like a pinball, with everyone too busy, and it is noted that the closer you get to the seats of power, the prettier the secretaries and staff become.

This is a comic opening for a whiff of corporate crime, which in effect this is. Corporate crime films began to flourish and make sense and emerged at the end of the 1940s, and The Web (1947) is a great and early expression of some of this, with its boardrooms versus the everyman.

Everyman Edmond O'Brien does make it in to the board room, but it will never be so easy and comical as this, not as bluffingly easy as it was in 1947. And still, every time a woman appears, you kinda know there is going to be a wisecrack, eek.

It is not a complex and intricate web, compared to most noir. But it is still a web, although the writing does short of offering web motifs, or even the word web at any point.

Michael Gordon’s The Web (1947) offers a classically as they call it tightly-woven narrative that exemplifies the rich storytelling and character dynamics of film noir. Despite its relative obscurity, the film is a remarkable showcase of the genre’s thematic depth, visual flair, and star-studded performances. With a script that balances intrigue and suspense, complemented by a talented cast and an atmospheric noir aesthetic, The Web remains an overlooked but valuable entry into post-war Hollywood cinema.

The film boasts, yes boasts, dramatically, and like out aloud, a remarkable array of noir credentials, with a creative team and cast that collectively shaped many of the era’s cinematic hallmarks. Directed by Michael Gordon, who also helmed other noirs such as Woman in Hiding (1950) and The Lady Gambles (1949), The Web is a polished example of Gordon’s skill in the genre.

Ella Raines and Edmond O'Brien in The Web (1947)

The screenplay is derived from a story by Harry Kurnitz, whose contributions to the popular Thin Man series and co-writing of Billy Wilder’s Witness for the Prosecution underline his credentials in suspenseful storytelling. The script itself was co-adapted by William Bowers (Cry Danger, Convicted) and Bertram Millhauser (Walk a Crooked Mile), the latter a seasoned writer with credits stretching back to 1911.

Behind the camera, Irving Glassberg provided cinematography that elevates the film’s noir aesthetic. Despite this being only his second film as a director of photography, Glassberg masterfully employs shadow play and diagonal compositions to create tension and mood, recalling the visual tropes of the genre’s golden era.

Meanwhile, Hans J. Salter’s score reinforces the film’s suspense, evoking his earlier work on Scarlet Street (1945) and The Reckless Moment (1949).

The film’s protagonist, Bob Regan (Edmond O’Brien), is a brash, small-time attorney whose loyalty and determination catch the attention of wealthy industrialist Andrew Colby (Vincent Price). Colby hires Regan as a bodyguard, claiming he fears retribution from Leopold Kroner, a former employee recently released from prison after serving time for embezzlement.

Regan’s initial scepticism is outweighed by the allure of a $5,000 pay check and the charm of Colby’s secretary, Noel Faraday (Ella Raines). Ella Raines is the reason any of us are here, for good as film noir is Edmond O'Brien, who is in god knows plenty films noir, it is Ella who makes film noir what it is, framed and dressed often as a boy or young man, often playing in a masculine world, somewhat therefore more humiliated than the other women of film noir, but at the same time our favourite of noir's heroes.

Ella Raines in in The Web (1947)

Hem cheez -- Ella Raines in in The Web (1947)

Edmond O'Brien in The Web (1947)

Vincent Price and Ella Raines in in The Web (1947)

Vincent Price in in The Web (1947)

However, when Kroner confronts Colby at his mansion, Regan fatally shoots him in what appears to be self-defense. The inquest absolves Regan of any wrongdoing, but police lieutenant Damico (William Bendix) harbors suspicions about the circumstances of Kroner’s death.

Regan’s investigation soon uncovers that Kroner was lured to the mansion on Colby’s orders, exposing a calculated scheme to frame Regan for murder. Colby’s elaborate web of deception grows increasingly intricate, as he manipulates both Regan and Faraday to safeguard his own interests. In a pivotal scene, Colby and Regan engage in a verbal duel over a game of poker, laying their metaphorical cards on the table.

William Bendix in The Web (1947)

This exchange not only reveals Colby’s cunning but also underscores the moral and legal entanglements that define the narrative. The plot crescendos in a darkened-room showdown, where Colby’s duplicity unravels and justice is served in classic noir fashion.

The strength of The Web lies in its ensemble cast, each actor contributing to the film’s dramatic tension and character interplay. Vincent Price shines as Andrew Colby, delivering a suave and sinister performance that embodies the archetypal noir villain.

Known for his horror roles in later years, Price demonstrates remarkable restraint here, imbuing Colby with a subtle menace that is as compelling as it is chilling. His diction and poise elevate the character’s manipulative tendencies, making him a standout figure in the film.

Edmond O’Brien, a noir stalwart with credits in classics such as D.O.A. (1950) and The Killers (1946), anchors the narrative as the cocky yet increasingly disillusioned Regan. While O’Brien’s performance occasionally veers toward self-assured predictability, his character’s moral ambiguity and determination add depth to the story.

His on-screen rapport with William Bendix, who portrays the sharp-witted Lt. Damico, is a highlight of the film. Bendix, often cast as a brutish heavy, surprises here with a nuanced portrayal of a street-smart detective whose suspicions drive much of the film’s tension.

Ella Raines delivers a memorable turn as Noel Faraday, blending intelligence and elegance in a performance that showcases her underrated talent. Best known for her roles in noirs such as Phantom Lady (1944) and Brute Force (1947), Raines brings a sense of agency to her character, complicating the traditional femme fatale archetype.

Her chemistry with O’Brien adds a layer of romantic intrigue to the narrative without overshadowing the central plot. Everyone is in their fantastical mode, and pure noir like this is more like a dance

At its core, The Web explores themes of corruption, manipulation, and moral compromise, all quintessential elements of film noir. The title itself is a fitting metaphor for the intricate network of deceit that ensnares Regan, reflecting the genre’s preoccupation with entrapment and inevitability. The film’s script is notable for its sharp dialogue, with moments of sardonic humor and verbal jousting that enliven the narrative.

One particularly striking scene involves Colby’s nonchalant dismissal of Regan’s accusations, underscoring the tycoon’s unflappable confidence in his schemes.

Visually, the film adheres to the stylistic conventions of noir, with chiaroscuro lighting, shadowy interiors, and tilted camera angles that heighten the sense of unease. Glassberg’s use of balustrades and Venetian blinds creates a claustrophobic atmosphere, reinforcing the characters’ moral and psychological entrapment.

While some exterior sets, such as the rendezvous scene between Regan and Faraday, lack realism, the film’s overall production design maintains a polished aesthetic that compensates for these shortcomings.

Despite its strengths, The Web has largely remained a footnote in the history of film noir, overshadowed by more celebrated works of the period. This relative obscurity is puzzling given the film’s accomplished cast and engaging narrative.

Its reception has varied over time, with some critics praising its taut pacing and performances, while others dismiss it as a derivative exercise in genre conventions. However, closer examination reveals a film that balances accessibility with sophistication, offering enough twists and character-driven intrigue to merit rediscovery.

The Web aligns with other mid-tier noirs of its era, such as The Unsuspected (1947) and The Crack-Up (1946), which similarly blended suspense with noirish cynicism. While it may lack the canonical status of films like Double Indemnity (1944) or Out of the Past (1947), The Web nonetheless exemplifies the vitality of post-war Hollywood’s genre filmmaking.

The film opens with a tense premise that immediately grips the audience. Former Colby Enterprises executive Leopold Kroner is released after five years in prison for embezzlement, setting off a chain of unpredictable events.

Andrew Colby, fearing that Kroner might pose a new threat, claims to have been threatened by him and takes extreme measures by hiring lawyer Bob Regan as his personal bodyguard. This initial decision lays the groundwork for a complex narrative filled with mistrust, deceit, and moral ambiguity that unfolds over one fateful evening.

That same evening, the situation spirals into chaos when Regan hears a gunshot coming from Colby’s study. Rushing to investigate, he finds Kroner inside, apparently in the act of trying to kill Colby. In a split-second decision fuelled by the urgency of the moment, Regan shoots and kills Kroner.

While Colby quickly offers an explanation—insisting that Kroner had become delusional and dangerous—Regan’s own instincts and his connection with police lieutenant Damico sow the seeds of doubt about the true nature of the killing.

As the plot thickens, unexpected revelations force Regan to question Colby’s version of events. Kroner’s daughter, Martha, appears at Regan’s apartment and even attempts to murder him, her actions underscoring the deep personal vendettas at play. In a moment of shocking disclosure, Martha reveals that her father was not out of his mind that night but had been invited by Colby himself, suggesting a far more intricate setup. Determined to uncover the truth, Regan begins a personal investigation, gathering critical details from a resourceful reporter and Colby’s secretary, Noel.

Regan’s probing soon leads him into a labyrinth of deception and double-crosses. In a daring maneuver, he enlists a friend to impersonate one of Colby’s associates over the phone, tricking Colby into divulging information about the embezzlement case. Unbeknownst to Regan, the associate on the line is already dead—a detail that adds another layer of grim irony to the unfolding drama.

Meanwhile, Colby maneuvers behind the scenes, using the chaos to set a trap for Regan and Noel, a plan that would eventually backfire in a spectacular fashion.

The ensemble cast brings this intricate narrative to life with memorable performances. Ella Raines plays the sharp and resourceful Noel Faraday, while Edmond O’Brien portrays Bob Regan with an everyman charm that makes his moral dilemmas all the more engaging. William Bendix shines as the determined Lt. Damico, whose suspicions prove to be a critical counterbalance to Colby’s manipulations.

Seductive lighting and oral, digital and tobaccoy satisfaction with Ella Raines and Vincent Price in The Web (1947)

Vincent Price is impeccably cast as Andrew Colby, the sinister mastermind whose actions drive the film’s dark undercurrents. Supporting roles by Maria Palmer, John Abbott, and Fritz Leiber (Sr.) further enrich the story’s textured landscape.

Critical reception to the film has been mixed over the years. Upon its release, The New York Times critic dismissed it with lukewarm remarks, suggesting that despite the competent performances of Raines, O’Brien, and Bendix, the film “is not nearly as good as it might have been.” However, in 2011 film critic Dennis Schwartz reappraised the film as a “top-of-the-line B film crime drama,” praising director Michael Gordon’s breezy direction and the screenplay’s engaging twists.

This blend of sharp performances and layered storytelling continues to intrigue audiences, ensuring the film’s place as a memorable, if divisive, entry in the film noir canon.

Film noir styled Vincent Price in The Web (1947)

The Web is a classic as they come classic film noir noir classic thriller that deserves greater recognition within the noir canon. Lack of a super print might help explain its absence from the self-same canon. Its combination of a seasoned cast, sharp writing, and atmospheric direction ensures its place as a standout example of the genre’s enduring appeal.

Though it may not break new ground, the film’s intricate plotting and compelling performances make it a rewarding experience for fans of classic cinema. For viewers seeking a noir that balances suspense with character-driven drama, The Web offers an elegant escape into the shadowy world of 1940s Hollywood.

The Web (1947)