Felicia is joined by Darragh McGrath to discuss the harsh reality that Arthur C. Miller paints in The Prowler (1951).

We chat about his disinterest in soft focus lighting and why he preferred to soft images as close to real life, along with how well he adapted to the directors vision.

Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected]

Find Darragh here:

Letterboxd: @DarraghMcG

IG: @Dreamworlds_films

Listen to our previous episodes here:

Ace in the Hole (Billy Wilder 1951)
Straight Time (Ulu Grosbard 1978)
Minnie and Moskowitz (John Cassavetes 1971)
The Tarnished Angels (Douglas Sirk 1957)

Sources:
https://filmtalk.org/2014/12/05/evelyn-keyes-the-atmosphere-on-the-set-of-gone-with-the-wind-was-almost-partylike/

https://www.slantmagazine.com/dvd/the-prowler-bd/

https://www.sensesofcinema.com/2003/great-directors/losey/

https://filmtalk.org/2014/12/05/evelyn-keyes-the-atmosphere-on-the-set-of-gone-with-the-wind-was-almost-partylike/

https://dfordoom-movieramblings.blogspot.com/2011/11/prowler-1951.html

https://www.tcm.com/articles/noir/338717/the-prowler-1951

Balshofer, Balshofer, F. J., & Miller, A. C. (n.d.). One reel a Week. University of California Press.

Outro Song:
Music from The Prowler by Lyn Murray

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