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The Man I Love (1947) Directed by Raoul Walsh

Genre: Crime / Drama / Film Noir

Torch singer Petey Brown is beautiful and smart. The beautiful gets her in trouble. She'll need all of the smart to get out of it in this bluesy, boozy noir salute to tough dames in tough times. On a holiday visit to her family in the waning days of World War II, Petey expects a merry Christmas. Instead she gets a tangled web of mobsters, cheating wives, war-traumatized vets and the kind of love that grabs hold fast and goes wrong faster. Ida Lupino portrays Petey, scoring a triumph under the direction of Raoul Walsh, who helped put her on the road to stardom in the Bogart classic High Sierra. The Man I Love is also notable for its songbook of sophisticated standards and as the inspiration for Martin Scorseses New York, New York.

The Man I Love is not a typical postwar film noir. Although it presents self-sacrifice and love as potentially redemptive forces, it is closer in some respects to musical drama with noir themes alternating between foreground and background. When the torch singer, Petey (Ida Lupino), falls for San Thomas, a disillusioned pianist (Bruce Bennett), the musical ironies are obvious. Like countless others, Bennett is also a cipher for postwar restlessness, and his unemotional performance suggests a certain self-conciousness in his enigmatic behavior, which gives the character a noir outlook and definition. In this context, San and his melancholy piano melodies are stylized manifestations of the same irrational alienation that grips Petey's shellshocked brother-in-law. "San Thomas" is both a stage name and the doubting apostle, both symbolic of the anomie caused by his wife's betrayal and his inability to trust. The songs Lupino sings in The Man I Love capture her emotional vacillation from the idealism of the title song and "My Bill" to the hopelessness of "Why Was I Born?"

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