If there's one thing this unquestionably cements, it's that there's substantial, tremendous value in old movies that too many people readily overlook. It's not without its issues, including considerable sexism - though in fairness, that's just a sad reflection of society. More importantly, though, 'The damned don't cry' is fantastically sharp and engaging. I quite expected I'd enjoy this, but I can't overstate just how good it is.
To a very small extent there's a common and familiar thread woven through the picture in terms of the romantic element. Less common is the cutting intelligence and presence that courses through the length, in every way. Protagonist Ethel, or Lorna, is impressively shrewd, ambitious, strong-willed, and determined - and I can scarcely imagine anyone better to fill that role than Joan Crawford, whose piercing gaze and command of a scene handily matches the character she portrays. If anyone else in the cast provides any less vibrant of a spark, it's only because there's only one Joan Crawford, but rest assured everyone involved gives an excellent, powerful performance. There's an intensity and forcefulness of both emotion and personality that defines the acting of everybody from David Brian and Steve Cochran to Selene Royal and Jacqueline deWit, and the result is a feature that grabs our attention and doesn't let go, just on account of the actors and their parts.
This is to say nothing of the the unremitting excellence of all else about 'The damned don't cry.' The dialogue is just as snappy and biting as the complicated characters that communicate it, and the scene writing that maintains a brisk pace as hard-nosed as the figures within. And the narrative that all this builds is stupendously rich and absorbing: tense, deceptively dark, and compelling, from the very start to the bitter end. With rare exception film noir is a genre that's steadily reliable for smart, thrilling intrigue, and this fits neatly into that company. All the hallmarks are here - shady personages, dubious dealings, and bad business that gradually spirals out of control - and this rendition is just as wonderfully gripping as any of its brethren.
And that's not all! The use of lighting, especially to contrast with shadow in specific arrangements, is outstanding in lending to the dreary atmosphere pervading the film. Ted McCord's cinematography is crisp and vivid, and Vincent Sherman's direction is impeccable. The fundamental orchestration of each scene is fabulously striking, especially at the climax but hardly any less so at any other point. The entirety of the production design and art direction are splendidly fetching, providing a feast for the eyes while our minds are enraptured with the frankly bleak tale unfolding before us. Every last detail here is simply exquisite, from set design and decoration, to filming locations, to costume design, hair, and makeup.
I understand that for various reasons older movies don't sit well with all viewers; there was a time long ago when I struggled with them, too. With age comes wisdom, however, and there are more than 100 years of cinema history to catch up on. Among too many others - for as terrifically engrossing and well made as 'The damned don't cry' is, mark it as a title that you must watch if you have the opportunity.