Ann Sheridan in 1950’s “Woman on the Run,” her first post-WB film.

Upon its release, Woman on the Run was likely considered a
B+ vehicle for veteran glamour girl Ann Sheridan. Facing the ‘50s as an
independent star, Sheridan was only 35, but she had been in the movies since
the early ‘30s. 

Notable was that
Sheridan was a producer (uncredited) on this film, in an attempt to find better
roles than she had of late at WB. In that sense, Ann’s instincts were good. Woman on the Run was an adult, gritty,
little film noir with Sheridan playing a realistic role. At the time, Woman felt like a step down, even though
she was actively involved with getting it made. Woman on the Run is now considered a
rediscovered film noir gem.

The title’s a misnomer,
as it’s Sheridan’s hubby who is on the run, and she is running after him, trying to track him down. (The
original short story was called Man on
the Run.) The couple has drifted apart, though they live together still,
out of financial need. He witnesses a murder and flees, with the bad guy, cops,
and Sheridan’s wife after him. 

Actually, it’s the husband who’s on the lam in 1950’s “Woman on the Run,” played by Ross Elliot.

Sheridan’s character,
Eleanor Johnson, is bitter about her husband Frank (Ross Elliot), and offers
brittle wisecracks in response to the cops’ questions about him. With a
reporter she can’t shake—Dennis O’Keefe as Dan Legget, the wife seeks out her
hubby at his various haunts. Along the way she finds out aspects to his character
that she didn’t know and begins to see their marriage in a different light. On
top of this, the cops and wife have learned that the husband has a heart
condition and needs his medication.

Ann Sheridan’s wife sardonically shows off hubby’s art work to Robert Keith’s  detective in 1950’s “Woman on the Run.”

The story is set in
San Francisco and extensive location shooting was done there, adding authenticity
to the moody atmosphere as well as a look at 1950 San Fran. The setting feels
realistically working class:  the couple’s
apartment is sparse, Sheridan’s clothes are simple, and you get a real feel for
a struggling couple in post-war USA.

The cast of veteran
actors are great, with zingy dialogue, but it’s all about Ann Sheridan, who
plays the ultimate tough cookie that may still be a little soft in the center—circa
her heart. Sadly, like many golden era stars, Ann suddenly started to look a
bit worse for the wear after leaving the big studios. Only 35, yet she looks
older—though care is given in her close-ups. Sheridan was famous for chain
smoking, which she does throughout Woman
on the Run. Sadly, lung cancer cost Annie her life, just a month before her
52^nd birthday in 1967.

With her post-war short ‘do, Ann Sheridan reminds me a dour version of another redhead, Lucille Ball in her “I Love Lucy” era! From 1950’s “Woman on the Run.”

Sheridan’s performance
is tough, funny, melancholy, and natural. Ann’s wisecracking expertise was
right up there with Eve Arden; she was also looking a bit like that soon to be
#1 redhead, Lucille Ball. In all fairness, the post-war short-curled coiffures did
no film diva any favors! Ann Sheridan gets soft close-ups but is otherwise
photographed realistically, not swathed in deep noir shadows, or finding any
excuse to change costumes, like other veteran divas who swanned their way
through ‘50s vehicles.

Ann Sheridan was one of Hollywood’s super-smokers. Sadly, she died of lung cancer at just shy of 52 years in 1967. A key scene from 1950’s “Woman on the Run.”

***Spoiler alert ahead, though revealed half way through the
film***

Dennis O’Keefe is fine
as the fast-talking reporter, Legget. He totally holds his own with rapid-fire
repartee with Sheridan and it’s a shame that he’s revealed as the villain,
given their chemistry. Robert Keith also makes a fine foil as detective to
Sheridan’s sarcastic wife, both exchanging barbs constantly. I was surprised
that this familiar film face was actor Brian Keith’s father! Ross Elliot as
Frank Johnson appears in the film’s opening and closing scenes, but the
character is talked about throughout. Elliot was a popular movie and TV
“everyman” type for decades. One memorable career moment was when Elliot played
the director of Lucy Ricardo’s classic Vitameatavegamin commercial.

Dennis O’Keefe as the reporter who’s looking for more than a scoop, in 1950’s “Woman on the Run.”

Ross Elliot as Sheridan’s hubby, Frank Johnson, in 1950’s “Woman on the Run.”

Director Norman Foster
had quite a life and career, which I was pleasantly surprised to find out.
Handsome Foster first started in Hollywood as an actor and was first husband to
film icon Claudette Colbert. In the mid-30s Foster segued into directing and
screenwriting. When Foster’s film directing career faded, he moved into
television. Along the way, Foster remarried, to Loretta Young’s sister, Sally
Blane.

Director Norman Foster was once a handsome actor.

Hal Mohr’s
cinematography in Woman on the Run is
a classic in film noir visuals. Striking angles, shadows, and a beautifully
shot amusement park finale give this film much dramatic punch. Mohr won two
Oscars for cinematography. The first was in a write-in campaign for 1935’s
B&W A Midsummer’s Night Dream.
The second was for Best Color Cinematography for 1943’s The Phantom of the Opera. Off-camera, Mohr was married to actress
Evelyn Venable 40 years until he died in 1974.

The rollercoaster scene with Ann Sheridan in 1950’s “Woman on the Run” is intense!

Alan Campbell, husband
of great wit Dorothy Parker, wrote the screenplay for Woman on the Run. And star Sheridan’s pal, future super-producer
Ross Hunter, wrote additional dialogue.

It’s notable that film
noir expert Eddie Muller mounted a campaign to get Woman on the Run restored, as it had been considered lost. It took
time and money, but restoration was done, and the film received to belated
acclaim. Now, the film is a favorite on TCM!

While Woman on the Run has some typical film
noir twists, they’re enjoyable. But what makes this movie stand out is the
realistic writing and performances, which keeps viewers totally engaged.

Here’s my look at Ann
Sheridan’s 1947 WB vehicle, Nora Prentiss:
https://ricksrealreel.blogspot.com/2019/02/ann-sheridans-glamour-brightens-gloomy.html

 

Ann Sheridan & Dennis O’Keefe make a fine film duo in 1950’s “Woman on the Run.”