After quitting school, the nineteen year-old quicksilver Paula Haller (Lizabeth Scott) returns to Chuckwalla, Nevada, where her mother Fritzi Haller (Mary Astor) is a powerful owner of the casino Purple Sage. Paula meets the racketeer Eddie Bendix (John Hodiak),who is suspect of murdering his wife and is also returning to the town with his friend Johnny Ryan (Wendell Corey),parked on the bridge nearby Chuckwalla and she greets him.

Paula does not have a good relationship with her mother Fritzi and when she sees how unpleasant Eddie is for her, she begins a relationship with the crook. Sheriff Tom Hanson (Burt Lancaster),who is an old friend of Fritzi and has a crush on Paula, advises her about the character of Eddie Bendix. Johnny, who is very close to Eddie, also tries to break up their relationship. But the resolute Paula does not give up easily until she knows the past of her beloved Eddie.

"Desert Fury" is a disappointing film where the most interesting element is the ambiguous relationship of Johnny Ryan and Eddie Bendix. In the present days, it is very clear that they are more than friends and Johnny is jealous and in love with Eddie. But the subterfuge adopted by Lewis Allen to disclose their bond in 1947 is witty. The colors of this film are also very bright, but in the DVD it is very clear the scenario in studio. Lizabeth Scott, performing a rebel character ahead of time, is impressively beautiful but does not convince as a nineteen year-old girl. My vote is four.

Title (Brazil): "A Filha da Pecadora" ("The Daughter of the Sinner")

Film Noir and Technicolor have never really mixed well, so in the few of them made, the plot has needed to be extra colorful in order to make it work. For Paramount's "Desert Fury", the color isn't a metaphor for the lives of the characters here, but definitely a contrast to it. The film could also be considered an update of George Bernard Shaw's "Mrs. Warren's Profession" where a seemingly devoted mother is actually a madame, and the daughter (here played by Lizabeth Scott) is a seemingly sweet young socialite. But Scott, like her mother (Mary Astor),is attracted to the dangerous, and for her, that is gambler John Hodiak, whose right-hand man (Wendell Corey) is a bit too "devoted" to his boss.

A young Burt Lancaster is cast against his normal type as the local lawman, patiently in love with Scott while out to get the goods on Hodiak. Tension arises as the possessive Astor has her own designs on Hodiak (not to mention a slight mustache, accentuated by the color photography and really obvious in a big screen revival of this which I saw) and Corey gets more possessive of his employer. Astor's showy part (her best since "The Maltese Falcon") outshines the others, although Scott's sultriness in this role makes her unforgettable as well. The truth of the matter is that Ms. Astor and Ms. Scott do not at all seem like mother and daughter, as if Lizabeth's character was actually one of Astor's "girls" rather than her own. The Arizona desert is even more impressive in color and is a unique feature to make this must-see film noir, even if it is filled with flaws.

Back in the forties, when movies touched on matters not yet admissible in "polite" society, they resorted to codes which supposedly floated over the heads of most of the audience while alerting those in the know to just what was up. Probably no film of the decade was so freighted with innuendo as the oddly obscure Desert Fury, set in a small gambling oasis called Chuckawalla somewhere in the California desert. Proprietress of the Purple Sage saloon and casino is the astonishing Mary Astor, in slacks and sporting a cigarette holder; into town drives her handful-of-a-daughter, Lizabeth Scott, looking, in Technicolor, like 20-million bucks. But listen to the dialogue between them, which suggests an older Lesbian and her young, restless companion (one can only wonder if A.I. Bezzerides' original script made this relationship explicit). Even more blatant are John Hodiak as a gangster and Wendell Corey as his insanely jealous torpedo. Add Burt Lancaster as the town sheriff, stir, and sit back. Both Lancaster and (surprisingly) Hodiak fall for Scott. It seems, however, that Hodiak not only has a past with Astor, but had a wife who died under suspicious circumstances. The desert sun heats these ingredients up to a hard boil, with face-slappings aplenty and empurpled exchanges. Don't pass up this hothouse melodrama, chock full of creepily exotic blooms, if it comes your way; it's a remarkable movie.