The tailing scene in ‘Phantom Lady (1944),’ directed by Robert Siodmak, is an example par excellence of Film Noir cinematography and uses visual techniques to heighten suspense and evoke a sense of paranoia. Kansas (Ella Raines) tails a suspicious bartender (Andrew Tombes) through a New York City night, hoping to find clues to rehabilitate her boss Scott (Alan Curtis), who has been wrongly accused of murder. Put on light shoes, which don´t draw attention, and join me on a walk through dark streets.
Lighting and Shadows
The scene has a running time of approximately 4 minutes and 30 seconds and relies on high-contrast shots, casting deep shadows that obscure parts of the street and create an unsettling, claustrophobic atmosphere. Kansas moves in and out of light pools, while the bartender’s figure mostly appears as a silhouette, emphasizing his mysterious nature. Streetlights cast sharp, angled shadows across the sidewalks, distorting Kansas’s figure during her movements. These shadows echo her own sense of unease and isolation, as she continues to venture into a world of uncertainty.
Elwood “Woody” Bredell is one of the big names when it comes to Noir cinematography. He proved his talent for ‘Phantom Lady (1944).’
The sequence starts with a POV shot from the bartender. He realizes quickly that the woman “reading” a paper has been the one sitting in his bar for many nights.
Camera Angles & Composition
Bredell has used low-angle shots of Kansas as she watches from behind corners or other obstacles, giving the impression that she is both predator and prey. This technique creates a lot of suspense, as if something could emerge from the shadows at any time. In contrast, there are several high-angle shots to make her appear small and vulnerable against the impersonal city, underscoring the difference between Kansas and the forces she’s up against.
An example for a high-angle shot. The bartender has recognized Kansas but acts unimpressed, while she starts tailing him. Do you see the wire or string connecting both actors? It clearly catches the eye as they cross the rainy road. Siodmak and Bredell surely didn´t want the audience to see this. As strange as it sounds it fits thematically … They are tied together … Every time I watch ‘Phantom Lady (1944)’ it´s something to look forward to! 😉
Another high-angle shot. More drastic this time. The bartender is approaching the waiting area for the tram.
Cheers to high-angles! My favorite shot in the whole sequence! Kansas (Ella Raines) follows shortly after. Her eyes are in the dark and obscured. Just like a ‘Phantom Lady … ’ Do you know the Film Noir ‘Killer´s Kiss (1955)?’ Stanley Kubrick created a similar shot on stairs …
On Location or In Studio?
How amazing would it be if this movie has been really filmed in a 1940s NY? Unfortunately, I have to disappoint you. The tailing scene from ‘Phantom Lady (1944)’ was shot on a studio back lot in Hollywood. At the time, it was common practice for the studios to recreate urban settings rather than filming on location, especially for a Noir flick like this one, which relied heavily on controlled lighting and atmospheric effects to create its shadowy, tense visuals.
Universal Studios, the production company, had a back lot equipped to simulate various urban environments. The set allowed cinematographer Elwood Bredell to manipulate lighting and shadows in a way that would have been difficult to achieve at pulsating city like NY. Rain-slicked streets, strategic lighting, and carefully crafted shadows were all designed within the studio to convey the dark, oppressive feel of Film Noir. The controlled environment also allowed director Robert Siodmak to create the intense and claustrophobic atmosphere that defines the film’s visual style, particularly in this sequence.
This tram station hasn´t existed in NY. It was created in an ‘Universal Studio’ back lot.
The NY skyscrapers and Ella Raines. A Noir beauty on studio stages.
Deep Focus & Depth Staging
The use of deep focus allows viewers to see Kansas in the foreground while the bartender stays visible in the background, allowing us to feel her tension. This layering gives the viewer a sense of her careful surveillance, yet emphasizes the risk that he might catch on to her presence. Depth staging also creates an intense visual rhythm as Kansas weaves around obstacles.
While waiting for the tram, Kansas view is straight ahead.
Her pounding heart starts moving her eyes …
… until fear crushes in. The bartender approaches …
Suddenly he gets interrupted by another person entering the platform. A beam of light, from the arriving tram, destructs the darkness for a slight moment.
Tracking Shots & Slow Pacing
Director Robert Siodmak arranged tracking shots to follow Kansas’s movement. His intention was to create a fluid but slow pacing that builds suspense by delaying any immediate action. The camera movement heightens uncomfortable feelings and foreshadows the events to come.
They got off at 23rd street. Recently I had the thought that it would have been a great extension to the tailing if they continued filming inside the tram. Maybe the reason they didn´t were budget reasons or studio restrictions. The bartender gets off and continues his walk through dark streets.
A good example for a tracking shot. The camera, slightly in front of Kansas (Ella Raines), joins her tailing. Or in other words. We, the audience, join her tailing.
Urban Setting
The scene uses the urban environment to its fullest, with empty, rain-slicked streets, dim streetlights, and the looming architecture of the city. The lonely streets become oppressive and create a haunting backdrop that captures the gritty flair of a Film Noir. The cinematography in this tailing scene expertly combines lighting, which makes it one of the outstanding scenes in ‘Phantom Lady (1944).’
The bartender (Andrew Tombes) nearby a lighted alley. Pure Film Noir!
Finally Kansas confronts him. Some protective citizens think that the man chases after her …
Ella Raines aka Kansas with a special lighting. She´s confident to receive the desired information.
Full of fear, the bartender tries to flee. A speeding car interrupts him. Kansas (Ella Raines) is shocked.
The sequence ends with a pair of high heels and a hat in the gutter …
Rating
The Tailing Scene from ‘Phantom Lady (1944)’ belongs to my favorite sequences in terms of Film Noir cinematography. Elwood Bredell knew his stuff and belongs to the best. In the whole slow tailing, until the final confrontation, not one single word is spoken and no soundtrack is heard. The clacking of Kansas high heels, a far-away horn of a NY car in between and the visuals are more than enough to keep the audience on edge. Also, the facial expressions of Ella Raines and Andrew Tombes contribute immensely to the tense situation. A great sequence, which is one of the reasons I have watched ‘Phantom Lady (1944)’ many times and will continue to do so.
Complete rating for The Tailing Scene from ‘Phantom Lady (1944)’:
The Tailing Scene from ‘Phantom Lady (1944)’ climbed ‘Close To The Top’ on the ‘Rating Mountain:
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