Anyone familiar with Theodore Roszak’s Flicker? I believe that at one time Darren Aronofsky was slated to direct this…not sure where it stands film version-wise. In any event, it’s a fine conspiracy theory driven plot regarding the effect of an Edgar G. Ulmer-ish auteur on subsequent film history…I wasn’t crazy about the finale, but all in all not a bad bit of fiction.
Yep, most definitely cool to see folks your age getting into cinema. Nothing like it was when I was your age…back then, a movie by Luis Bunuel, for example, was something I had only read about. If I wanted to actually see it on the screen, forget it. Unless one was lucky to catch something at a University art theater, one wouldn’t see those films.
Nowadays the opportunity to see many classic films is so much greater than it was in the mid sixties. The ready availability of things on DVD makes this era an exciting time to become a movies fan.
Bobby, for the “most cynical, downbeat, catastrophic” ending in a classic noir film….how’s about Kiss Me Deadly? Sort of the ultimate catastrophe? Although, KMD comes along towards the end of the classic noir cycle…
Hitchcock and classic film noir have always been uneasy partners. Still, undoubtedly and notwithstanding Hitchcock’s unique personal vision, he made several classic noirs such as Strangers On a Train and Notorious, just to name two. And I think Vertigo is rightly considered part and parcel of the classic noir cycle. There’s death, deception, detectives, femme fatales (Kim Novack…hubba hubba!), skewed perceptions and states of mind…it’s all there.
But still…if one stretches the notion of noir enough you end up with some Douglas Sirk films…that’s the danger (or the fun) of talking about noir, right? :)
Getting back to some of the previous comments…I’m interested in hearing why Fuller’s Naked Kiss is at the margins of classic noir? In my view, it’s somewhat quintessential. If anything it’s grittier and pulpier than anything that preceded it. Hell, it even has the unique twist of the femme fatale being male!
My opinion could change tomorrow (or this afternoon, for that matter) bu Peter Greenaway’s Prospero’s Books still awes me with its lush cinematography, pageantry and effects.
I wasn’t even thinking of Constance being the femme fatale…I was thinking more of the pedophile who has her fall in love with him. You’re all right about the cinematic style…it verges on television sitcom of the period image wise. However, and I’d have to go back and watch it…but I seem to remember some off kilter shots several times during the movie.
One way to look at it, as opposed to post-noir it might be looked at as some sort of natural progression thematically.
So many to choose from. I love the work of the early Soviet directors. Buster Keaton’s work in the USA was unparalleled. But for my money, my favorites have to be the Germans: Murnau, Pabst, Lang. Those German silents from the twenties include some o the greatest movies ever made.
A big chunk of Hitchcock’s Notorious takes place in Brazil and a big chunk of Lupino’s The Hitch Hiker is in Mexico. And while not a part of the classic noir canon, but just as good and a nice take on contemporary noir is Bielinsky’s Argentinian Nine Queens.
I’m surprised there hasn’t been more commentary on Ulmer’s ur-noir Detour. Love the description of Ann Savage above: “little dark bruise that keeps on spreading.”
I think Joe Lewis’ The Big Combo is an overlooked nasty little jewel of a noir. John Alton’s photography create a dark shadowy world that could be something of a primer for noir photography. It’s a perverse story what with Richard Conte going down on Jean Wallace (something of a first for classic noir) and the overtly homosexual relationship between Lee Van Cleef and Earl Holliman, among other things. While the production takes place relatively late in the noir cycle, it still stays well within the classic tradition while surprisingly modern when it comes to dealing with sexual themes.
I’m ashamed to admit I’ve never seen T-Men. Anyone aware of a decent DVD transfer of it?
Speaking of Anthony Mann….I’m partial to his goofy Strange Impersonation. It reminds me of Detour in its improbably sequence of events. But, notwithstanding that, its core noir themes of identity loss and betrayal still work…which perhaps may be due to Mann’s direction. Of course, the whole thing is ruined by a cowardly, idiotic ending…I don’t disclose it so as not to spoil it. But the ending ruins what is otherwise not a bad cheapie noir.
I only wish I could the bulk of the things I watch in a theater. But, for all practical purposes, I seldom have the opportunity to watch movies on anything other than a tv screen, albeit a widescreen tv. I do find it virtually impossible to watch a movie on a computer screen…although I do have a widescreen monitor, it’s just too damn close to my face to watch it like that.
The trade off, however, is I get to watch tons of of stuff because of DVDs.
Anyone ever seen a great perverse noir cheapie: The Red House? Edgar G. Robinson stars as the perv who raise’s his dead wife’s daughter because he intends to marry her. The ending is a paradigm of pessimism…this is very much one of noir’s unheralded classics.
Brendan…good one! That opening scene in Once Upon a Time In the West is exquisite! In fact, it’s so well done the rest of the movie has a hard time living up to the promise of that initial scene. Thanks for pointing that one out…
If anyone is paying the MSRP for Criterions (assuming you are in the USA), it’s strictly because he or she wants to. There are plenty of outlets to purchase from e-tailers at a substantial discount.
If you’re a film noir fan you can’t go wrong with Silver & Ward’s Film Noir: An Encyclopedic Reference to the American Style as well as Silver & Ursini’s Film Noir Reader series.
Rodney…you say regarding Pulp Fiction: “it’s just cool. It’s stylish. It’s fun to watch. It’s a very tricked-out pimp mobile, but that’s really all it is, I think.” In my view, those are not bad things…and if that’s all Pulp Fiction is ever known for, that’s pretty darn good praise.
Bobby…aside from the merits of Pulp Fiction as a classic film…I’m curious why you deem it an example of neo-noir. I’m not a huge fan of PF, but be that as it may I’ve never considered it noir in any way.
Anyone like Memento as an example of contemporary noir?
I’ve never seen his films…but it’s my understanding that his short films should be seen as documentaries prismed through a surreal point of view. I’m looking forward to seeing these…
When I say "A Perfect Film", What One Film Pops Into Your Head First? over 3 years ago
Mars Attacks Puerto Rico
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Novels about Cinema and Cinephilia over 3 years ago
Anyone familiar with Theodore Roszak’s Flicker? I believe that at one time Darren Aronofsky was slated to direct this…not sure where it stands film version-wise. In any event, it’s a fine conspiracy theory driven plot regarding the effect of an Edgar G. Ulmer-ish auteur on subsequent film history…I wasn’t crazy about the finale, but all in all not a bad bit of fiction.
Go to Comment
12-year old asking... over 3 years ago
Yep, most definitely cool to see folks your age getting into cinema. Nothing like it was when I was your age…back then, a movie by Luis Bunuel, for example, was something I had only read about. If I wanted to actually see it on the screen, forget it. Unless one was lucky to catch something at a University art theater, one wouldn’t see those films.
Nowadays the opportunity to see many classic films is so much greater than it was in the mid sixties. The ready availability of things on DVD makes this era an exciting time to become a movies fan.
Go to Comment
Disturbing Movies that You Love... over 3 years ago
Franju’s Blood of the Beasts will forever be embedded in my brain as a surreally beautiful and profoundly disturbing film.
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CLASSIC FILM NOIR over 3 years ago
Bobby, for the “most cynical, downbeat, catastrophic” ending in a classic noir film….how’s about Kiss Me Deadly? Sort of the ultimate catastrophe? Although, KMD comes along towards the end of the classic noir cycle…
Go to Comment
CLASSIC FILM NOIR over 3 years ago
Hitchcock and classic film noir have always been uneasy partners. Still, undoubtedly and notwithstanding Hitchcock’s unique personal vision, he made several classic noirs such as Strangers On a Train and Notorious, just to name two. And I think Vertigo is rightly considered part and parcel of the classic noir cycle. There’s death, deception, detectives, femme fatales (Kim Novack…hubba hubba!), skewed perceptions and states of mind…it’s all there.
But still…if one stretches the notion of noir enough you end up with some Douglas Sirk films…that’s the danger (or the fun) of talking about noir, right? :)
Go to Comment
CLASSIC FILM NOIR over 3 years ago
Getting back to some of the previous comments…I’m interested in hearing why Fuller’s Naked Kiss is at the margins of classic noir? In my view, it’s somewhat quintessential. If anything it’s grittier and pulpier than anything that preceded it. Hell, it even has the unique twist of the femme fatale being male!
Go to Comment
CLASSIC FILM NOIR over 3 years ago
Sorry…double post.
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The most beautiful films? over 3 years ago
My opinion could change tomorrow (or this afternoon, for that matter) bu Peter Greenaway’s Prospero’s Books still awes me with its lush cinematography, pageantry and effects.
Go to Comment
CLASSIC FILM NOIR over 3 years ago
I wasn’t even thinking of Constance being the femme fatale…I was thinking more of the pedophile who has her fall in love with him. You’re all right about the cinematic style…it verges on television sitcom of the period image wise. However, and I’d have to go back and watch it…but I seem to remember some off kilter shots several times during the movie.
One way to look at it, as opposed to post-noir it might be looked at as some sort of natural progression thematically.
Go to Comment
FAVORITE SILENT FILMS/DIRECTORS over 3 years ago
So many to choose from. I love the work of the early Soviet directors. Buster Keaton’s work in the USA was unparalleled. But for my money, my favorites have to be the Germans: Murnau, Pabst, Lang. Those German silents from the twenties include some o the greatest movies ever made.
Go to Comment
CLASSIC FILM NOIR over 3 years ago
A big chunk of Hitchcock’s Notorious takes place in Brazil and a big chunk of Lupino’s The Hitch Hiker is in Mexico. And while not a part of the classic noir canon, but just as good and a nice take on contemporary noir is Bielinsky’s Argentinian Nine Queens.
Go to Comment
CLASSIC FILM NOIR over 3 years ago
I’m surprised there hasn’t been more commentary on Ulmer’s ur-noir Detour. Love the description of Ann Savage above: “little dark bruise that keeps on spreading.”
Go to Comment
CLASSIC FILM NOIR over 3 years ago
I think Joe Lewis’ The Big Combo is an overlooked nasty little jewel of a noir. John Alton’s photography create a dark shadowy world that could be something of a primer for noir photography. It’s a perverse story what with Richard Conte going down on Jean Wallace (something of a first for classic noir) and the overtly homosexual relationship between Lee Van Cleef and Earl Holliman, among other things. While the production takes place relatively late in the noir cycle, it still stays well within the classic tradition while surprisingly modern when it comes to dealing with sexual themes.
Go to Comment
CLASSIC FILM NOIR over 3 years ago
I’m ashamed to admit I’ve never seen T-Men. Anyone aware of a decent DVD transfer of it?
Speaking of Anthony Mann….I’m partial to his goofy Strange Impersonation. It reminds me of Detour in its improbably sequence of events. But, notwithstanding that, its core noir themes of identity loss and betrayal still work…which perhaps may be due to Mann’s direction. Of course, the whole thing is ruined by a cowardly, idiotic ending…I don’t disclose it so as not to spoil it. But the ending ruins what is otherwise not a bad cheapie noir.
Go to Comment
How Do You Watch Films? over 3 years ago
I only wish I could the bulk of the things I watch in a theater. But, for all practical purposes, I seldom have the opportunity to watch movies on anything other than a tv screen, albeit a widescreen tv. I do find it virtually impossible to watch a movie on a computer screen…although I do have a widescreen monitor, it’s just too damn close to my face to watch it like that.
The trade off, however, is I get to watch tons of of stuff because of DVDs.
Go to Comment
CLASSIC FILM NOIR over 3 years ago
Anyone ever seen a great perverse noir cheapie: The Red House? Edgar G. Robinson stars as the perv who raise’s his dead wife’s daughter because he intends to marry her. The ending is a paradigm of pessimism…this is very much one of noir’s unheralded classics.
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CLASSIC FILM NOIR over 3 years ago
I told ya it was cheap. ;)
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Best or Favorite Opening Sequence over 3 years ago
The opening tracking shot in Touch of Evil…absolutely perfect in every way.
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WHAT MODERN...AMERICAN...HORROR FILMS SHOULD BE ADDED TO THE CRITERION COLLECTION? over 3 years ago
Can’t Stop the Music…memories of Bruce Jenner’s performance have ruined the innocent whimsy of Keeping Up With the Kardashians for me.
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Sex in the movies: Disturbing? over 3 years ago
I don’t think there are enough realistic portrayals of anal sex in the movies today.
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Best or Favorite Opening Sequence over 3 years ago
Brendan…good one! That opening scene in Once Upon a Time In the West is exquisite! In fact, it’s so well done the rest of the movie has a hard time living up to the promise of that initial scene. Thanks for pointing that one out…
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Criterion too pricey for you? over 3 years ago
If anyone is paying the MSRP for Criterions (assuming you are in the USA), it’s strictly because he or she wants to. There are plenty of outlets to purchase from e-tailers at a substantial discount.
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Books about film. over 3 years ago
If you’re a film noir fan you can’t go wrong with Silver & Ward’s Film Noir: An Encyclopedic Reference to the American Style as well as Silver & Ursini’s Film Noir Reader series.
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Contemporary Film Noir over 3 years ago
Rodney…you say regarding Pulp Fiction: “it’s just cool. It’s stylish. It’s fun to watch. It’s a very tricked-out pimp mobile, but that’s really all it is, I think.” In my view, those are not bad things…and if that’s all Pulp Fiction is ever known for, that’s pretty darn good praise.
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Contemporary Film Noir over 3 years ago
Bobby…aside from the merits of Pulp Fiction as a classic film…I’m curious why you deem it an example of neo-noir. I’m not a huge fan of PF, but be that as it may I’ve never considered it noir in any way.
Anyone like Memento as an example of contemporary noir?
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Science is Fiction over 3 years ago
This new Criterion release appears to be fairly comprehensive. Does anyone know which 23 films of Painleve’s will be included in this release?
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Science is Fiction over 3 years ago
I’ve never seen his films…but it’s my understanding that his short films should be seen as documentaries prismed through a surreal point of view. I’m looking forward to seeing these…
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