crimeonfilm.com
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Danger Lurks in the Shadows of Noir-Tinged ‘Cat People’
Under hypnosis, Simone Simon, ‘Cat People’ (1942). By Paul Parcellin This article contains spoilers, so you may want to see the film before reading it. Director Jacque Tourneur said “The less you see, the more you believe” and his film, “Cat People” (1942), proves his theory. It shows how a movie can spark an audience’s…
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‘Double Indemnity’: Two On a Conveyor Belt Toward Doom
Fred MacMurray, Edward G. Robinson, ‘Double Indemnity’ (1944). This article contains many SPOILERS, so if you haven’t seen the film yet be forewarned. By Paul Parcellin In “Double Indemnity” (1944), housewife Phyllis Dietrichson (Barbara Stanwyck) seduces insurance salesman Walter Neff (Fred MacMurray) and gets him to kill her husband. She’s after a big payout from…
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‘Repeat Performance’: Happy New Year! — You’re Dead
Louis Hayward, Joan Leslie, ‘Repeat Performance’ (1947). By Paul Parcellin Sometimes we could all use a do-over, and that’s certainly the case with Sheila Page (Joan Leslie) who’s just capped off her year by turning her husband, Barney (Louis Hayward), into a corpse. But then something supernatural happens. Come midnight New Year’s Eve she finds…
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‘Dementia’: A Feverish, Tortured Night on Skid Row
Adrienne Barrett, ‘Dementia’ (1955). “Dementia” (1955) has many of film noir’s hallmarks: a dingy hotel room with a well-worn electric sign outside that nervously flashes off and on, shady characters prowling skid row’s streets and a posh-looking fat man who glides around town in the back seat of his limo. And of course tobacco smoke, deep,…
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One Step Beyond: Film Noir and the Supernatural
Edward G. Robinson, ‘Night Has a Thousand Eyes’ (1948). We can all daydream of possessing special powers, because who wouldn’t want greater insight into their life and extraordinary abilities to manipulate the hands of fate? But if there’s one thing that speculative fiction teaches us is that supernatural powers — mind reading, communicating with the…
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Jazz Mania: Film Noir, Bebop and the Devil’s Music
Elisha Cook Jr., ‘Phantom Lady’ (1944) You might be surprised to learn that jazz didn’t show up in film noir right away even though by the 1940s swing was part of the popular music landscape and bebop was well on its way to becoming a solid American art form. But you wouldn’t know it by watching…
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The Key to Marlowe’s Conundrum is In a Can of Cat Food
Elliot Gould, “The Long Goodbye” (1973) One of my favorite neo-noirs is “The Long Goodbye” (1973), Robert Altman’s adaptation of the Raymond Chandler novel of the same title, published 20 years earlier. Altman’s most drastic alteration of Chandler’s opus is placing the story in the 1970s instead of eight years after the end of World…
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‘Highway 301’: There’s a Killer on the Road
Wally Cassell, Steve Cochran, Richard Egan, Edward Norris, Robert Webber, ‘Highway 301’ (1950). It’s a wonder that anyone gets through the first few minutes of “Highway 301,” a noir based on the true-life crime wave perpetrated by an outfit called the Tri-State Gang. The film is a taut little thriller that starts off with wooden…
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When Tinsel Town Turns the Camera on Itself
Rod Steiger, ‘The Big Knife’ (1955). Face it, scandals make good news copy and the Los Angeles entertainment industry produces a bumper crop of the stuff that keeps gossip writers in business. From Rosco “Fatty” Arbuckle to Harvey Weinstein the press has never been at a loss for words when it comes to movie industry…
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‘Eddie Coyle’ Introduced Us to ‘Boston Noir’
Robert Mitchum in ‘The Friends of Eddie Coyle’ (1973). How Boston labor union muscle terrorized Hollywood film crews No one was quite ready for the grittiness of “The Friends of Eddie Coyle” when it arrived in theaters in 1973. It didn’t look like most films that Hollywood turned out — it had a certain rawness…