Author: pparcellin@gmail.com
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‘Scarlet Street’ at 80: Flirtations with a femme fatale can often lead to trouble — and sometimes murder
At her service. Joan Bennett, Edward G. Robinson, ‘Scarlet Street’ (1945). By Paul Parcellin Contains spoilers When “Scarlet Street” premiered 80 years ago this month it was not uniformly praised by critics, and several cities outright banned it due to its dark content. The film hinted at such taboo topics as sex out of wedlock…
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A cunning serial killer is on the loose and police are baffled
Song Kang-ho, ‘Memories of Murder’ (2003).Searching for clues and coming up empty. ‘Memories of Murder’ (2003) Bodies are popping up with terrifying regularity in a small South Korean city and the local police force has few clues to go on. Young women are being raped and strangled, their bodies abandoned in little traveled spots, and…
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‘They Shoot Horses, Don’t They?’: A Tinseltown Allegory that Ends Unhappily Ever After
Michael Sarrazin, Jane Fonda, ‘They Shoot Horses, Don’t They?’ Harrowing Tale of Dance Marathons and the Depression-Era Downtrodden. But Those Marathons Remind Us of Something Else — the Studio System at its Most Heartless Contains spoilers By Paul Parcellin “They Shoot Horses, Don’t They” is a noir tragedy about exploitation of the desperate and beleaguered…
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Mark Stevens: his quartet of searing films noir still light up screens today
Lucille Ball, Mark Stevens, ‘The Dark Corner’ (1946). By Paul Parcellin Mark Stevens made a string of taut crime dramas in the 1940s and ’50s that still resonate today. He acted in dozens of films, from westerns, war pictures to musicals and comedies, and directed two of his self-produced noirs as well as some hardboiled…
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Two Super-Charged Road Movies Take the Not So Scenic Route Through America
Barry Newman as Kowalski, ‘Vanishing Point’ (1971). A high-speed chase through the desert turns him into an overnight folk hero. By Paul Parcellin “Vanishing Point” (1971) The hyperkinetic, blind radio disc jockey Super Soul (Cleavon Little) is a lot like an evangelical preacher without the fire and brimstone. He’s part guardian angel, part voice of…
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Imposter noir: 51 films about swapping, losing and faking identities
Olivia de Havilland, ‘The Dark Mirror’ (1946). “There is only one plot – things are not what they seem.” — Jim Thompson By Paul Parcellin Let’s say you’re a character in a film noir. It’s likely that someone who you’re rubbing elbows with is not who they say they are. For that matter, you may…
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‘Pale Flower’: Gambling dens, yakuza and a mysterious woman who lives on the edge
A taste for danger. Saeko (Mariko Kaga), “Pale Flower” (1964). By Paul Parcellin “Pale Flower” (1964) It’s clear from the start that Masahiro Shinoda’s “Pale Flower” isn’t your typical yakuza picture — the kind that’s simmered in the Japanese underworld’s intricate codes of conduct, with a lead character who agonizes over prickly themes such as…
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‘The Killers’: A much loved noir that’s the spitting image of another American classic
Ava Gardner, Burt Lancaster, ‘The Killers’ (1946). By Paul Parcellin “The Killers” (1946) Some say “The Killers” is the “Citizen Kane” of noir, but how can that be? One is a beloved noir, the story behind a brutal murder of a washed up prizefighter. The other, a fictional biography of a media tycoon, loosely based…
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Off the Hook: A bedridden heiress glimpses the face of doom in ‘Sorry, Wrong Number’
Barbara Stanwyck, ‘Sorry, Wrong Number’ (1948). Crossed phone lines deliver chilling news to a woman stranded in her apartment. Post war prosperity, women’s position in society go under the microscope Contains some spoilers By Paul Parcellin ‘Sorry, Wrong Number’ (1948) Barbara Stanwyck plays Leona Stevenson, a woman distinctly different from cold blooded Phyllis Dietrichson, whom…
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‘Out of the Past’: 13 Signs that Jane Greer is About to Destroy You
Jane Greer, ‘Out of the Past’ (1947). Dressed in mink and deadly. Warnings abound, but the only thing Mitchum can sputter is ‘Baby, I don’t care’ Contains spoilers By Paul Parcellin ‘Out of the Past’ (1947) You can’t say that Jeff Bailey (Robert Mitchum) had no way of knowing what he was in for. A…