Category: Burt Lancaster
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Crime tourists, Part II: Americans clash with the underworld in foreign lands
DeForest Kelley, Cameron Mitchell, Robert Ryan, (unidentified), Robert Stack, ‘House of Bamboo’ (1955). By Paul Parcellin We’ve already talked about films with Americans overseas acting badly. It seems that whenever a region is beset by war, a pack of jackals descends on the still twitching carcass of civilization to devour whatever meat is left on…
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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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Could You Repeat That? — 36 Noirs That Unfold In Flashbacks
Barbara Stanwyck, Fred MacMurray, “Double Indemnity” (1944). They pop up in all kinds of movies and TV shows, but flashbacks are the stuff that films noir are made of By Paul Parcellin Is that film you’re watching a noir? Here’s one semi-reliable way to tell: Look for flashbacks. In noir, flashbacks show us the stuff…
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‘The Killers’: Nagging Questions In a Haze of Gunsmoke
Left, Burt Lancaster, “The Killers” (1946). Right, Lee Marvin, “The Killers” (1964). In both versions, sports heroes have tragic downfalls and alluring women enter the picture to offer a helping hand — it doesn’t turn out well for the wounded competitors By Paul Parcellin “The Killers” (1946) Robert Siodmak (director) — “The Killers” (1964) Don…
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Noir Must Be Shot in Black and White, Right? Guess Again
Marilyn Monroe, “Niagara” (1953). Raw Emotions Sizzle When Noir is in Color By Paul Parcellin I can already hear the howls of protest over the idea that film noir can be in color, so those who insist that color is verboten in noir will probably want to sit this one out. We all know that…
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Lovesick Wanderer Returns … to a Double Cross
Burt Lancaster, Yvonne DeCarlo, “Criss Cross” (1949). This article contains spoilers. By Paul Parcellin The magnetic attraction between Steve Thompson (Burt Lancaster) and Anna (Yvonne DeCarlo) is the stuff that drives “Criss Cross” toward its dramatic and deadly conclusion. Steve returns to town after two year’s absence and the first thing on his mind is…
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Ripped From the Headlines: True Crimes Explode onto the Screen in Noir Movies
Barbara Stanwyck, Fred MacMurray, “Double Indemnity” (1944) By Paul Parcellin It’s no wonder that Hollywood in the 1940s and ’50s scooped up lurid true crime stories and made hard-hitting, gritty dramas out of them. Following the war, the public’s appetite for rough textured tales could not be surpassed. Cold, savage murders that bled off the…
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Meet the Press: Bullies, Brutes and News Hounds of Noir
Kirk Douglas, Robert Arthur, ‘Ace in the Hole’ (1951). By Paul Parcellin Gossip, Lurid Facts, Scandal Keep the Tabloid Presses Rolling This article contains spoilers, so you may want to see these films before reading any further. When we see a disheveled, groggy Richard Conte breaking into his own office in the middle of the…