Category: classic film
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Whiteout Noir: 6 Films With Cold Blooded Crimes In Wintery Places
Ward Bond, Robert Ryan, “On Dangerous Ground” (1951). Murder has a different look atop a crisp blanket of snow By Paul Parcellin Winter is upon us, and in many places snow has either fallen or soon will. So it’s time to consider noirs that feature arctic blasts of frigid air and piles of the white…
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What does a Dancer, an Actor, a Magician and a Disenchanted Cop Have in Common? They All Meet in a “City that Never Sleeps”
Marie Windsor, Gig Young, Chill Wills, “City That Never Sleeps” (1953). A cloud of failure hangs over a handful of Chicagoans whose dreary lives are about to become a lot more dramatic. In “City That Never Sleeps” a would-be ballerina, reduced to dancing in a burlesque house; an out of work actor, his face painted…
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When Noir Got Into the True Crime Game — Docudramas: How True Were They?
Ted de Corsia, “The Naked City” (1948) — just one of the 8 million stories. By Paul Parcellin Maybe it was the rigors of World War II that whet the public’s appetite for true crime stories in the 1940s. Returning soldiers, who saw real blood and guts on the battlefield, were less than inspired by…
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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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Feverish dreams, persecution fantasies: there’s something about Cornell Woolrich’s stories that pulls us in like a magnet
Kevin McCarthy, Gage Clarke, “Nightmare” (1956). Contains spoilers By Paul Parcellin When it comes to crafting stories of dread and entrapment, Cornell Woolrich stands out among his peers. His darkest work seethes with feverish, paranoid fantasies. Wrongly accused men, caged on death row or free and living under a stifling cloud of suspicion, are driven…
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Scrapped: The Original Opening Sequence of “Sunset Boulevard” was Even Stranger than the Final Cut, and Audiences had a Peculiar Reaction to It
Erich von Stroheim, William Holden, Gloria Swanson,“Sunset Boulevard” (1950). Preview audiences were left stunned, oddly amused and utterly confused Joe Gillis (Holden), a life cut short. By Paul Parcellin At the start of “Sunset Boulevard,” hapless screenwriter Joe Gillis (William Holden) floats face-down in a swimming pool with several bullet holes punched into…
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Pop! Goes the Flashbulb: In Noir, Photographers Did It the Old Fashioned Way, and their Pictures Usually Turned the Town, and Crime Investigations, Upside Down
Howard Duff snaps a candid shot in “Shakedown” (1950). Contains Spoilers By Paul Parcellin Lighting and photographic style play an outsized role in crime dramas of all kinds, including film noir. But then there are the noirs and thrillers that put a camera in front of the camera — or to be more precise, they’re…
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Is It or Isn’t It? “Clash by Night” is a Gripping Drama, Alright, But Some Insist It Doesn’t Make the Cut as an Authentic Noir Because It Lacks One Crucial Element
Barbara Stanwyck, Paul Douglas, Robert Ryan, “Clash by Night” (1952). Contains Spoilers By Paul Parcellin “Clash by Night” has the look and feel of noir, but not everyone thinks of it that way. It stars Barbara Stanwyck and Robert Ryan, two giants of the shadowy crime dramas of the 1940s and ‘50s that define those…
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One Revealing Moment: Something that Happens in “The Night of the Hunter” Made Me Rethink My First Impression of the Film and See It in an Entirely New Light
Robert Mitchum, “The Night of the Hunter” (1955). By Paul Parcellin I first saw “The Night of the Hunter” (1955) around 20 or so years ago and walked away impressed but not particularly in love with the movie, and having said that I know what many of you are thinking: Heresy! I have no real…
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The Man From Nowhere: Who is Larry Cravat and why do so many people want to do him harm?
John Hodiak, Nancy Guild, “Somewhere in the Night” (1946). Battle Fatigue on the Homefront: Two views of life after the big one By Paul Parcellin “Somewhere in the Night” (1946) George Taylor (John Hodiak) awakens in a military hospital, and to his horror discovers that his memory has been wiped clean by a serious wound…