Category: crime film
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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 900 Pound Gorilla in the Room: Why Watching “Lady in the Lake” Requires Extensive Mind Over Matter Skills, and Perhaps a Bourbon on the Rocks
Robert Montgomery, “Lady in the Lake” (1946). By Paul Parcellin I have a confession to make: For as long as I’ve watched film noir (and I don’t care to go into exactly how long that is) I’d never sat down and watched “Lady in the Lake” (1947) until very recently. That’s not really a stunner,…
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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…
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The Demimonde After Dark: Two Visions of Paris, and the Gangsters Who Inhabit Each are Worlds Apart
Roger Duchesne, “Bob le flambeur” (1956). Contains Spoilers By Paul Parcellin Two films about the Parisian underworld are as different as fire and water. One is awash in old world charm, a nostalgia-tinged tale of the gangsters and gamblers of Montmartre. The other takes place in a Paris at odds with the city’s romanticized past.…
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Gumshoe Confidential: Would-Be White Knights, Reluctant Heroes and Rotten Apples, Otherwise Known as Private Detectives, Walked the Mean Streets of a Noir Hellscape
Humphrey Bogart, Peter Lorre, Mary Astor, Sydney Greenstreet, “The Maltese Falcon” (1941). By Paul Parcellin Private eyes, those lone rangers who traverse bleak urban landscapes, are romanticized in books, radio dramas and movies as upholders of right and wrong. They do the dirty work that the cops can’t or won’t touch. Often hired by those…
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Poverty Row Noir II: Scheming Communists Walk Among Us … and So Does a Future Sitcom Dad
Hugh Beaumont, Frances Rafferty, “Money Madness” (1948). Ward Cleaver as a psychotic killer? Say it ain’t so! Like many up and coming Hollywood actors, Hugh Beaumont appeared in noir B-pictures before he became better known as an all-American TV dad, and he played some pretty despicable characters, too. But more about that later. From the…
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More Than a Gunsel: Elisha Cook Jr. Played Wobbly Tough Guys, Inept Would-Be Heroes and Dyed in the Wool Victims Often Displaying Raw Emotion and Unexpected Vulnerabilities
Humphrey Bogart, Elisha Cook Jr., “The Maltese Falcon” (1941).Just a cheap gunman hanging around hotel lobbies. When he died in 1995 at the age of 91, Elisha Cook Jr. was the last surviving cast member of John Huston’s 1941 film noir classic “The Maltese Falcon,” whose players included Humphrey Bogart, Sydney Greenstreet, Peter Lorre and…
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How a Real-Life Prison Sentence Added Another Dimension to Mitchum’s Performance as a Woozy Doctor on the Run in a Nightmarish Flight From Justice
Robert Mitchum, “Where Danger Lives” (1950). By Paul Parcellin This article contains spoilers A lot of red flags should go up when Dr. Jeff Cameron (Robert Mitchum) meets Margo Lannington (Faith Domergue). But she’s a real dish and this is noir, so naturally he ignores the many warning signposts screaming at him that he’s about…
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Riding an Express Train to Hell: In Noir and Thrillers, Passengers Embark on Dark Journeys Aboard Shadowy Railroad Cars Hurtling Toward Uncertain Destinations
Charles McGraw, Don Haggerty, Marie Windsor, Don Beddoe, “The Narrow Margin” (1952). This article contains spoilers By Paul Parcellin Rail travel is a throwback to the days of neckties, breast pocket handkerchiefs and fedoras, so naturally it pops up often in films noir. It’s safe to say that if you’re watching a black and white…
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Noir After World War II: Damaged Vets Strain to Re-enter Civilian Life as America Stares Down Fascist Conspiracies and a Seething Nuclear Nightmare
Gaby Rodgers, “Kiss Me Deadly” (1955). This Post Contains Spoilers By Paul Parcellin American films noir changed a lot after the end of World War II. The standard setups — a guy, a girl, a gun, a pile of cash, gave way to new storylines and different kinds of characters. We began to see G.I.s…