Tag: classic film
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Cable Guys: The Elevator Operators of Noir
We don’t see many elevator operators in our daily lives, but in noir they’re as common as neon signs and clouds of Chesterfield smoke. Elevator operators in film noir work in posh skyscrapers and skid row fleabags. They’re anonymous functionaries battling monotony and are nearly invisible extensions of the machinery they operate. Or they can…
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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). 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 and prostitution, 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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‘The Killers’: A much loved noir that’s the spitting image of another American classic
“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 on the life of William Randolph Hearst. It’s like comparing…
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Off the Hook: A bedridden heiress glimpses the face of doom in ‘Sorry, Wrong Number’
‘Sorry, Wrong Number’ (1948) Barbara Stanwyck plays Leona Stevenson, a woman markedly dissimilar to Stanwyck’s cold blooded Phyllis Dietrichson of “Double Indemnity” four years before. Leona is no femme fatale — she’s a femme in jeopardy. That alone ought to make us feel sympathy for her, but she’s a hard one to warm up to.…
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Whiteout Noir: 6 Films With Cold Blooded Crimes In Wintery Places
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 stuff. Can’t think of any? Understandable — there aren’t a lot of them. Snowfall plays a dramatic role in a handful noirs…
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Disenchantment reigns supreme in a ‘City that Never Sleeps’
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 silver, poses as a mechanical man in the burlesque theater’s front…
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When Noir Got Into the True Crime Game — Docudramas: How True Were They?
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 movies based on fictional stories, or so the legend goes. They wanted a realistic view of life that…
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Noir Must Be Shot in Black and White, Right? Guess Again
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 noir is usually shot on black and white film, but the luscious hues of those…