Posts Tagged “Film-Noir”

1951

June 29, 2009
September 1, 2008
De Anza College Film Class
USA
English
111 Minutes — June 29, 1951
Drama / Film Noir
Billy Wilder [Double Indemnity; The Lost Weekend; Sunset Blvd.; Sabrina; Some Like It Hot; The Apartment]
#580 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

In order to prolong the sensation and boost newspaper sales, a self-seeking journalist delays the rescue of a man trapped in a cave.

Second Viewing:

On a larger screen of the De Anza screening room, the film looked just as sharp as on my TV. I’ve since read a lot about this film and I was struck by the non-heroic nature of just about every single character. Perhaps the man’s father and the newspaper editor were blame-free. But every single other person who appears on screen has more faults than normal. Even the poor man stuck in the cave. The second viewing just made everyone seem less redeemable. The family who sets up camp (literally) outside the cave, the wife of the man, even the photographer who began wet-behind-the-ears ends up nearly as ruthless as the others. Douglas is spectacular.

Previously Written:

This was suggested by David Simon who was doing interview after interview about the final season of the Almighty WIRE. That show dealt with an eager Baltimore Sun reporter who began bending the truth a bit in order to be noticed by either the New York Times or the Pulitzer committee.

This film stars a young, handsome, and strong Kirk Douglas as an out-of-work reporter who lands in New Mexico after a series of firings from other papers. He is bitter about living in the middle of nowhere until he stumbles upon the story of a man trapped in a cave while collecting Indian artifacts. Sensing his big break, he enlists the help of the less-than-worrisome wife, the crooked County Sheriff, and the dense engineer. Told that the man could be rescued in 18 hours, Douglas gets all to agree to drill from a much higher place, thus taking about a week to free him. The man is rugged and tough, what could go wrong? The Sheriff helps Douglas keep the story exclusive and before you know it, the area surrounding the diner, hotel, and cave are overrun by onlookers, all paying an entry fee to wait out the rescue. Some say that the phrase “media circus” was invented after this film as a carnival complete with ferris wheel and other attractions pulls into the parking area near the mountain.

It is amazing how relevant this film still is. Douglas isn’t a bad guy–he just knows the value of a good story. The film has no heroes. No one on the right side. The man in the cave was collecting sacred artifacts. His wife sees her chance to get out of the tiny, dusty town and back to the big city where her personality would be more welcome. The Sheriff is crooked in both elections and in never paying a check. The engineer is spineless. Even the crowd itself is there for the festival atmosphere, the excitement, and the chance that either the man will be pulled out alive, or his body will be taken out if he dies. Either way, what a show!

The landscape is filmed spectacularly. There are sweeping vistas from the top of the mountain. A long pan shot reveals an endless line of cars heading towards the action. At one point a train stops just across the street and passengers hop off and literally run towards the cave opening.

Douglas is fantastic. We see him grovel for the job, accepting lower pay than he’s used to just for the work. Later we see his chest swell with pride as the onlookers (and a microphone-wielding TV announcer) applaud and cheer him as he heads back into the cave to speak with the frightened trapped man.

Very impressive.

“One of Billy Wilder’s masterworks, in which he was in a serious mood, exposing the sensationalism of the tabloid press. Wilder’s target was not merely the press, radio, and television, but also its readers, listeners, and viewers who enjoyed nothing so much as a dramatic disaster. Time has confirmed that it is an incisive, compelling melodrama.” — Halliwell’s Top 1000 #352

“Unrelentingly cynical (yet mostly believable) tale of how the reporter exploits the “human interest story” for his own benefit — and how the potential tragedy turns into a three-ring circus — has a peculiarly contemporary ring to it. Biting and extremely well acted.” — Leonard Maltin 2007 Movie Guide.

*** Halliwell’s
*** Maltin
7.2 Metacritic
8.3 IMDB

Ace in the Hole – Criterion Collection @ Amazon

ACE IN THE HOLE

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1947

June 18, 2009
TCM
USA
English / Cantonese
87 Minutes — June 9, 1948
Crime / Drama / Film-Noir / Mystery
Orson Welles [Citizen Kane; The Magnificent Ambersons; The Tragedy Of Othello: The Moor Of Venice; Touch Of Evil]
#418 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

A seaman becomes involved in the maritime wanderings of a crippled lawyer and his homicidal frustrated wife.

One of the lesser-beloved of Welles films. First things first. I am still flabbergasted when I see a 30s or 40s actress who is as beautiful as Rita Hayworth was here. For some reason, I don’t think actresses became sexy and beautiful until Sophia Loren or maybe Anita Ekberg or someone of that era, usually from Europe. Then I catch a glimpse of Grace Kelly and realize that I’m completely wrong. Rita Hayworth was breathtakingly beautiful. And married, though breaking up with, Welles at the time.

Because of its tone and the use of an attractive woman who knows more than we do, we know they’ll be some sort of double-cross, but we don’t know what. After seeing this, I’m still not sure who was doing what to whom and for what reason. But the ride was nice. Welles tries for an Irish accent, which isn’t particularly believable. There is a lawyer and a dicey assistant and a hall of mirrors scene at the end which has been copied dozens of times since. It was filmed on locations as the boat headed from Mexico up to San Francisco Bay.

See it to complete your Welles list or see it to see Rita Hayworth in extreme closeup while singing a nonsense song.

7.8 IMDB
** Halliwells

The Lady from Shanghai @ Amazon

THE LADY FROM SHANGHAI

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1944

October 28, 2008
Netflix DVD
USA
English
107 Minutes — September 6, 1944
Crime / Film-Noir / Thriller
Billy Wilder [The Lost Weekend; Sunset Blvd.; Ace In The Hole; Sabrina; The Spirit of St. Louis; Some Like It Hot; The Apartment]
Fred MacMurray [The Caine Mutiny; The Apartment]
Barbara Stanwyck [Meet John Doe]
#94 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

An insurance agent connives with the glamorous wife of a client to kill her husband and collect.

Even though it’s more than 60 years old, it still is almost unbelievably tense. Our hero confesses while talking into an old fashion dictation machine. He meets Stanwyck and just about devours her with his eyes. It must have been incredibly revealing to have a character enter a scene wrapped in a towel in 1944. Sure it’s dated, but I felt like I needed to know how it all fit together. Impossible to stop watching in the middle. All the pieces fit.

“Archetypal film noir of the forties, brilliantly filmed and incisively written, perfectly capturing the decayed Los Angeles atmosphere of a Chandler novel but using a simpler story and more substantial characters. The hero/villain was almost a new concept.” — Halliwell’s DVD & Video Guide 2007

“The script packs fireworks in account of insurance salesman MacMurray coerced into murder plot by alluring Stanwyck and subsequent investigation by Fred’s colleague Edward G. Robinson. An American movie classic, with crackling dialogue throughout.” — Leonard Maltin’s 2005 Movie Guide

**** Halliwell’s #43 All-Time
8.5 #53 All-Time IMDB
**** Maltin

Double Indemnity @ Amazon

DOUBLE INDEMNITY

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1951

September 1, 2008
Netflix Criterion DVD
USA
English
111 Minutes — June 29, 1951
Drama / Film Noir
Billy Wilder [The Lost Weekend; Sunset Blvd.; Sabrina; The Seven Year Itch; The Spirit Of St. Louis; Some Like It Hot; The Apartment]
#580 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The version of the list I used is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

In order to prolong the sensation and boost newspaper sales, a self-seeking journalist delays the rescue of a man trapped in a cave.

This was suggested by David Simon who was doing interview after interview about the final season of the Almighty WIRE. That show dealt with an eager Baltimore Sun reporter who began bending the truth a bit in order to be noticed by either the New York Times or the Pulitzer committee.

This film stars a young, handsome, and strong Kirk Douglas as an out-of-work reporter who lands in New Mexico after a series of firings from other papers. He is bitter about living in the middle of nowhere until he stumbles upon the story of a man trapped in a cave while collecting Indian artifacts. Sensing his big break, he enlists the help of the less-than-worrisome wife, the crooked County Sheriff, and the dense engineer. Told that the man could be rescued in 18 hours, Douglas gets all to agree to drill from a much higher place, thus taking about a week to free him. The man is rugged and tough, what could go wrong? The Sheriff helps Douglas keep the story exclusive and before you know it, the area surrounding the diner, hotel, and cave are overrun by onlookers, all paying an entry fee to wait out the rescue. Some say that the phrase “media circus” was invented after this film as a carnival complete with ferris wheel and other attractions pulls into the parking area near the mountain.

It is amazing how relevant this film still is. Douglas isn’t a bad guy–he just knows the value of a good story. The film has no heroes. No one on the right side. The man in the cave was collecting sacred artifacts. His wife sees her chance to get out of the tiny, dusty town and back to the big city where her personality would be more welcome. The Sheriff is crooked in both elections and in never paying a check. The engineer is spineless. Even the crowd itself is there for the festival atmosphere, the excitement, and the chance that either the man will be pulled out alive, or his body will be taken out if he dies. Either way, what a show!

The landscape is filmed spectacularly. There are sweeping vistas from the top of the mountain. A long pan shot reveals an endless line of cars heading towards the action. At one point a train stops just across the street and passengers hop off and literally run towards the cave opening.

Douglas is fantastic. We see him grovel for the job, accepting lower pay than he’s used to just for the work. Later we see his chest swell with pride as the onlookers (and a microphone-wielding TV announcer) applaud and cheer him as he heads back into the cave to speak with the frightened trapped man.

Very impressive.

“One of Billy Wilder’s masterworks, in which he was in a serious mood, exposing the sensationalism of the tabloid press. Wilder’s target was not merely the press, radio, and television, but also its readers, listeners, and viewers who enjoyed nothing so much as a dramatic disaster. Time has confirmed that it is an incisive, compelling melodrama.” — Halliwell’s Top 1000 #352

“Unrelentingly cynical (yet mostly believable) tale of how the reporter exploits the “human interest story” for his own benefit — and how the potential tragedy turns into a three-ring circus — has a peculiarly contemporary ring to it. Biting and extremely well acted.” — Leonard Maltin 2007 Movie Guide.

*** Halliwell’s
*** Maltin
7.2 Metacritic
8.3 IMDB

Ace in the Hole – Criterion Collection @ Amazon

ACE IN THE HOLE

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1949

June 24, 2008
Netflix Criterion DVD
UK
English / German / Russian
104 Minutes
Film-Noir / Mystery / Thriller
Carol Reed [Oliver!]
#24 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The version of the list I used is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

~~
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THE THIRD MAN is the subject of Cinebanter Podcast Number 54. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:
• 00:00 Intro
• 00:32 THE THIRD MAN Discussion
• Break
• 16:23 To Sum It Up
• Break
• 16:47 The Last Five®
• Break
• 25:36 Average Matt
• Break
• 32:10 Tassoula’s 5 Favorites from SIFF
• Break
• 49:29 Show Notes
• 51:56 Credits and Outtake

~~
~~

An American pulp fiction writer goes to Vienna to meet an old friend and finds that he has disappeared in sinister circumstances.

An unintelligent but tenacious writer of Westerns arrives in post-war Vienna to join his old friend Harry Lime, who seems to have met with an accident…or has he?

Oscar Winner: Cinematography Robert Krasker
Oscar Nominee: Director Carol Reed, Editor Oswald Hafenrichter

#18 All Time Halliwell’s
#49 All Time IMDB
**** Halliwell’s
**** Ebert
**** Maltin
8.5 IMDB

THE THIRD MAN

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Written by Michael W. Cummins