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New on DVD: Bad Girls of Film Noir

Bad Girls Vol 1Bad Girls Vol 2

Sony has released a new twin DVD-set of 8 b-girl movies from the Columbia vaults titled Bad Girls of Film Noir.  Mostly pot-boilers, but Night Editor is a must-have cult noir.

Volume 1

Evelyne Keys
The Killer That Stalked New York (1950) directed by Earl McEnvoy

Lizabeth Scott
Two of A Kind (1951) directed by Henry Levin
Bad for Each Other (1953) directed by Irvin Rapper

Gloria Grahame
The Glass Wall (1953) directed by Maxwell Shane

Volume 2

Cleo Moore
Night Editor (1946) directed by Henry Levin
One Girl’s Confession (1953) directed by Hugo Haas
Over-Exposed (1956) directed by Lewis Seiler

Ida Lupino/Cleo Moore/JanSterling/Audrey Totter
Women’s Prison (1956) directed by Lewis Seiler

> DVDs, Films, Lobby, News — Tony D'Ambra @ 5:17 pm

February 8, 2010


Cornell Woolrich: The shadows come from within

Night Has a Thousand Eyes Book Cover

“I was left alone there a long time. I could see, all right, and know the things about me. My car was there at the curb, glistening in the dark, with a thin ripple of wet orange paint running down its hood in one place where the light from the doorway struck out at it. A ripple that never moved, and yet was warped and liquid as running ripples are. I even shifted once, from where she had left me standing, and moved over to it, and stood up close beside it, my hands pressing down tight upon the top of the door, as if I were unsteady and needed something to cling to in order to remain upright. My head inclined, as if peering intently at the upholstery of the seat backs.

Yes, the car was real, it was there. My hands could feel it, my eyes could see it, I had but to touch a button to make light shoot out of it, light that no shadows could withstand; but yet the shadows had the best of it, it was powerless to rive this pall that blanketed the eyes that looked at it, the mind that considered it. It could not take me out of the shade, it was I who had brought it into the shade with me; its powers of contrast were lost, it became one with the other Gothic shadows about me. For the shadows came from within, and so anything they fell upon was shadowed. Just as if you front your eyes with a piece of smoked glass, the most sparkling sunlight will become somber.

Each unto himself has his own world that he looks out upon, and though someone else were to stand on the very selfsame inch of ground your feet were placed upon, guided by chalk marks, he would not see the same things you did. There would have been two different views there, not just one. Or is there any world at all, I wondered, out there before us as we look upon it; may it not be inside, behind the eyes, and out front nothing, just a blank infinite? But madness lurked along that trail, and I quickly turned aside.”

- Cornell Woolrich, Night Has a Thousand Eyes (1945)

> Articles, Books, Lobby — Tony D'Ambra @ 6:28 pm

February 6, 2010


Summary Reviews: The Amazing Mr X meets Phantom Lady

Phantom Lady

Phantom Lady (1944)
Loyal secretary Ella Raines desperately tries to save her innocent boss from  the gallows. Woody Bredell’s moody noir photography and an orgasmic jazz jam session add jive to Siodmak’s otherwise lack-luster direction. Franchot Tone is convincing as a closet psychopath. Elisha Cook Jr’s turn as a sleazy jazz drummer is anarchic, but Raines’ impersonation of  a gum-chewing floozy is just embarrassing.  Based on a Cornell Woolrich novel.

Sweet Smell of Success

Sweet Smell of Success (1957)
Manipulative NY celebrity columnist enlists sleazy publicist to destroy his younger sister’s suitor. As bracing as vinegar and cold as ice. Ambition stripped of all pretense.  Great chemistry between Burt Lancaster as the sinister chat columnist and Tony Curtis as the ruthless publicist.  DP James Wong Howe’s sharpest picture:  the streets of Manhattan have never looked so real.

The Amazing Mr X

The Amazing Mr. X (1948)
A crooked clairvoyant manipulates a widow who believes her dead husband is back. A brilliant gothic satire with humor, poetry, and panache.  John Alton’s expressionist lensing, Bernard Vorhaus’ fluid direction, and an ace Alex Laszlo score deliver top-flight entertainment.

Railroaded

Railroaded (1947)
John Ireland is great as a savage hood who frames an innocent guy for murder.  Anthony Mann’s poverty-row pulp-b is very noir, cut with acid, and photographed in the deafening blaze of gun-fire. Very entertaining.

Raw Deal

Raw Deal (1948)
A tragic love triangle very reminiscent of Marcel Carne’s Port of Shadows has to be one of  the great noirs.   A sublime film from director Anthony Mann and  DP John Alton, with a knockout cast in a strong story stunningly rendered as expressionist art.  The portrayals by Dennis O’Keefe, Claire Trevor, Marsha Hunt, and John Ireland are career bests.  Poetic voice-overs by Claire Trevor are  beautifully enhanced by Paul Sawtell’s eerie scoring.

Obsession

Obsession (1948 UK)
A macabre and sardonic melodrama. Psychopath shrink plans perfect murder. Taut direction from Edward Dmytryk with a Nino Rota score! Gruesome and disturbing.

Private Hell 36

Private Hell 36 (1954)
A flat crooked cop flic from Don Siegel. Ida Lupino, who co-wrote the screenplay, and Steve Cochran make it interesting.

Pursued

Pursued (1947)
Noir western from Raoul Walsh. Robert Mitchum is trapped by a dark dimly discerned past. Solid but inferior to the moody western Blood on The Moon (1948), also starring Mitchum.  Story is far-fetched and the actions of the protagonists seem  un-convincing.

Strange Illusion

Strange Illusion (1945)
A truly bizarre Hamlet remake. Edgar Ulmer turns a PRC-b into a camp expressionist noir of foul villains with a knockout finale. Jimmy Lydon, remember Henry Aldrich, plays Hamlet to Warren Williams’ Claudius, who is a bit of a lecher and is not past feeling-up teenage girls in swimming pools!

The Long Night

The Long Night (1947)
A  war vet is under siege in a tenement after killing a romantic rival. An RKO Henry Fonda vehicle from Anatole Litvak plays as melodrama with a strong supporting cast.  Barbara Bel Geddes is interesting as the love interest, but Vincent Price as the rival is too rococo and out-of-place. Me, I’m stuck on the luscious Ann Dvorak, a straight-up dame who falls for Fonda. John Wexley’s script over-reaches on the social criticism angle.

> Articles, Films, Lobby — Tony D'Ambra @ 9:47 pm

February 3, 2010


W R Burnett: Master of noir imagery

The Asphalt Jungle

From W.R. Burnett’s novel  The Asphalt Jungle (1949).  Notice how often the adjective ‘black’ is used.

“Dix made no comment and sat looking off across the wide black river,
which moved sluggishly southward between its steep cement
embankments toward its faraway union with the Mississippi.
There was no moon, but the sky was cloudless and a handful of bright
stars, diamond points of bluish light, glittered coldly over the tall
buildings on the far shore. The houses along the embankment were
almost all dark, but here and there a window showed light and cast
golden zigzag reflections onto the shiny black pavement of the river. A
slow, damp wind was blowing, carrying a smell of deep water.
Late as it was, traffic was fairly heavy on the big, three-lane bridge.
Suddenly a siren wail rose from the darkness of the far shore, and in a
moment a prowl car passed them, going back at high speed toward
the hilly slums of the Camden Square district.

_____________________

A dark, blustery night had settled down like a cowl over the huge,
sprawling Midwestern city by the river. A mist-like rain blew between
the tall buildings at intervals, wetting the streets and pavements and
turning them into black, fun-house mirrors that reflected in grotesque
distortions the street lights and neon signs.

The big downtown bridges arched off across the wide, black river into
the void, the far shore blotted out by the misty rain; and gusts of wind,
carrying stray newspapers, blew up the almost deserted boulevards,
whistling faintly along the building fronts and moaning at the
intersections. Empty surface cars, and buses with misted windows,
trundled slowly through the downtown section. Except for taxis and
prowl cars, there was no traffic.

River Boulevard, wide as a plaza and with its parkways and arched,
orange street lights stretching off into the misty horizon in diminishing
perspective, was as deserted as if a plague had swept the streets
clean. The traffic lights changed with automatic precision, but there
were no cars to heed or disobey them. Far down the boulevard, in the
supper-club section of the city, elaborately glittering neon signs
flashed off and on to emptiness. The night city, like a wound-up toy,
went about its business with mechanical efficiency, regardless of man.

_____________________

Dix sat up with a start and looked about him as if he’d never seen this
place before—never heard of it even. He had an uneasy feeling that he had
been lifted up in the night by unknown hands and carried to
this place of exile, this alien city with its canyons of masonry and its
unpredictable and ugly ways—far from home, far from sense and
meaning, far from any resting place.

_____________________

They were living very close to the river now, and all night long they
could hear the tugs moaning as they slid downstream pulling the
big coal barges; and sometimes, when it was exceptionally quiet,
they could hear the waves, stirred by the passage of the heavyladen
barges, washing and slapping against the old wharves at the
foot of Front Street. Through their one window they could see the
Lackawanna Street Bridge arching off toward the tall buildings of
the downtown area across the river. In the daytime the bridge was
huge, gray, and misty-looking; at night it was nothing but a long,
brilliant garland of yellow lights, duplicated upside down in the
black water.

_____________________

They cleared the suburb at last, and huge factories and warehouses
began to loom along their route. A light mist started to fall, making little
pinkish haloes about the street lights. For a while they skirted a
railroad embankment, and a freight train passed them going toward
town, and they heard the lonely, off-key ringing of the crossing-bells.
At last they pulled clear of the giant warehouses, the factories, the big
viaducts arching up out of the mists to nowhere, and came out into a
wide, flat, sparsely settled area, with a few poor, frame houses
grouped along cracked and weed-bordered sidewalks.

The mist turned to a drizzle, and the wet asphalt shone like black
glass, palely reflecting the widely separated street lights. A cold
wind began to blow, and Riemenschneider huddled down into his
big overcoat.”

> Articles, Books, Lobby — Tony D'Ambra @ 9:23 pm

February 1, 2010


Chandler on Cain: “Proust in greasy overalls”

Raymond Chandler
“RAYMOND CHANDLER ” LOS ANGELES TIMES

Raymond Chandler wrote his publisher Alfred Knopf in February 1943:

I hope the day will come when I don’t have to ride around on Hammett and James Cain, like an organ grinder’s monkey. Hammett is all right. I give him everything. There were a lot of things he could not do, but what he did he did superbly. But James Cain—faugh! Everything he touches smells like a billygoat. He is every kind of writer I detest, a faux naif, a Proust in greasy overalls, a dirty little boy with a piece of chalk and a board fence and nobody looking. Such people are the offal of literature, not because they write about dirty things but because they do it in a dirty way.” – Frank MacShane, The Life of Raymond Chandler, 1978, p101)

> Articles, Books, Lobby — Tony D'Ambra @ 1:46 pm

January 31, 2010


On the Avenue

Laura (1944)

Those dames on the Avenue.  Wrapped and decorated exotic empresses. Ice-cold blondes and raven-haired goddesses loping from privileged canopies to long black limousines purring at the road-side. Glimpses of the dream. Full breasts dark hidden valleys of lush abandon. Ivory skin and golden tans. Long languid legs. Heaven between their thighs and a come-on swank to their hips. Curves sublime sheathed in gossamer. Perfumed gardens of blissful delight. Soft caresses and sweet moans. Eyes deep as emeralds and as hard.

> Lobby, Noir Fiction — Tony D'Ambra @ 6:05 pm

January 26, 2010


Sweet Clover

The Killers

“The headlight-beams of his car kept slashing up the road ahead of them like ploughshares, seeming to cast aside its topsoil of darkness, reveal its borax-like white fill, and spill that out all over the roadway.  Then behind them the livid furrows would heal again into immediate darkness.

It seemed hours they’d been driving like this, in silence yet acutely aware of one another. Trees went by, dimly lit up from below, along their trunks, by the passing reflection of their headlight-wash, into a sort of ghostly incandescence.  Then at times there weren’t any trees, they fell back, and a plushy black evenness took their place—fields or meadows, she supposed—that smelled sweeter. Clover. It was beautiful country around here; too beautiful for anyone to be in such a hell of suffering in the midst of it.

Roads branched off at times, too, but they never took them. They kept to this wide, straight one they were on.”

- Cornell Woolrich, I Married A Dead Man (1948)


> Books, Lobby — Tony D'Ambra @ 12:11 pm

L.A. Night of the Broken Dream

Kiss Me Deadly (1955)

“And I see you now, you woman of that night – I see you in the sanctity of some dirty harbor bedroom flop-joint, with the mist outside, and you lying with legs loose and cold from the fog’s lethal kisses, and hair smelling of blood, sweet as blood, your frayed and ripped hose hanging from a rickety chair beneath the cold yellow light of a single, spotted bulb, the odor of dust and wet leather spinning about, your tattered blue shoes tumbled sadly at the bedside, your face lined with the tiring misery of Woolworth defloration and exhausting poverty, your lips slutty, yet soft blue lips of beauty calling me to come come come to that miserable room and feast myself upon the decaying rapture of your form, that I might give you a twisting beauty for misery and a twisting beauty for cheapness, my beauty for yours, the light becoming blackness as we scream, our miserable love and farewell to the tortuous flickering of a gray dawn that refused to really begin and would never really have an ending.”

John Fante – The Road to Los Angeles (1933)

> Books, Lobby — Tony D'Ambra @ 7:16 pm

January 24, 2010


film noir
film noir