The House of Mirth and Movies blog has posted an excellent review of Robert Altman’s The Long Goodbye (1973). An extract from The Long Goodbye: Recreating Noir:

The Long Goodbye maintains the thematic associations of noir, while altering the physical environment. The location remains much the same, as the conventional noir, as the film is set in Los Angeles, and the urban setting plays heavily into creating mood and atmosphere. The most apparent change is no doubt the shift from black and white to colour. The added choice to expose the undeveloped film negative to additional pure light in post production, until the colours were softened and the darks faded, further differentiate the look with the genre’s original stylistic trademark. Instead of the high contrast, low key lighting that characterizes film noir, the film is almost washed away. This technique works at creating a similar atmosphere as the traditional noir model despite being so different. Life and existence lack all vibrancy, and the uniform shade of grey that seems to pervade every scene emphasizes the moral ambiguity of all those who inhabit the city. There is little difference between black and white, so everyone is living in a perpetually grey and faded environment, living between the traditional models of good and evil instead of clearly on one side or the other…

This blog also has an interesting post on The Big Sleep (1946): Thinking about The Big Sleep and Howard Hawks.

Director, Richard Fleischer, teams with B-movie stalwart, Charles McGraw, in a tight 67 minutes of classic b-noir mayhem. A daring heist goes wrong and the criminal mastermind tries to shoot his way out, with a final take-out on an airport runway. A police procedural firmly grounded in the steets of LA with dark noir atmospherics. Recommended.

Fliescher and McGraw teamed again in The Narrow Margin (1952).

The nonist blog has a fascinating article on (and including images from) the reprint of a 1929 book by Hugh Ferriss titled The Metropolis of Tomorrow: “Ferriss was the preeminent architectural draftsman of his time who through his moody chiaroscuro renderings of skyscrapers virtually inventing the image of Gotham…”

Ferriss’ gothic renderings of modern architecture have an uncanny affinity with the noir city of the classic film noir cycle.