Comments for film noir http://filmsnoir.net filmsnoir.net: an oasis of noir in a desert of banality Sun, 05 Feb 2012 20:50:33 +0000 hourly 1 http://wordpress.org/?v= Comment on Great New Noir Music Video from Louie Ludwig – “The world is a grinding wheel” by Sam Juliano http://filmsnoir.net/film_noir/great-new-noir-music-video-from-louie-ludwig-the-world-is-a-grinding-wheel.html/comment-page-1#comment-12041 Sam Juliano Sun, 05 Feb 2012 20:50:33 +0000 http://filmsnoir.net/?p=6544#comment-12041 It most certainly is great stuff, but this is the first I've heard of it to this point. Compelling images to boot. I am now investigation Ludwig's other work on you tube. But a great thematic tie in here. It most certainly is great stuff, but this is the first I’ve heard of it to this point. Compelling images to boot. I am now investigation Ludwig’s other work on you tube. But a great thematic tie in here.

]]> Comment on About by Louie Ludwig http://filmsnoir.net/about/comment-page-1#comment-12013 Louie Ludwig Fri, 03 Feb 2012 03:56:33 +0000 #comment-12013 thanks. I did like finding the noirish bits in my hometown. No surprise the Coens found so much to use in "Millers Crossing." thanks. I did like finding the noirish bits in my hometown. No surprise the Coens found so much to use in “Millers Crossing.”

]]> Comment on About by Tony D'Ambra http://filmsnoir.net/about/comment-page-1#comment-12012 Tony D'Ambra Fri, 03 Feb 2012 02:42:19 +0000 #comment-12012 Great Louie! I have put up a sprecial post featuring your video. Tony Great Louie! I have put up a sprecial post featuring your video. Tony

]]> Comment on About by Louie Ludwig http://filmsnoir.net/about/comment-page-1#comment-12011 Louie Ludwig Fri, 03 Feb 2012 01:02:04 +0000 #comment-12011 Hey, Tony. Thought you and your readers might enjoy my latest vid, with footage taken from public domain properties like "International Crime" and "Driven to Kill," along with video taken over the last month here in New Orleans (see if you can tell which). At any rate, I hope you enjoy it even half as much as I like your site. Yours, Louie L http://youtu.be/MbmdwyYar-o Hey, Tony.

Thought you and your readers might enjoy my latest vid, with footage taken from public domain properties like “International Crime” and “Driven to Kill,” along with video taken over the last month here in New Orleans (see if you can tell which).

At any rate, I hope you enjoy it even half as much as I like your site.

Yours,

Louie L

http://youtu.be/MbmdwyYar-o

]]> Comment on New DVD Set: Film Noir Collector’s Edition by Tony D'Ambra http://filmsnoir.net/film_noir/new-dvd-set-film-noir-collectors-edition.html/comment-page-1#comment-12010 Tony D'Ambra Thu, 02 Feb 2012 23:48:37 +0000 http://filmsnoir.net/?p=4002#comment-12010 Thanks J.D. I have corrected the image label. Yes, those 40s dames were hot! Thanks J.D. I have corrected the image label. Yes, those 40s dames were hot!

]]> Comment on New DVD Set: Film Noir Collector’s Edition by J.D. http://filmsnoir.net/film_noir/new-dvd-set-film-noir-collectors-edition.html/comment-page-1#comment-12009 J.D. Thu, 02 Feb 2012 18:27:56 +0000 http://filmsnoir.net/?p=4002#comment-12009 The Scarlet Street picture is labeled Tierney, but it should be Bennett. Joan looked her absolute best in the mid '40s. Collectively, that decade had the most beautiful actresses ever. The Scarlet Street picture is labeled Tierney, but it should be Bennett. Joan looked her absolute best in the mid ’40s. Collectively, that decade had the most beautiful actresses ever.

]]> Comment on Born to Kill (1947): “a violent, ironic and macabre paroxysm” by Sam Juliano http://filmsnoir.net/film_noir/born-to-kill-1947-a-violent-ironic-and-macabre-paroxysm.html/comment-page-1#comment-12002 Sam Juliano Thu, 02 Feb 2012 02:03:13 +0000 http://filmsnoir.net/?p=6505#comment-12002 Robert Wise’s work in noir was no doubt forged by his fruitful associations with Val Lewton and Orson Welles, with whom he developed the visual trademark that defined the RKO output of the 1940?s – moody, Gothic expressionism. BORN TO KILL is a brutal melodrama with a pronounced sexual underpinning, and a level of depravity and amorality singular in the noir cycle. Lawrence Tierney portrays one of the most heinous characters in all of cinema, a definition example of a sociopath, and the film poses the questions, ‘what happens when two sociopaths meet?’ and ‘what happens when you play ball with the devil?’ The film’s most extraordinary performance however is by Claire Trevor – her best performance in the cinema, in fact – despite her fame in KEY LARGO – and her kitchen kiss scene is stomach churning, as the battle within herself does eventually yield to her giving in to her darker nature. The always-reliable Elisha Cook Jr. again delivers the goods as the murderous Marty, and there’s a grim-laden tapestry, courtesy of the noted cinematographer Robert de Grasse, that enhances one of the darkest thematic considerations of the genre – darker even than Lang’s SCARLET STREET, where the human psyche is explored with unrelenting ferocity, exposing the worst traits humanity can ever expose. As far as Wise’s otput, this film does come within a hair of ODDS AGAINST TOMORROW and THE SET-UP, which are probably the director’s masterpieces aside from his musical triumphs, or in addition to. In any case I much appreciate the approach you took here in examining this work, and of the astute observation of Chabrol going for this, as this would certainly have been right up his alley. And yes, David Lynch and John Waters would have a good go at it as well. Gunn's novel is most intriguing. Robert Wise’s work in noir was no doubt forged by his fruitful associations with Val Lewton and Orson Welles, with whom he developed the visual trademark that defined the RKO output of the 1940?s – moody, Gothic expressionism. BORN TO KILL is a brutal melodrama with a pronounced sexual underpinning, and a level of depravity and amorality singular in the noir cycle. Lawrence Tierney portrays one of the most heinous characters in all of cinema, a definition example of a sociopath, and the film poses the questions, ‘what happens when two sociopaths meet?’ and ‘what happens when you play ball with the devil?’ The film’s most extraordinary performance however is by Claire Trevor – her best performance in the cinema, in fact – despite her fame in KEY LARGO – and her kitchen kiss scene is stomach churning, as the battle within herself does eventually yield to her giving in to her darker nature. The always-reliable Elisha Cook Jr. again delivers the goods as the murderous Marty, and there’s a grim-laden tapestry, courtesy of the noted cinematographer Robert de Grasse, that enhances one of the darkest thematic considerations of the genre – darker even than Lang’s SCARLET STREET, where the human psyche is explored with unrelenting ferocity, exposing the worst traits humanity can ever expose. As far as Wise’s otput, this film does come within a hair of ODDS AGAINST TOMORROW and THE SET-UP, which are probably the director’s masterpieces aside from his musical triumphs, or in addition to. In any case I much appreciate the approach you took here in examining this work, and of the astute observation of Chabrol going for this, as this would certainly have been right up his alley. And yes, David Lynch and John Waters would have a good go at it as well.

Gunn’s novel is most intriguing.

]]> Comment on The Subversive Truth of Noir: The Breaking Point (1950) by Jack Strauwe http://filmsnoir.net/film_noir/the-subversive-truth-of-noir-the-breaking-point-1950.html/comment-page-1#comment-12001 Jack Strauwe Thu, 02 Feb 2012 01:44:14 +0000 http://filmsnoir.net/?p=4333#comment-12001 I just saw The Breaking Point and was looking for period reviews. Bosley Crowther in the NYT alluded to the poignancy of the ending which in itself almost gives it away although anyone would forget what they'd read in his review in the rush of the movie. It is a difficult movie to get through and then the ending tells us the hard truth about ourselves-- we'd already forgotten the real tragedy. I just saw The Breaking Point and was looking for period reviews. Bosley Crowther in the NYT alluded to the poignancy of the ending which in itself almost gives it away although anyone would forget what they’d read in his review in the rush of the movie. It is a difficult movie to get through and then the ending tells us the hard truth about ourselves– we’d already forgotten the real tragedy.

]]> Comment on Born to Kill (1947): “a violent, ironic and macabre paroxysm” by mark s. http://filmsnoir.net/film_noir/born-to-kill-1947-a-violent-ironic-and-macabre-paroxysm.html/comment-page-1#comment-11997 mark s. Wed, 01 Feb 2012 17:38:34 +0000 http://filmsnoir.net/?p=6505#comment-11997 Tony, Just watched this the other night and was floored by the homicidal rage boiling throughout the film. And two fatales for the price of one -- male and female. Plus Esther Howard as the elderly dipsomaniac out to avenge her friend's murder!! Top-notch noir. Tony,
Just watched this the other night and was floored by the homicidal rage boiling throughout the film. And two fatales for the price of one — male and female. Plus Esther Howard as the elderly dipsomaniac out to avenge her friend’s murder!! Top-notch noir.

]]> Comment on Hôtel du Nord (France 1938): Arletty as femme noir by A Parisian Cafe with a Past « « Insporia Insporia http://filmsnoir.net/film_noir/hotel-du-nord-france-1938-arletty-as-femme-noir.html/comment-page-1#comment-11956 A Parisian Cafe with a Past « « Insporia Insporia Fri, 27 Jan 2012 22:07:05 +0000 http://filmsnoir.net/?p=3907#comment-11956 [...] by Marcel Carné's famous 1938 movie, Hôtel du Nord, the lodging is in the picturesque neighborhood of Canal Saint-Martin, where Parisians flock in the [...] [...] by Marcel Carné's famous 1938 movie, Hôtel du Nord, the lodging is in the picturesque neighborhood of Canal Saint-Martin, where Parisians flock in the [...]

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