Comments for film noir

Comment on About by Tony D'Ambra

Tony D'Ambra — Tue, 15 May 2012 12:43:24 +0000

Hey Michael

Very impressive. Great use of voiceover and flashback. Elegant camera-work, direction and editing, with an effective low-key score. The leads are very good and convincing – the girl is a dish! The script is intriguing and the playbook compelling.

The only weaknesses are that the ending is a bit confusing as motive is not clear, and in some scenes the dialog comes across as hackneyed, for example ‘scene of the crime’ in “I saw you at the scene of the crime”. Something like “You were there – I saw you” would sound better.

I will feature the video in a post at filmsnoir.net later in the week.

Tony

Comment on About by Michael Tucker

Michael Tucker — Tue, 15 May 2012 04:44:37 +0000

Hi Tony!

I’m a big noir fan, and recently completed a short neo-noir for a website that I co-founded, finite-films.com. We make movies based on “constraints” our fans submit (e.g. “one scene must take place in the rain”), and for this one someone submitted “must be in the style of a 40s noir.”

I spent a lot of time researching, and I already knew a lot about noir because it’s one of my favorite genres. I would love it if you could take a look and share any thoughts you have on it.

Thanks for your time!

Film link: http://www.youtube.com/watch?v=mx1e7AGthfo

Comment on So Dark the Night (1946): The Split Personality by Tony D'Ambra

Tony D'Ambra — Thu, 03 May 2012 02:55:21 +0000

Hey Sam, quite an essay! I am with you on THE SPIRAL STAIRCASE. Thanks as always.

Comment on So Dark the Night (1946): The Split Personality by Sam Juliano

Sam Juliano — Thu, 03 May 2012 01:51:53 +0000

The very notion of routine material being transformed by the direction and visual imagination was the established terrain of Val Lewton and Jacques Tourneur, though Robert Siodmak took the cake with some moody atmospheric in THE SPIRAL STAIRCASE, which had the most ordinary and predictable of all thrillers. Lewis’ use of mirrors and angles to create psychological disorientation and a different level of interpretation. The split personality deceit of course dates back to the silent version of DR. JEKYLL & MR. HYDE, but has more recently been employed in an exploitative way in the psycho dramas that have polluted our screens. Of course Tony Perkins took the split personality to a new level in Hitch’s PSYCHO. Considering Lewis was so prominent in the artistic success of GUN CRAZY and THE BIG COMBO, it isn’t a surprise he turned the trick earlier on in his career.

This is a terrific piece with a new angle under exploration.

Comment on About by Tony D'Ambra

Tony D'Ambra — Thu, 26 Apr 2012 11:29:23 +0000

Hey Bobby. Looks like you had fun making it. The characters are too nice ;)

Comment on About by Bobby Makar

Bobby Makar — Thu, 26 Apr 2012 05:15:55 +0000

Hi Tony! I love the blog and was hoping that you’d be interested in checking out a short neo noir I made that applies the elements of classic noir to stereotypical toy collectors. It’s called “The Widow’s Toys.” It’s far from perfect and I’m well aware of the flaws and everything, but still, It would mean a whole lot to me if you’d check it out. I love noir and I just want to give something new to the genre. Thanks! Keep up the great work here.

The movie can be found here:
http://vimeo.com/41018082

Comment on Film Noir Summary Reviews: Night Moves – From Paris to LA via Iverstown by Tony D'Ambra

Tony D'Ambra — Tue, 24 Apr 2012 00:41:50 +0000

Thanks Sam. Somewhere in the Dark is like the curate’s egg – good in parts :)

Comment on Film Noir Summary Reviews: Night Moves – From Paris to LA via Iverstown by Sam Juliano

Sam Juliano — Mon, 23 Apr 2012 20:45:03 +0000

Wonderful triptych of movie capsules on film on generally very fine films. While I would say I am a bit more on the positive side with Melville’s film that you Tony, I quite understand the frustration with the nihilist underpinnings. This is pretty much evident in a number of Melville’s other work. I could understand this is problematic for many, but for me it is not a mitigating issue, as I am as ever enraptured by the smart dialogue, beautifully framed visuals and fine performances.

Your use of language in describing MARTHA IVERS is magnificent, and it accurately frames this fascinating film. Stanwyck is always splendid, but you are right to note the quartet of memorable turns. I personally am attracted to gothic melodramas, but this one is special, especially since it contains another excellent Miklos Rosza’s scores.

I am having a difficult time remembering SOMEWHERE, which I have here on DVD, so I am thinking either I didn’t see it, or saw it too long ago to bring anything of value to the table. Your fabulous re-cap, complete with disclaimers should certainly be enough of a motivational factor.

Comment on Kiss Me Deadly (1955) – Is Mike Hammer Really Such a Bad Guy? by Tony D'Ambra

Tony D'Ambra — Mon, 23 Apr 2012 01:55:13 +0000

Dan, I won’t get into a political argument, but many share Bezzeridi’s views. As I say in my post, I don’t buy the argument that Bezzeridi’s Hammer is weak or “sleazy etc.”

Comment on The Big Heat (1953) Revisited by Tony D'Ambra

Tony D'Ambra — Mon, 23 Apr 2012 01:52:20 +0000

Thanks for your input here Dan. You are right there are more Joes that deserve mention.