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  1. BEYOND A REASONABLE DOUBT
    This was a Fritz Lang work of pur noir art with all the elements like ducks in a row.Dana Andrews is cast
    in an improbable self framing experiment to prove a point. The very implausibility and the moral drawn The dense sublimated script make this film all the more potent to prove the point by understatement.Lang is so versatile and literate and theatrical a blending not often found. He was, if I am correct, directing another superb film on the assassination of Gauleiter Reinhard Heydrich of Moravia. That was an excellent production as I recall.

    “Fritz Lang’s final American film offers the ingenious notion of a writer (Dana Andrews) framing himself for murder in order to prove the fallibility of the justice system and inhumanity of capital punishment. Well, it seemed like a good idea at the time… Lang’s once-overwhelming visual style is sublimated to the clockwork mechanics of Douglas Morrow’s dense but brisk script, which the director brings to life despite a bargain-basement budget. Co-starring Joan Fontaine as Andrews’s long-suffering high-society girlfriend. The remake, starring Michael Douglas, comes out later this year! (Note courtesy of Noir City Hollywood) ”

    DIR Fritz Lang; SCR Douglas Morrow; PROD Bert E. Friedlob. US, 1956, b&w, 80 min. NOT RATED

  2. HOLLOW TRIUMPH
    Restored 35mm Print!

    “No one’s blacks were blacker, shadows longer, contrasts stronger or focus deeper.” –Variety’s Todd McCarthy on cinematographer John Alton

    Filmed by the great noir cinematographer John Alton for the Eagle-Lion studio, HOLLOW TRIUMPH features producer/star Paul Henreid as a former medical student turned career criminal, out on parole and ostensibly going straight, but secretly plotting to knock over a gambling house, murder his doppelganger, psychiatrist Dr. Bartok, and assume the dead man’s identity. The baroque plotting by screenwriter Daniel Fuchs (CRISS-CROSS, PANIC IN THE STREETS) overflows with deranged psychology and ludicrous coincidences, but the noir atmospherics and Henreid’s elan more than carry the day. Cast against type, Joan Bennett stars as the good woman homme fatale Henreid leads astray.

    DIR Steve Sekely (and uncredited, Paul Henreid); SCR Daniel Fuchs, after the novel by Murray Forbes; PROD Paul Henreid. US, 1948, b&w, 83 min. NOT RATED. Restored 35mm print courtesy of the Film Foundation and UCLA Film & Television Archive.

    This is a noir, a must see for me. Paul Henreid is not out of his element and can assume any role and captivate by his performances.

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