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Film Noir File: A Tuesday trio on TCM

February 2, 2015 by Film Noir Blonde

Cary Grant and Eva Marie Saint share a swanky cocktail.

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). All movies below are from the schedule of TCM, which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Tuesday, Feb. 3

3:15 p.m. (12:15 p.m.): “Foreign Correspondent” (1940, Alfred Hitchcock).

5:30 p.m. (2:30 p.m.): “North by Northwest” (1959, Alfred Hitchcock). One of Hitchcock’s two great spy-chase thrillers (the other is “The 39 Steps”), “North by Northwest” follows a suave but beleaguered Manhattan advertising executive (Cary Grant), who’s mistaken for a spy who doesn’t exist, charged with a murder he didn’t commit, pursued by bad guys (James Mason, Martin Landau) whose machinations bewilder him. Oh and he’s involved with a blonde beauty (Eva Marie Saint) who may want him dead. And then there’s that pesky crop-dusting plane “dustin’ where there ain’t no crops.” One of the best, most typical and most beautifully made Hitchcocks. Ingeniously scripted by Ernest Lehman.

12:45 a.m. (9:45 p.m.): “The Thin Man” (1934, W. S. Van Dyke). The first and best of all the plush M.G.M. films in which William Powell and Myrna Loy played Nick and Nora Charles, the slightly pixilated and urbanely witty couple who alternated screwball romps with tough, brainy detective work, solving murders and finishing champagne bottles with equal flair. That golden couple was inspired by the relationship between Dashiell Hammett and his longtime companion, playwright/screenwriter Lillian Hellman.

This is the only one of the Thin Man movies actually based on a Hammett novel. The adaptor/scenarists were another witty couple, Frances Goodrich and Albert Hackett (“It’s a Wonderful Life”). The supporting cast includes Maureen O’Sullivan and Cesar Romero.

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TV legend Norman Lear, 92, honored by Television Academy

January 29, 2015 by Film Noir Blonde

Norman Lear talks with Touré, Russell Simmons and D-Nice.

Strong women, sharp insight, social conscience and stand-out comedy define the work of legendary TV writer and producer Norman Lear, creator of hit shows such as “All in the Family,” “The Jeffersons,” “Good Times,” “Sanford and Son,” “Maude,” “One Day at a Time,” and “The Facts of Life,” among many others.

The sit-coms and their beloved characters – particularly those with grit and swagger à la George Jefferson (Sherman Hemsley) and “J.J.” Evans (Jimmie Walker) of “Good Times” – inspired many hip-hop musicians, who grew up watching the shows, to pursue their artistic and entrepreneurial dreams. That was the premise of Wednesday night’s “An Evening with Norman Lear” at the Montalbán Theatre in Hollywood, presented by the Television Academy.

Norman Lear kept the audience laughing on Wednesday night.

George Jefferson’s feisty humor, financial success and Upper East Side address, not to mention his cocky strut, spoke to Russell Simmons, co-founder of the Def Jam record label and one of several contributors to the program.

Said Simmons: “[George] was a successful black man. He didn’t bite his tongue. He wasn’t no punk. He’d tell the truth. And that was inspiring ’cause, you know, you didn’t see that.”

(Hemsley appeared on “All in the Family” from 1973-1975 and starred in “The Jeffersons” from 1975-1985.)

Other guests included Common, Baratunde Thurston, D-Nice, Kenya Barris and Steve Stoute. Touré of MSNBC’s “The Cycle” moderated the panel.

At the end of the evening, there were surprise guests: the still-hilarious Marla Gibbs (who played Florence on “The Jeffersons”) and actress Regina King.

Lear, relaxed and remarkably nimble at 92, took a few opportunities to plug his 2014 autobiography titled “Even This I Get to Experience.” (He signed copies after the discussion.)

But he was quick to deflect any hyperbole about his stellar six-decade career, changing the topic by brandishing his caustic wit. His dry asides often made the audience roar with laughter. “I take life seriously and I find humor in everything,” he said. “At a funeral, the person suffering the most is also the one scratching his ass. Because it itches. That’s the way life is.”

Lear said the keys to his success were that he listened, he paid attention and he thought he had something to say.

Lear said the keys to his success were that he listened, he paid attention and he thought he had something to say. Luckily his shows were launched when viewers wanted meatier fare than what they were seeing on the tube.

“The roast is ruined and the boss is coming to dinner was seen as a real problem,” he deadpanned, referring to fun but lightweight TV comedies, such as “Green Acres,” that preceded his work.

Was the TV business easier back in the day? Not so much. “Nobody ever lost money underestimating the arrogance of a network executive,” he said.

He was equally candid about the ironies in his own life. Tending to his five families on TV, a source of “joyful stress” that was often all-consuming, meant that he “was out to lunch for years” as a father to his own six children.

And clearly Lear remains young at heart. Upon hearing that Common was performing later that evening, Lear said: “Really? Let’s all go.”

A replay of the live webcast of the panel can be viewed here.

Photos by Invision for Television Academy/AP Images by Danny Moloshok

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Filed Under: Out of the Shadows Tagged With: Baratunde Thurston, Common, D-Nice, Kenya Barris, Marla Gibbs, Norman Lear, Regina King, Steve Stoute, Television Academy, Touré

Film Noir File: ‘Sweet Smell of Success’ and a Buñuel bundle are this week’s baubles on TCM

January 25, 2015 by Film Noir Blonde

By Film Noir Blonde and Mike Wilmington

Pick of the Week

“Sweet Smell of Success” (1957, Alexander Mackendrick). Sunday, Jan. 25, 10 p.m. (7 p.m.).

Tony Curtis and Burt Lancaster star in “Sweet Smell of Success.”

“Sweet Smell of Success,” an American movie masterpiece and one of the best and gutsiest of all the classic film noirs, is a sleek killer comedy/drama about Broadway in the ’50s.

It centers around two influential New Yorkers: megalomaniac star gossip columnist J.J. Hunsecker (Burt Lancaster) and one of his more energetic publicist-sources, scummy but fashionable Sidney Falco (Tony Curtis).

And yes that is actor David White aka Larry Tate from TV’s “Bewitched”as Otis Elwell (uncredited). Watching “Sweet Smell of Success” now, you naturally think of “Mad Men” and an elite long-ago world of white men climbing the ladder of success: ruthless and glamorous, cut-throat and captivating.

Yes, that is actor David White (right) aka Larry Tate from TV’s “Bewitched”as Otis Elwell (uncredited).

Read the full review here.

Monday, Jan. 26

Five by Luis Buñuel

Five superb films, from his middle and later years, by the great dark Spanish movie surrealist Luis Buñuel, whose extraordinary films, whether made in Spain, France Mexico or the U.S., are as noir as they come.

8 p.m. (5 p.m.): “Belle de Jour” (1967, Luis Buñuel). The most beautiful movie actress alive directed by the world’s most brilliantly rebellious and surreal filmmaker. That was the incendiary match-up of star Catherine Deneuve and director Luis Buñuel, most notably in their classic 1967 French erotic noir drama “Belle de Jour.”

In that great film, Deneuve – so lovely and so classically, radiantly, sexily blonde – played Severine, the icy, ravishing Parisian wife, who becomes a prostitute during the day to escape her boring bourgeois life and her handsome but boring husband (Jean Sorel). Severine then falls into a mad world of crime, hypocrisy, dreamlike perversity and mad peril. “Belle de Jour,” adapted from the novel by Joseph Kessel, was the most popular, sensational and best-remembered film of Buñuel’s entire career. In French. with English subtitles.

Catherine Deneuve is unforgettable in 1967’s noir drama “Belle de Jour.”

10 p.m. (7 p.m.): “The Discreet Charm of the Bourgeoisie” (1972, Luis Buñuel). Buñuel’s sly, surreal Oscar-winner (for Best Foreign Language Picture of 1972), about a bourgeois dinner party that gets constantly interrupted and a world that is increasingly out of joint. The splendid cast includes Delphine Seyrig, Michel Piccoli, Fernando Rey, Stephane Audran, Bulle Ogier and Jean-Pierre Cassel. Buñuel and Jean-Claude Carriere co-wrote the script. In French, with subtitles.

12 a.m. (9 p.m.): “Diary of a Chambermaid” (1964, Luis Buñuel). Jeanne Moreau is a sultry chambermaid in a perverse French household, surrounded by exploitation and erotic menace. Adapted by Buñuel and Carriere from the novel by Octave Mirbeau (previously filmed in 1946 by director Jean Renoir and star Paulette Goddard). In French, with subtitles.

2 a.m. (11 p.m.): “Viridiana” (1961, Luis Buñuel). A young convent woman returns to her wealthy and lascivious uncle’s elegant house and learns, unhappily, that the world of man and the will of God are often at odds. Buñuel’s return to Spanish filmmaking after decades of exile was then banned in Spain, but was otherwise a worldwide art house hit and a Cannes Film Festival Palme d’Or winner. With Silvia Pinal, Fernando Rey and Francisco (”Paco”) Rabal. In Spanish, with subtitles.

3:45 a.m. (12:45 a.m.): “The Exterminating Angel” (1962, Luis Buñuel). One of Buñuel’s greatest dark jokes: A Mexican upper-class family and their friends stage a posh dinner party, but then discover that they somehow, mysteriously, maddeningly, can’t leave the dining room. They must stay there, suffer, degenerate and perhaps die. An incredible piece of stylish nightmare : pure Buñuel. With Silvia Pinal and Enrique Rambal. In Spanish, with subtitles.

9:45 a.m. (6:45 a.m.): “Zazie dans le Metro” (1960, Louis Malle). Reviewed in FNB on June 24, 2011.

Tuesday, Jan. 27

12:30 a.m. (9:30 p.m.): “Three Days of the Condor” (1975, Sydney Pollack). Robert Redford is a U. S. government reader and analyst whose world suddenly opens under his feet one day, when most of his colleagues are killed and he becomes a wanted man on the run. The quintessential paranoid anti-C.I.A. thriller, this is a modern variant on the prototypical Hitchcockian “wrong man“ suspenser. Based on James Grady’s novel “Six Days of the Condor,” it’s been copied endlessly, especially by novelist John Grisham. With Faye Dunaway, Max Von Sydow, Cliff Robertson and John Houseman. [Read more…]

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Filed Under: Classic Noir Reviews Tagged With: Alexander Mackendrick, Burt Lancaster, film noir, Luis Buñuel, Sweet Smell of Success, TCM, Tony Curtis

Femmes fatales x 2 Sunday at the Skirball Cultural Center

January 22, 2015 by Film Noir Blonde

The Intriguante—Women of Intrigue in Film Noir series at the Skirball Cultural Center (2 p.m. Sunday, Jan. 25) features a superb lineup: “Pitfall” (1948, André de Toth) and “Criss Cross” (1949, Robert Siodmak). Veteran critic Dave Kehr once described “Criss Cross” as “an archly noir story replete with triple and quadruple crosses, leading up to one of the most shockingly cynical endings in the whole genre.”

You can read more about “Pitfall” here.

Criss Cross/1949/Universal Pictures/88 min.

What would film noir be without obsessive love? (Or “amour fou” as the French would say.) Just a bunch of caring and sharing among equal partners with no cause for discontent? How frightfully dull.

My favorite example is “Criss Cross” from 1949. Director Robert Siodmak helped define noir style and in this flick you can see what an unerring eye he had.

Anna (Yvonne De Carlo) and Steve (Burt Lancaster) find it impossible to say goodbye.

“Criss Cross” tells the story of a nice guy from a modest background who, try as he might, just cannot break ties with his sexy but venal ex-wife. They are one of noir’s most stunningly gorgeous couples.

Burt Lancaster as Steve Thompson takes your breath away with his arresting features and beautiful build. Equally captivating is exquisite Yvonne De Carlo (Lily Munster on the ’60s TV show, “The Munsters”) as Anna.

Lancaster and De Carlo were also paired in Jules Dassin’s prison film “Brute Force” from 1947. And in 1946, Siodmak helped catapult Lancaster and Ava Gardner to stardom in “The Killers,” another seminal film noir. Miklós Rózsa wrote original music for both Siodmak films.

Back to “Criss Cross.” Having returned to his native Los Angeles after more than a year of roaming around the country, working odd jobs, Steve’s convinced that he’s over Anna and can move on from their failed marriage.

He gets his old job back (as a driver for Horten’s, an armored car service) and reconnects with his family (a very unusual touch – most noir heroes are total loners). There’s Mom (Edna Holland), brother Slade (Richard Long) and his brother’s fiancée Helen (Meg Randall). They’re all anti-Anna, natch, and so is Steve’s childhood friend Det. Lt. Pete Ramirez (Stephen McNally).

Anna likes the perks that her sugar daddy Slim Dundee (Dan Duryea) can provide.

It’s only a matter of time (and fate, of course) before Steve sees Anna again, only to learn she has a new love interest, an unctuous gangster and sugar daddy named Slim Dundee (Dan Duryea), whom she abruptly marries.

But Anna can’t quite tear herself away from Steve – he is Burt bloody Lancaster, after all. When Slim catches the pair together, Steve stays calm and says he’s figured out a way to pull a heist – an inside job at Horten’s – but he needs some help to carry it out. Things don’t go quite according to plan, however, and the caper turns into a smoke-filled shootout, which lands Steve in the hospital and launches Slim on the lam.

Noir master Daniel Fuchs adapted “Criss Cross” from a Don Tracy novel. While the script’s references to Steve’s imminent doom are a little over the top, the movie is still an excellent showcase for the talents of German-émigré Siodmak, an auteur largely underrated in postwar Hollywood, as well as for his cast and crew. “Criss Cross” is both a tense, lean crime thriller and a textured, haunting story about relationships and human nature.

Much as I like “The Killers,” I prefer “Criss Cross” and its probing into questions of fate, our inherent human capacity for perversity and self-destruction, our tendencies toward paranoia, greed and guilt, and our willingness to trust, trick and manipulate others and ourselves. Basically, everything we hate to think about and try to repress.

We see romantic relationships that run the gamut from sweet to steamy to sadistic, with Siodmak and Fuchs reminding us of the violence that can lurk just under a tranquil surface. It’s also interesting to speculate, upon repeat viewings, just how far back Steve might have been hatching his plan and to what extent it grew out of Slim’s wider and stickier web of deceit.

When Slim and his gang invade Steve’s place, Steve outlines his plan.

Beginning with a magnificent shot that lands us in the middle of the story, we witness a clandestine meeting, a few minutes in a parking lot, of lovers Steve and Anna.

Then, as Siodmak backtracks to fill us in on their story, it’s one ravishing chiaroscuro composition after another, often shot from high above and suggesting a sense of encroaching peril or shot low to create a feeling of dominance, danger and power. Entrapping shadows abound.

Siodmak and cinematographer Franz Planer were at the top of their game in “Criss Cross. “ It’s hard to beat the panoramic opening scene and the pieta-like closing shot. Another striking scene: when Steve sees Anna dancing the rhumba (with an uncredited Tony Curtis) as Esy Morales’ band gives it their all. I also love the alternating high and low shots as Anna and Steve discover that Slim and his gang have infiltrated Steve’s place, quiet as cats, save for the refrigerator that pounds shut as they help themselves to beers. “You know,” says Dan Duryea’s Slim, in a cool, silky voice, “it don’t look right. You can’t exactly say it looks right now can you?”

Was there anyone better in 1940s than Duryea as the cheap, sleazy, misogynistic gangster-type who never failed to be dressed to the nines in the flashiest and gaudiest of garb?

Steve and Anna hope to reunite after she extricates herself from Slim.

Additionally, it’s a testament to Lancaster’s power of expression – his graceful physicality, measured, calm voice and what seems to be an innate kindness and intelligence – that you continue to root for him knowing that every step he takes is the wrong one.

And you can see how De Carlo as Anna could sear a man’s heart. (De Carlo later starred as the quirky matriarch in TV’s “The Munsters,” 1964-66.) While some would write Anna off as a conniving shrew who causes Steve’s downfall, and it’s pretty hard to argue otherwise, she at least never plays too coy – she wants him, yes, but she wants money too and she’s entirely clear that she’ll get it with or without him. It’s his choice (as much as you have a choice in film noir) to execute a heist to get a bunch of cash. As for the heist, particularly the planning of, I think there is much here that influenced John Huston when he made “The Asphalt Jungle” (1950).

Also memorable in their performances are Percy Helton as the bartender, Alan Napier as Finchley, the stately, dignified crook consultant who works for liquor and Griff Barnett as Pop, the co-worker whom Steve betrays. “Criss Cross” also features Raymond Burr, uncredited, as a gangster.

Steven Soderbergh remade “Criss Cross” as “The Underneath” in 1995 and it’s a good film. But just as Lancaster’s Steve likens his love to getting a bit of apple stuck in his teeth, “Criss Cross” similarly lodges in your psyche. Like a lurking temptation, it’s hard to let go.

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Filed Under: Classic Noir Reviews, Noir Style, Out of the Shadows Tagged With: Criss Cross, film noir, Pitfall, Skirball Cultural Center, The Intriguante series, The Intriguante: Women of Intrigue in Film Noir

Skirball Cultural Center offers a double dose of intrigue on the big screen this Sunday

January 21, 2015 by Film Noir Blonde

The Intriguante—Women of Intrigue in Film Noir series at the Skirball Cultural Center continues at 2 p.m. Sunday, Jan. 25, with an excellent double feature.

Dick Powell and Lizabeth Scott face Raymond Burr in “Pitfall.”

The first film is “Pitfall” (1948, André de Toth), featuring Dick Powell, Lizabeth Scott and Jane Wyatt in a classic noir love triangle. Just a few years before, Powell, a song and dance man, reinvented his screen persona when he played detective Philip Marlowe in “Murder, My Sweet” (1944, Edward Dmytryk). Powell then became a regular on the film noir slate.

In “Pitfall,” he plays John Forbes, a happily married husband and father with a good job. Problem is, John is bored and it’s not long before he risks everything by getting tangled up with an irresistible femme fatale named Mona Stevens (Scott).

Further complicating the situation is Raymond Burr as a private investigator who also covets Ms. Stevens. Powell and Wyatt are spot-on, Scott lends humanity to what could be a two-dimensional role and this is one of Burr’s best performances.

You can read the full FNB review here.

Yvonne De Carlo and Burt Lancaster can’t stay away from each other in “Criss Cross.”

Next up: “Criss Cross” (1949, Robert Siodmak) is a spare, chilling story that zooms along at breakneck speed with characters you’ll never forget.

Here, the stunning Yvonne De Carlo (whom you might remember from TV’s “The Munsters”) lures her ex-husband Burt Lancaster into a high-stakes heist. The sleazy bad guy is played perfectly by Dan Duryea.

Lancaster’s Steve is essentially a good guy who just can’t get his ex-wife out of his system. Some would call him crazy. The French would term it “amour fou.” But what would film noir be without obsessive love? This somewhat neglected movie completely holds its own with any other title from the film noir canon. “Criss Cross” plays particularly well on the big screen and it’s great fun to see the Los Angeles locales. The opening shot is tremendous and look out for a young Tony Curtis.

You can read the full FNB review here.

Admission is $10 general; $7 seniors and full-time students; $5 members.

The exhibitions Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950 and The Noir Effect will remain open until 8 p.m.

The Intriguante series concludes on Feb. 12 with “The File on Thelma Jordon” (1950, Robert Siodmak), a crime drama starring the inimitable Barbara Stanwyck.

Additionally, there are two more free Tuesday matinees at the Skirball Cultural Center. On Feb. 3 is 1939’s “Confessions of a Nazi Spy,” directed by Anatole Litvak and starring Edward G. Robinson as an FBI investigator. On Feb. 10, “Act of Violence” (1948, Fred Zinnemann) looks at the plight of returning World War II vets in a captivating film noir brimming with dark secrets, betrayal and revenge. Van Heflin, Robert Ryan and Janet Leigh lead the cast.

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Filed Under: Classic Noir Reviews, Noir Style, Out of the Shadows Tagged With: Act of Violence, André De Toth, Burt Lancaster, Confessions of a Nazi Spy, Criss Cross, Dan Duryea, Dick Powell, film noir, Lizabeth Scott, Pitfall, Raymond Burr, Robert Siodmak, Skirball Cultural Center, The File on Thelma Jordon, The Intriguante series, The Intriguante: Women of Intrigue in Film Noir, Yvonne De Carlo

Film Noir File: Kazan taps TV’s evil in ‘A Face in the Crowd’

January 16, 2015 by Film Noir Blonde

By Film Noir Blonde and Mike Wilmington

Pick of the Week

“A Face in the Crowd” (1957, Elia Kazan). Tuesday, Jan. 20, 3 p.m. (12 p.m.).

Andy Griffith gives a mesmerizing performance.

Three years after they collaborated on the great noir “On the Waterfront,” screenwriter Budd Schulberg and director Elia Kazan joined forces brilliantly again, on another classic noirish drama: “A Face in the Crowd.”

Andy Griffith stars as a guitar-playing, propaganda-spewing vicious bum named Lonesome Rhodes, whom a bunch of TV types transform into a folksy national superstar – a crazy mixture of Arthur Godfrey, Hank Williams and Senator Joe McCarthy.

Not as famous or as influential as Waterfront, Face is nevertheless another American masterpiece. Thanks to Kazan and Schulberg it had another gutsy, gut-punching script, a similar sense of life in all its intensity and complexity, and another very strong (if not quite as remarkable) cast: Patricia Neal, Walter Matthau, Anthony Franciosa, Lee Remick, Kay Medford, Burl Ives, Mike Wallace, Walter Winchell.

Patricia Neal leads an excellent support cast.

As for Griffith, he was as essential to “Face in the Crowd” as Marlon Brando was to “On the Waterfront.” There were few movie and TV actors more specifically, joyously American back in the ’50s and ’60s than Andy Griffith, a hugely talented small-town North Carolina guy who could so aptly play both good men and bad.

And as Lonesome Rhodes, he gives an explosive, mesmerizing rendition of pure guile and homespun brutality.

Saturday, Jan. 17

8 p.m. (5 p.m.): “Foreign Correspondent” (1940, Alfred Hitchcock). Saturday, Jan. 17, 8 p.m. (5 p.m.). Read the full review here.

10:15 p.m. (7:15 p.m.): “Contraband” (1940, Michael Powell). A Danish ship captain (Conrad Veidt) and a British beauty (Valerie Hobson) get mixed up in spy high jinx at the onset of World War II. Masterminded by Powell and writer Emeric Pressburger, who would make some of the most offbeat movie masterpieces of the World War II era.

12 a.m. (9 p.m.): “Above Suspicion” (1943, Richard Thorpe). This glamorous MGM chase thriller sends Joan Crawford and Fred MacMurray (a pretty odd couple) on a honeymoon in terror, with villainous Nazis (including Conrad Veidt, of “Casablanca” fame) as their tour guides. Crawford shines off-type as a smart and loyal wife.

Monday, Jan. 19

6 a.m. (3 a.m.): “Intruder in the Dust” (1949, Clarence Brown). A stately, graceful adaptation of the Mississippi murder mystery by William Faulkner, in which a brave boy (Claude Jarman, Jr.) helps a stubborn, heroic old black man stand up to a lynch mob. A very atypical film for the elegant metteur-en-scene Clarence Brown, Greta Garbo’s most frequent director. But it’s probably the best film he ever made.

8 p.m. (5 p.m.): “The Defiant Ones” (1958, Stanley Kramer). Sidney Poitier and Tony Curtis as escaped chain gang prisoners, shackled together and on the run, in the most Stanley Kramerish of all Stanley Kramer pictures.

4:15 a.m. (1:15 a.m.): “Edge of the City” (1957, Martin Ritt). With John Cassavetes, Sidney Poitier, Jack Warden and Ruby Dee. Brilliant acting – pitched in an “On the Waterfront” key and set in the same kind of grim dockside milieu – stands out in this tough yet humane film.

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Filed Under: Classic Noir Reviews Tagged With: A Face in the Crowd, Andy Griffith, Budd Schulberg, Elia Kazan, film noir, Foreign Correspondent, On the Waterfront, Patricia Neal, TCM

Oscar nominations are announced!

January 15, 2015 by Film Noir Blonde

Directors Alfonso Cuarón and J.J. Abrams, actor Chris Pine and Academy President Cheryl Boone Isaacs announced the nominations for the 87th Academy Awards® today (Jan. 15). For the first time, nominees in all 24 categories were announced live.

Academy members from each of the 17 branches vote to determine the nominees in their respective categories. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.

The 87th Academy Awards ceremony will take place at 7 p.m. (EST)/4 p.m. (PST) Sunday, Feb. 22, at the Dolby Theatre in Hollywood. Produced by Craig Zadan and Neil Meron, the show will be broadcast live on ABC and televised live in more than 225 countries worldwide.

See the full list here.

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Filed Under: Noir Style, Out of the Shadows Tagged With: 87th Academy Awards, Oscars, The Academy

Film noir news: Come out & see her this time, Noir City opens, ‘Dog Day’ turns 40, Poverty Row book party, Cecil B. DeMille showcased and ‘Sunset’ in Sherman Oaks

January 13, 2015 by Film Noir Blonde

Mae West

“It’s not the men in my life, it’s life in my men.” The original bad girl Mae West will be honored at 7:30 p.m. Wednesday, Jan. 14., with a special program at the Hollywood Heritage Museum.

Happily ever after. Not. Noir City: The Film Noir Festival returns to the Castro Theatre in San Francisco, Jan. 16–25, with a program of 25 titles depicting the darker side of marriage. The fest will travel to several other cities, including Los Angeles, later in the year.

Catch this dog. The singular neo-noir “Dog Day Afternoon” (1975, Sidney Lumet), starring Al Pacino, screens at 7:30 p.m. Friday night at the Egyptian Theatre in Hollywood. It’s on a double bill with “The Dog,” (2013, Allison Berg, Frank Keraudren). The story behind “Dog Day Afternoon” (a man robbing a bank to pay for his lover’s sex-change operation) was true, and this doc explores the off-screen drama, providing a riveting look at New York in the 1970s and the early days of the gay liberation movement.

Location, location, location. Though it’s a myth that the classic film noir canon consisted entirely of B-movies, the genre’s writers, directors, cinematographers and set designers often worked on minuscule budgets. Hey, it wasn’t all bad. They had more room to experiment and defy the censors that way – just look at Edgar Ulmer.

Many of them were regular denizens of the scrappy little Hollywood studios known as Poverty Row and so we are eagerly looking forward to Marc Wanamaker and E.J. Stephens’ new book: “Early Poverty Row Studios.”

The authors will discuss the book at 4 p.m. Saturday, Jan. 17, at Larry Edmunds Bookshop in Hollywood. See you there!

UCLA honors DeMille, a Hollywood pioneer. Starting Sunday, Jan. 18, the UCLA Film & Television Archive presents the film series, “The Greatest Showman: Cecil B. DeMille,” at the Billy Wilder Theater in Westwood Village.

This retrospective of one of cinema’s greatest storytellers will showcase 10 films restored by the archive, including “The Ten Commandments” (1956), “The Plainsman” (1937) and “The Buccaneer” (1938). A legendary producer and director, DeMille (1881-1959) helped put Hollywood on the map and set a high bar in terms of both artistry and showmanship. The series ends Feb. 28.

Joe (William Holden) lets Norma (Gloria Swanson) dry him after a swim.

“I’m ready for my closeup, Mr. DeMille.” Arguably, Billy Wilder’s “Sunset Blvd.” is the finest movie ever made about Hollywood. Inarguably, it’s deliciously noir. Aging Hollywood star Norma Desmond (Gloria Swanson) is admittedly a little cut off from reality. She fawns over her pet monkey, has rats in her pool, autographs pile after pile of 8 x 10 glossies for her fans, even though she hasn’t made a picture in years. But, like so many women of film noir, she was ahead of her time. Norma was a veteran movie star who wanted to create her own roles, look her best and date a younger, sexy man. Anything wrong with that?

Robert Walker is hard to top in 1951’s “Strangers on a Train.” So is co-star Farley Granger.

Luscious William Holden plays Joe, Norma’s younger lover, and it’s worth watching just to lust after Holden. See it on the big screen at 7:30 p.m. Monday, Jan. 19, at the ArcLight Cinema in Sherman Oaks. Co-presented with the Skirball Cultural Center, in conjunction with its outstanding film noir exhibitions.

Read the FNB review here.

Just the ticket? Meanwhile, Ben Affleck and others from the “Gone Girl” team are remaking Alfred Hitchcock’s “Strangers on a Train.” Hmm. Hope they can do it justice. Or at least give the Robert Walker character a few flashy suits. 😉

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Filed Under: Noir Style, Out of the Shadows Tagged With: Al Pacino, Alfred Hitchcock, ArcLight Cinema, Ben Affleck, Billy Wilder, Cecil B. DeMille, Dog Day Afternoon, Early Poverty Row Studios, Farley Granger, film noir, Gloria Swanson, Gone Girl, Hollywood Heritage Museum, Larry Edmunds Bookshop, Mae West, Noir City, Robert Walker, Sidney Lumet, Skirball Cultural Center, Strangers on a Train, Sunset Blvd., UCLA Film & Television Archive, William Holden

Film Noir File: John Huston’s ‘The Maltese Falcon’ is the stuff that dreams are made of

January 9, 2015 by Film Noir Blonde

By Film Noir Blonde and Mike Wilmington

Pick of the Week

“The Maltese Falcon” (1941, John Huston). Sunday, Jan. 11, 12 p.m. (9 a.m.).

“The Maltese Falcon,” a spectacularly entertaining and iconic crime film, holds the claim to many firsts.

It’s a remarkable directorial debut by John Huston, who also wrote the screenplay. It’s considered by many critics to be the first film noir. (Another contender is “Stranger on the Third Floor” see below.) It was the first vehicle in which screen legend Humphrey Bogart and character actor Elisha Cook Jr. appeared together – breathing life into archetypal roles that filled the noir landscape for decades to come.

It was veteran stage actor Sydney Greenstreet’s first time before a camera and the first time he worked with Peter Lorre. The pair would go on to make eight more movies together. Additionally, “Falcon,” an entry on many lists of the greatest movies ever made, was one of the first films admitted to the National Film Registry in its inaugural year, 1989. Read the rest of the review here.

Saturday, Jan. 10

8 p.m. (5 p.m.): “Metropolis” (1927, Fritz Lang). The rich vs. the poor, the factory owners vs. the workers, and the mad scientist vs. the people and their heroine (Brigitte Helm as the human Maria and her double, the false robot Maria) in the greatest of all silent era science fiction epics. And it’s noir as well. With Alfred Abel and Rudolf-Klein-Rogge).

10:45 p.m. (7:45 p.m.): “Ministry of Fear” (1944, Fritz Lang). The always delightful Ray Milland plays a man desperately trying to stop a Nazi spy ring. Graham Greene wrote the source novel.

12:30 a.m. (9:30 p.m.): “The Blue Gardenia” (1953, Fritz Lang). Working girl Anne Baxter lets her guard down and gets mixed up in the murder of slimy Raymond Burr. The rest of the lineup includes Richard Conte, Ann Sothern, Nat King Cole and George “Superman” Reeves. Not Lang’s best, but you won’t want to miss it anyway.

Sunday, Jan. 11

2 a.m. (11 p.m.): “Knife in the Water” (1962, Roman Polanski). Polanski’s great youthful thriller about three people on a boat in the water, with a knife aboard. The trio includes a nasty young hitchhiker and a malaise-ridden bourgeois couple who are going sailing (Leon Niemczyk, Jolanta Umecka and Zygmunt Malanowicz). It’s a sunny day; the sexy wife wears a skimpy bikini; the hitchhiker plays with the knife; the tension keeps mounting and mounting. Polanski’s high visual gifts and his flair for dark moods and rising tension were already in full play here. A world-wide art house hit, this film, co-scripted by Jerzy Skolimowski (Walkover) is a classic of brooding menace and erotic threat. (In Polish, with subtitles.).

3:45 a.m. (12:45 a.m.): “Purple Noon” (1960, Rene Clement).

Tuesday, Jan. 13

Rita Hayworth went blonde for “Lady” but her new look was not well received. Hmmpf!

2:15 a.m. (11:15 p.m.): “The Chase” (1966, Arthur Penn). Robert Redford plays an escaped convict whose race toward his Deep Southern home throws the town into turmoil. Jane Fonda is his old pal; Marlon Brando is the liberal sheriff trying to put a lid on the fireworks.

Poorly re-edited, but still an underrated socially conscious neo-noir, adapted by Lillian Hellman from a Horton Foote story. The cast includes Robert Duvall, Angie Dickinson and Janice Rule.

Wednesday, Jan. 14

8 p.m. (5 p.m.): “The Lady from Shanghai” (1948, Orson Welles).

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Filed Under: Classic Noir Reviews Tagged With: film noir, John Huston, TCM, The Maltese Falcon

‘The Woman in the Window,’ one of Fritz Lang’s best films, screens tonight at the Skirball Cultural Center

January 8, 2015 by Film Noir Blonde

The Intriguante—Women of Intrigue in Film Noir series starts tonight at the Skirball Cultural Center in West Los Angeles with “The Woman in the Window.” See previous post for more details about the series.

The Woman in the Window/1944/Christie Corp./99 min.

When you least expect your life to unravel is exactly when your life will unravel, at least in a Fritz Lang film. Take “The Woman in the Window” from 1944. Professor Richard Wanley (Edward G. Robinson) lives a cozy bourgeois life – he gives lectures on Freud by day, enjoys after-dinner port and cigars by night. But by the end of this night, Richard will be covering up a murder.

Sipping and smoking with him at their Manhattan men’s club are his friends, District Attorney Frank Lalor (Raymond Massey) and Dr. Michael Barkstane (Edmund Breon), who’s fond of barking “Great Scott!”

Richard leaves the club after their booze-fueled yack-fest and lingers at the window of the art gallery next door. While he gazes at the creamy-skinned, raven-haired lady peering out from the canvas, another creamy-skinned, raven-haired lady materializes – it’s the model, a woman named Alice Reed (Joan Bennett).

Alice (Joan Bennett) is the woman in the painting Richard (Edward G. Robinson) and his friends admire.

After chatting over drinks, she invites him back to her splendidly appointed place. Just as they’re getting to know each other, her flashy peacock boyfriend Claude Mazard (Arthur Loft) barges in. Clearly, Alice and Claude haven’t had that “Are we seeing each other exclusively?” talk and violence erupts.

Claude’s rumored “disappearance” doesn’t fool people for long – the cops are digging for info, Richard’s pals Frank and Michael chatter about the case endlessly, and a sleazy associate of Mazard’s named Heidt (Dan Duryea) sees a plum opportunity for blackmail.

Alice and Richard are randomly bound together.

Sharply written and brilliantly acted, “The Woman in the Window” proved a box-office hit. Nunnally Johnson produced the movie and wrote the script from the J.H. Wallis novel “Once Off Guard.” The movie’s original score, a group effort led by Arthur Lange and Hugo Friedhofer, received an Oscar nom.

Vienna-born Lang infuses the film with fatalism, despite its upbeat ending. “I always made films about characters who struggled and fought against the circumstances and traps in which they found themselves,” he said.

And, as usual, Lang pulls out all the visual stops, suggesting powerlessness, alienation and doom. A signature noir shot is Claude entering the shadowy lobby of Alice’s apartment building, against the backdrop of a lonely, rainy nightscape pierced by the glare of a neon clock. Later his body will be draped in more shadows, in the back seat of Richard’s car.

Inside Alice’s pristine white apartment, mirrors splice and distort images, contributing to a fractured sense of reality. The effect may have helped inspire Orson Welles to create the fun-house mirrors sequence in 1948’s “Lady From Shanghai.”

Alice and Heidt (Dan Duryea) make a bad but beautiful team.

Though he got typically great work from his actors, Lang also had a reputation for being difficult. But he clicked with Bennett. Maybe he appreciated the sacrifices she made for her art – a natural blonde, Bennett dyed her hair black. 😉 She also had lots of drama offscreen – she married four times and endured a scandal after her third husband, producer Walter Wanger, shot her lover in the groin. (Her second husband was producer Gene Markey).

Lang and Bennett made four (almost five) films together: another famous noir, 1945’s “Scarlet Street” (which also starts Robinson and Duryea, and is definitely the darker of the two), “Man Hunt” 1941, and “Secret Beyond the Door” 1948. Bennett also starred in “Confirm or Deny” 1941, but director Archie Mayo was brought in to replace Lang.

Later in her career, Bennett portrayed Elizabeth Collins Stoddard in the ’60s TV series “Dark Shadows” and she appeared in the 1970 movie “House of Dark Shadows.”

The mood of “The Woman in the Window” is pure Lang, and much of that mood comes from the actors. Duryea convincingly plays a slimy loser while, in reality, he was a standup guy. It’s a testament to his versatility that Robinson, though famous for his tough gangster roles, is completely at ease as the innocent, cultured professor caught in a film-noir web.

Best of all is Bennett, noir to the nines, spinning that web.

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Filed Under: Classic Noir Reviews Tagged With: Dan Duryea, Edward G. Robinson, film noir, Fritz Lang, Joan Bennett, Skirball Cultural Center, The Intriguante series, The Intriguante: Women of Intrigue in Film Noir, The Woman in the Window