True Hollywood Noir probes legendary Tinseltown mysteries

True Hollywood NoirLana Turner was the quintessential film noir blonde,” says author Dina Di Mambro in her new book, True Hollywood Noir: Filmland Mysteries and Murders, pointing to Turner’s standout part as Cora in “The Postman Always Rings Twice.”

The actress’s real life was no less fascinating than any of the roles she portrayed on the screen, says Di Mambro, setting up the chapter on Turner and the 1958 fatal stabbing of her boyfriend Johnny Stompanato.

A coroner’s inquest jury found the act (by Turner’s teenage daughter Cheryl Crane) to be justifiable homicide but there has long been speculation that Turner herself did the deed. In probing that theory, film historian and entertainment writer Di Mambro offers “the story you haven’t heard.”

Author Dina Di Mambro

Author Dina Di Mambro

It’s one of 12 stories Di Mambro explores in her book; the others are: William Desmond Taylor, Thomas H. Ince, Jean Harlow, Thelma Todd, Joan Bennett (and the shooting of Jennings Lang), George Reeves, Bob Crane, Gig Young, Natalie Wood, Robert Blake and death of his wife Bonnie Lee Bakley). The finale, as it were, is a lengthy chapter on gangster Mickey Cohen.

Says Di Mambro in the book: “The West Coast mob, city corruption and Hollywood mysteries were often intertwined. This is a common thread through much of this book. … Many of the plots of the noir films were taken from actual happenings in the underworld.”

Di Mambro presents her facts in a straightforward, no-nonsense style, leaving the reader to decide which theory is most likely. Replete with vintage photos, the book clocks in at 230 pages, making it a pretty fast read cover to cover. It’s also a great reference volume if you prefer to dip in one grisly cold case at a time.

We at FNB especially like the fact that Di Mambro includes in her acknowledgements her “muse,” meaning her cat Sunny, who supervised the writing process. Nothing like a regal kitty to tap a true-crime scribe vibe.

The Noir File: Burt Lancaster Wednesdays in November

By Film Noir Blonde and Mike Wilmington

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

Note: The Noir File has been on temporary hiatus recently while one of its co-authors, Mike Wilmington, moved from Chicago to Los Angeles. Now, with Mike ensconced in Hollywood, in the neighborhood where Philip Marlowe once roamed (in spirit), we’re happy to welcome the File back to Film Noir Blonde.

The Killers posterPICK OF THE WEEK

“The Killers”

(1946, Robert Siodmak). With Burt Lancaster, Ava Gardner and Edmond O’Brien. Wednesday, Nov. 6, 8 p.m. (5 p.m.).

Of all film noir’s femmes fatales, Ava Gardner as Kitty Collins in “The Killers” ranks as the most devastatingly efficient. She doesn’t waste time chit-chatting or getting to know a guy. Just a glance gets them hooked and firmly planted in the palm of her hand. “Swede” Andreson (Burt Lancaster) takes all of 10 seconds to fall for her and then get lured into “a double-cross to end all double-crosses.”

Based on the famous Ernest Hemingway short story, this 1946 film is the crowning achievement of one of Hollywood’s most prolific noir directors, Robert Siodmak, earning him an Oscar nomination for best director and leaving us with some of the genre’s most memorable characters.

You can read the full review here.

Ava Gardner and Burt Lancaster

Kitty (Ava Gardner) has Swede (Burt Lancaster) wrapped around her little finger in no time.

Wednesday, Nov. 6

4:15 p.m. (1:15 p.m.): “Colorado Territory” (1949, Raoul Walsh). One of the peaks of Western noir: Raoul Walsh’s Old West version of his 1941 gangster classic, “High Sierra,” with Joel McCrea and Virginia Mayo filling the Bogart and Lupino roles, and Dorothy Malone and Henry Hull (who was also in the original) in support.

8 p.m. (5 p.m.): “The Killers” (1946, Robert Siodmak). See Pick of the Week.

Friday, Nov. 8
 
6:30 a.m. (3:30 a.m.): “The Front Page” (1931, Lewis Milestone). First of the three stellar movie versions of Ben Hecht and Charles MacArthur’s terrific newspaper comedy “The Front Page.” A wily editor, Walter Burns, (Adolphe Menjou) tries to keep his star reporter Hildy Johnson (Pat O’Brien), from leaving their paper, the Chicago Examiner, on the night before the hanging of hapless radical murderer Earl Williams (George E. Stone). Howard Hawks, who remade “The Front Page” as “His Girl Friday,” said that this play had the best American comedy dialogue ever written and it’s hard to argue.

Cornered posterSaturday, Nov. 9

12 a.m. (9 p.m.): “Cornered” (1945, Edward Dmytryk). Star Dick Powell, director Dmytryk, and writer John Paxton, all of the hit Raymond Chandler adaptation “Murder My Sweet,” reunite for a tough international thriller, with ex-WW2 pilot Powell tracking down his French wife’s fascist murderers. The marvelously slimy or ruthless villains include Walter Slezak and Luther Adler.

Sunday, Nov. 10

4 p.m. (1 p.m.): “Casablanca” (1942, Michael Curtiz). With Humphrey Bogart, Ingrid Bergman, Claude Rains and Paul Henreid. Reviewed in FNB on August 25, 2012.

 

Oddly endearing ‘Moonrise’ a treat on the big screen

Moonrise/1948/Republic Pictures/89 min.

Dane Clark and Gail Russell play small-town lovers.

Dane Clark and Gail Russell play small-town lovers.

Last month, I caught Frank Borzage‘s “Moonrise” on the big screen at the Billy Wilder Theater in Westwood. It’s an enchanting and perplexing little flick. Dane Clark and Gail Russell star as small-town Virginia lovers Danny and Gilly who face a rather formidable obstacle: Danny killed Gilly’s ex-boyfriend Jerry (Lloyd Bridges) in a fight and, though Danny seems to be getting away with murder, his guilt and anxiety gnaw away at him endlessly. The anxiety is of the bad-seed variety, stemming from the fact that his father was hanged for murder many years before.  Rex Ingram plays Danny’s sage chum Mose; Ethel Barrymore plays Danny’s grandmother.

Danny must confront his past.

Danny must confront his past.

The script is what you might call quirky and it becomes curiouser and curiouser upon reflection. (Charles Haas based his screenplay on a novel by Theodore Strauss.) Danny and Gilly apparently grew up in the same small town, though she says she has seen him only twice. She’s now a schoolteacher, though, so maybe that refers to sightings since she returned from college. (Get used to cutting slack.) Despite the fact that she was engaged to Jerry, son of a wealthy bigshot, Gilly falls almost instantly for jobless outcast Danny. Even after Danny endangers Gilly’s life with reckless driving and randomly jumps off a Ferris wheel, Gilly remains head-over-heels for the dude.

The sins of the father hang over Danny but not all the time, it seems. While half the townsfolk despise Danny, the other half are madly in love with him, including the wildly kind-hearted and sympathetic sheriff (Allyn Joslyn). This is the kind of lawman any femme fatale would kill to have on her side. (Oops, there I go being all literal again.)

Rex Ingram plays Mose, Danny's best friend.

Rex Ingram plays Mose, Danny’s best friend.

And though Jerry has picked on Danny since childhood, it apparently doesn’t cross anyone’s mind that the two men might be enemies and that Danny might have had a heck of a grudge against Jerry. Then there’s the ending – so strangely upbeat and morally triumphant, I wondered if there was some crucial footage missing.

But I don’t want to trash “Moonrise” because it doesn’t deserve it. Despite the uneven script, the actors are all fun to watch. Borzage brings his characteristic romantic sensibility to the work and cinematographer John L. Russell creates uncommon beauty. An oddly endearing film noir, “Moonrise” played on a big screen is among the most luminous of visual poems.

Britt Ekland to introduce ‘The Wicker Man’ final cut

Britt Ekland in

Britt Ekland in “The Wicker Man.”

The Wicker Man final cut/1973/Rialto Pictures/88 min.

Actress Britt Ekland will attend the 7:30 p.m. showing of “The Wicker Man” final cut (1973, Robin Hardy) at the Nuart Theatre, on Friday, Nov. 1. She will introduce the movie and run the Q&A. In addition to her memorable performance in “The Wicker Man,” the Swedish beauty is also well known as the Bond girl in “The Man with the Golden Gun.”

Other notable film appearances include “The Night They Raided Minsky’s,” “Baxter!,” “The Double Man,” “Get Carter” and films with Peter Sellers, her husband from 1964-1968.  In 1975, she provided whispers in French on the end of then-boyfriend Rod Stewart‘s song Tonight’s the Night. Ekland was one of the most photographed and talked-about celebrities in the world. In 1980, she published her best-selling autobiography, True Britt.

I recently saw “The Wicker Man” final cut and it’s a fun flick – so very 70s and so very British. A standup, stiff-upper-lip Scottish police sergeant (Edward Woodward) receives an anonymous note in the mail, claiming that a girl on an island village has gone missing. But, when he arrives on the island to investigate, he receives blank stares and puzzled looks from her fellow villagers.

Wicker Man posterNo one seems to know who the girl is or why he is concerned. They’re more interested in drinking, dancing and pagan fertility rites. The sergeant digs his heels in and decides to stay a while longer; Ekland plays the sexy daughter of the innkeeper.

Inspired by writer/actor David Pinner‘s 1967 novel Ritual, Anthony Shaffer wrote the screenplay. Director Hardy elicits subtle performances, creating an atmosphere of low-key tension and muted anxiety. Cinematographer Harry Waxman shows the austere and rugged beauty of a remote part of the world. While the story might be short on action by today’s standards, this cult horror classic is nonetheless pretty entertaining and well worth viewing on the big screen.  Seen for decades only in mutilated copies, this director-approved restoration by Studiocanal is the culmination of a worldwide search conducted via Facebook.

“The Wicker Man” final cut will play at the Nuart Theatre in Los Angeles for one week: Nov. 1-8.

Calling all wily women, sly guys, assorted freaks and zombies:

FNB Happy Halloween 2013 pw  c 2013

Robert Wise casts a spell with subtlety, smarts, superb acting

The Haunting posterBy Michael Wilmington

The Haunting/1963/Argyle Enterprises, MGM/112 min.

From Shirley Jackson’s eerie, intellectual ghost story “The Haunting of Hill House” director Robert Wise and screenwriter Nelson Gidding weave a classic supernatural thriller, a shocker without gore, a ghost movie seemingly without ghosts. Or is it?

In “The Haunting,” poltergeist investigator John Markway (Richard Johnson) and his group of spook watchers (Claire Bloom, Russ Tamblyn and Julie Harris) are ensconced in a notorious old dark house together. Harris gives a movie-stealing performance as repressed spinster Nell Lance, who succumbs to Hill House’s shivery spell and terror-laced eroticism. Like Jack Nicholson in “The Shining,Harris makes you feel the story’s terror – the menace and the entrapment of Hill House as Nell is pulled into the evil of the haunted domicile’s very dark past.

The cast is well nigh perfect, from Johnson’s enthusiastic and charming investigator, Bloom’s ambiguous, fancily severe Greenwich Village lesbian, Julie, to Lois Maxwell (Miss Moneypenny of the James Bond series) as Mrs. Markway.

Tamblyn, who will be present for discussion at the 7 p.m. Tuesday screening of “The Haunting” in Westwood, plays smart-alecky nonbeliever Luke Sanderson. Tamblyn was reteaming here with director Wise, who had guided the actor to the highlight of his career, as Jet gangleader Riff in the 1961 Best Picture Oscar winner “West Side Story.”

Wise’s movie is quite faithful to Jackson’s acclaimed novel. The dialogue is literate and tense. The movie’s tasteful production design and the crystal-sharp black and white cinematography (by Davis Boulton) give this picture, shot in England, a classic look. It’s the kind of brainy, spooky cinematic treat Wise might have whipped up for producer Val Lewton in the ’40s, in their RKO prime time of “The Body Snatcher” and “The Curse of the Cat People” if they’d only had this kind of budget.

Roman Polanski once named Wise’s “The Haunting” as one of his favorite movies. It’s a shame that Polanski didn’t direct the 1999 remake of “The Haunting,” which was messed up by the producers and director Jan De Bont, and not helped by its big budget and gaudy effects. Subtlety, intelligence and superb acting are what cast the spell for Wise and company. Polanski probably would have brought all that back and made the movie sexy to boot – something the 1963 “Haunting” doesn’t really need.

Film noir fashionistas in the spotlight

Edith Head worked on film noir titles such as “Double Indemnity,” “Sunset Blvd.,” “Rear Window” and “Vertigo.”

Edith Head worked on film noir titles such as “Double Indemnity,” “Sunset Blvd.,” “Rear Window” and “Vertigo.”

Happy birthday, Edith Head! She was born October 28, in San Bernardino, Calif. In her 60-year career, at Paramount and Universal, she worked on more than 1,131 films, received 35 Academy Award nominations and won eight Oscars, more than any other woman. (Walt Disney, with 22 Oscars, holds the record for a man.)

Grace Kelly was born on Nov. 12, 1929 in Philadelphia. She died on Sept. 14, 1982 in Monaco.

Grace Kelly was born on Nov. 12, 1929 in Philadelphia. She died on Sept. 14, 1982 in Monaco.

The exhibition From Philadelphia to Monaco: Grace Kelly Beyond the Icon opens today at the James A. Michener Art Museum, near Philadelphia.

‘The Haunting’ marks 50 years with screening in Westwood

The Haunting posterCelebrating its 50th anniversary, “The Haunting” will screen at 7 p.m. Tuesday, Oct. 29, at the Regent Theatre in Westwood.

Dr. John Markway (Richard Johnson) is psyched to spend a few weeks at a 19th Century New England mansion – need I say haunted? – in order to study its creepiness. As you might suspect, things don’t go to plan. Also starring Julie Harris, Claire Bloom and Russ Tamblyn, who will attend Tuesday’s screening as a special guest. The evening is also a chance to pay tribute to Julie Harris, who died this summer.

At the time of its release, critic Judith Crist called the film “a thoroughly satisfying ghost story for grownups … completely contemporary in its psychological overtones and implications.”

Nelson Gidding wrote the script based on a Shirley Jackson novel; Robert Wise directs. Jan de Bont remade “The Haunting” in 1999, starring Liam Neeson, Catherine Zeta-Jones, Lili Taylor and Owen Wilson.

You can buy tickets here.

Moving, intimate ‘Blue’ delivers on its prizewinner promise

Blue posterBlue Is the Warmest Color/2013/Sundance Selects/179 min.

I’m going to start with a sort of Spoiler Alert: “Blue Is the Warmest Color” is not a neo-noir, not even close. But I was curious about the movie because it created quite a buzz at this year’s Cannes Film Festival and snared the top prize there, the Palme d’Or.

Directed by Abdellatif Kechiche, “Blue” is a coming of age/love story that follows a teenager named Adèle (Adèle Exarchopoulos) as she navigates a brief affair with a boy and a lengthy intimate relationship with an older woman Emma (Léa Seydoux). Adèle also finishes school, finds a job as a teacher, makes mighty platters of pasta and sheds a lot of tears. In other words, it’s a richly detailed character study and an intense, unhurried exploration of a charming but ordinary woman’s everyday life. One day ends, another starts.

At nearly three hours long and containing rather graphic sex scenes, this is perhaps not the movie to go to with Aunt Ginger. I was a bit on the fence about it myself. But, happily, “Blue” never dragged or felt gratuitous, tasteless or solipsistic. What made it so engrossing for me was the sublimely naturalistic performances from everyone in the cast and a story that, while sometimes mundane, is also largely devoid of clichés. Moving and memorable, “Blue” delivers on its prizewinner promise.

“Blue Is the Warmest Color” opens today in LA and New York. In French with English subtitles.

American Film Institute announces festival lineup

Cleo

“Cleo from 5 to 7” stars Corinne Marchand.

We at FNB are thrilled to be attending the AFI Fest 2013 presented by Audi. The fest runs Nov. 7-14 in Hollywood.

Organizers recently announced the schedule: http://afifest.afi.com/sections. Among the highlights: Agnès Varda is guest artistic director and her 1962 film “Cleo from 5 to 7” will screen at the fest. (There will be a conversation with Varda beforehand.)