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

Mae West

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.

Early Poverty Row StudiosLocation, 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.

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.

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. 😉

With thanks and sadness, let’s raise a glass to Kate

I think of my spiritual ancestors as Joan Crawford, Barbara Stanwyck, Gloria Grahame, Lauren Bacall, Joan Bennett and Bette Davis. Their hard-won independence, their juicy scandals and their irrepressible willful streaks on and off screen laid the groundwork for all of us femmes fatales to call the shots, own our dramas and embrace the concept of high maintenance. Put simply: to be a bitch.

Kate's, at the corner of Wilshire and Doheny, opened in 1987.

Kate’s, at the corner of Wilshire and Doheny, opened in 1987.

That said, there are many other vixens, vamps and troublemakers who, though far less famous, are equally inspirational. One of these role models by extension, as it were, was Kate Mantilini, the namesake of a terrific Beverly Hills restaurant that is closing its doors on June 14, after 27 years in business.

Owner Marilyn Lewis says a recent rent increase prompted her decision.

Kate Mantilini was a feisty woman of the 1940s and the mistress of Marilyn Lewis’ uncle. (Marilyn and her late husband Harry Lewis were also the founders of the enormously popular Hamburger Hamlet chain. Harry died last June; he was 93.)

Says Marilyn Lewis: “My mother wouldn’t let me speak to her, nobody would allow us to mention her name, but she was a very strong woman and I wanted to name my restaurant after her.”

Actors, writers and execs gathered at the famous Beverly Hills restaurant.

Actors, writers and industry execs gathered at the famous Beverly Hills restaurant.

Of Irish and Italian descent, the unconventional Kate reportedly liked to do things her way and one of the things she really liked to do was to run businesses. The restaurant’s boxing mural is a nod to the fact that Kate worked in the male-dominated field of fight promotion.

The first time I went to the famous spot was for a late-night supper after seeing a Murnau double-bill at Lacma’s Bing Theater. I was visiting from Chicago and my friend Mickey Cottrell, a veteran film publicist and top-notch performer, suggested to the little group that had gathered that we nosh there. “Let’s head to Kate’s,” he said, as if Kate were a friend who had missed the movie but invited us to her place afterward.

Kate’s hasn’t changed much since it opened in 1987. Outside, by night, a blazing red neon sign pierces the inky blackness of Wilshire Boulevard. The building sits on the northwest corner of Wilshire and Doheny. Kate’s is walking distance from the Academy; the Weinstein Company is across the street.

Michael Mann shot a scene of "Heat" here.

Michael Mann shot a scene of “Heat” here.

Inside, the long, narrow room pulses with talk and laughter; fleet servers fly by, their crisp white aprons flash against the muted gray and cream walls. Glasses, plates and silverware clink and chime.

“I’m definitely moving here,” I thought to myself as we walked in that night, now long-ago. “This is so much cooler than Chicago.”

Mickey had a regular booth he liked; he suggested I order the sand dabs. Delightful. Our party was delightful too. Boisterous, funny, quick to argue fine points about films.

The kind and generous writer/producer/filmmaker Myron Meisel picked up the tab. Critic Michael Wilmington pointed out that the character actor Wallace Shawn was sitting in another booth.

Kate’s has always been popular with industry folk; celebs like Billy Wilder and Mel Brooks were regulars. Writers too, such as Susan Orlean and Tere Tereba, stopped by. Michael Mann, a master of filming Los Angeles by night, chose Kate’s for the scene in “Heat” (1995) when Al Pacino and Robert De Niro talk about their lives as cop and criminal.

Heat posterHarry Lewis was in the entertainment business before he and his wife became restaurateurs. As a contract player with Warner Bros. in the ’40s; Harry had a part in the film-noir classics “Key Largo” starring Humphrey Bogart and Edward G. Robinson as well as in “Gun Crazy” with John Dall and Peggy Cummins.

My friends and I may have been the last ones out that night and I’ve been back many times since. (I moved to Los Angeles in November of 2007.) I celebrated birthdays there, met girlfriends for drinks, marked triumphs big and small, stopped by for a slice of lemon ice-box pie and a cup of coffee after seeing a film at the Wilshire screening room.

It’s tough to think that after next Saturday I won’t be able to go to Kate’s anymore. I was a fan of the food (in particular the Cannes Film Festival salad and the split-pea soup) and the building and the vibe. By vibe I mean a sort of magic that’s absent from lots of trendy new restaurants.

Dessert is a must! Shown: the candy bar ice cream pie.

Dessert is a must! Shown: the candy bar ice cream pie.

You felt when you went to Kate’s that you were truly “in” – you might rub shoulders with Hollywood power brokers – but more importantly you were in for really good food and a really good time. Every time you went.

The Beverly Hills Cultural Heritage Commission is considering the property for landmark status to protect the building in the event that new owners decide to remodel. The land parcel (9101, 9107 and 9111 Wilshire Blvd.) features the work of architects Pereira and Luckman, Maxwell Starkman and Thom Mayne.

I hope that happens. But in the meantime, I’m going to raise a glass to Kate – who liked a good fight – and to the strong women she inspired – who doubtless have healthy appetites and never skip dessert.

‘Sea of Love’ is a neglected neo-noir with hidden depth

Sea of Love/1989/Universal Pictures/113 min.

“Sea of Love” is what you might call a neurotic and erotic thriller, dealing as it does with one of the most terrifying settings imaginable: the New York City singles scene.

Deftly directed by Harold Becker, with a magnificent script by Richard Price, “Sea of Love” is a deeply satisfying neo-noir, which has been oddly neglected since its 1989 release.

One of the movie’s many strengths is a knock-out lead performance by Al Pacino as veteran NYC police detective Frank Keller. Frank is feisty, hard-working and intense, but he’s got weaknesses aplenty: he drinks too much, as does his elderly father (William Hickey), he’s sick of his job, and his ex-wife left him to hook up with his fellow cop, Gruber (Richard Jenkins).

Meanwhile, Frank’s got a crime to solve: Two men have been shot in the head in their bedrooms. Lipstick-smeared cigarette butts point to a female killer. Said killer apparently finds her victims by answering singles’ ads in a magazine.

Frank figures: why not place an ad and see if the murderess shows up for a get-to-know-you drink? So, aided by jovial chubster Det. Sherman Touhey (John Goodman), they meet a procession of available women, including one who quips, lest you forget you’re watching a neo-noir: “Fate sucks, I swear!”

The most intriguing candidate, though, is a slim, flinty blonde in a red-leather jacket named Helen Cruger (Ellen Barkin). Finding that he’s attracted to her, Frank puts her name at the bottom of the suspect list, and the two begin an uneasy love affair. We learn that Helen runs a shoe store on 57th Street and that she’s divorced with a young daughter.

The passion grows and the police work proceeds, but neither are smooth sailing especially when another man (this one married, with a family) turns up dead, with the same MO. No one likes to put pressure on a relationship in those early, heady days, but at the same time it’s best to know asap if firearms are tucked inside a gal’s baggage.

It’s a tense wait to see how Frank rates as a judge of character. But I didn’t mind the wait one bit; in fact, I didn’t want this flick to end. Even though the plot is fairly straightforward, there are many layers of subtext to the central narrative and there’s an earthy realness in every scene. For example, the opening is a police bust that has nothing to do with the imminent murders – don’t blink and you’ll see young Samuel L. Jackson.

All in a day’s work: Sherman (John Goodman) and Frank (Al Pacino) go on fake dates to catch a killer who targets victims through the singles pages.

In the DVD commentary, director Becker, a New York native, calls these slightly off-track parts “moments that build the rich texture of New York life.” To that end, Becker took particular care casting the many smaller roles, choosing “New York actors who would give authenticity and richness to the scene.”

Pacino’s wonderful in this part, his first screen role after a several-year hiatus during which he worked in theater, his first love. Though it’s not much of a stretch for him, the always-engaging Goodman makes the ideal partner for Pacino. Barkin effortlessly inhabits Helen – a tough working girl who gives as good as she gets, as Becker puts it. (Becker further describes Barkin as being beautiful with a boxer’s nose, which might not exactly endear him to her.)

Of course, Gotham City itself also serves as a major character, with brash, bold attitude and cheeky swagger, that has lent an air of mystery to many a noir. Becker says he tapped cinematographer Ronnie Taylor to help him tell a story with light and shadow.

Harold Jones’ sax-drenched score helps conjure the mood of a New York nightscape: thrilling and sad; transient and eternally alluring. (The soundtrack also includes a Tom Waits cover of “Sea of Love.” The original was a 1959 Phil Phillips song.)

Helen (Ellen Barkin) and Frank (Pacino) deal with each other’s baggage.

Another key ingredient: “Sea of Love’s” first-rate script by Richard Price, a precise and accurate rendering of police work and their lingo as well as a sympathetic take on singles seeking other singles.

And it’s funny. There are many LOL moments – for instance, when Frank and Sherman are assessing their lonely-heart suspects, Sherman asks Frank: “Think you could go for a babe with a dick?” to which Frank replies: “Depends on her personality, really.”

I suspect that “Sea of Love” served as inspiration for 1992’s “Basic Instinct,” written by Joe Eszterhas, who reportedly snagged a $3 million paycheck for the story of police detective Michael Douglas falling in love with murder suspect Sharon Stone. I’d bet $3 million that Price didn’t get nearly as much Eszterhas. “Basic Instinct” can boast high gloss, inventive cinematography and a famous shot of Stone without underwear, but “Sea of Love” is a smarter, far more human, and funnier movie.

Does anyone know what Richard Price is doing these days? In this era of online dating, maybe we need a Sea-quel.

“Sea of Love” is available on DVD and Blu-ray from Universal on Amazon.

Chicago film fest opens Thursday with ‘Stand Up Guys’

The Chicago International Film Festival, the oldest competitive film festival in North America, starts tonight at the Harris Theater in Millennium Park with “Stand Up Guys,” a crime comedy about retired gangsters who reunite for one epic last night. The fest, now in its 48th year, runs through Oct. 25.

Produced by Chicagoan Tom Rosenberg (Academy Award winner, “Million Dollar Baby”) and directed by Chicagoan Fisher Stevens (Academy Award winner, “The Cove”), the film features an all-star cast including Academy Award winners Al Pacino, Christopher Walken and Alan Arkin as well as Emmy and Golden Globe-winner Julianna Margulies, all of whom will be in Chicago to celebrate opening night.

“This is without a doubt the most exciting opening night for the Chicago International Film Festival in many years,” says Michael Kutza, CIFF founder and artistic director.

This year’s fest features 175 films, representing 50 countries. The After Dark competition is a selection of the most chilling films from around the world. There are also panels, parties, discussions and tributes.

‘Scarface,’ now almost 30, gears up for Blu-ray release

Al Pacino does his best to rock a Keith Richards vibe at the event.

Stars Al Pacino, Steven Bauer, Robert Loggia, F. Murray Abraham and producer Martin Bregman celebrated on Tuesday the upcoming Blu-ray release of “Scarface” at the Belasco Theater in Los Angeles with a cast reunion, Q&A and party. The 1983 film, directed Brian De Palma and written by Oliver Stone, releases on Blu-ray on Sept. 6.

The evening also included a special performance by Ludacris, cuisine by Border Grill chefs Mary Sue Milliken and Susan Feniger, as well as a special “Scarface”-themed Ciroc lounge.

The limited edition Blu-ray comes with a digital copy of the film and a DVD of the original 1932 “Scarface,” directed by Howard Hawks and starring Paul Muni. There are also many special features including a documentary, deleted scenes and background/making-of info.

You can see footage of Tuesday’s event here. The Q&A is available on Livestream for the next week here. And for details on the fan artwork contest using classic Tony Montana images, visit the Facebook page.

Al Pacino image from GettyImages for Universal Studios Home Entertainment

Honey, your April horoscope is here …

Fate reigns supreme in film noir, but that doesn’t mean we don’t love us some zodiac fun. Hope your April is devoid of tiresome fools and fretting over taxes, and instead marked by spring’s sensual delights and adorable bunnies bearing baskets of treats. And happy birthday, Aries and Taurus! A special shout-out to Aries bad asses Bette Davis, Spencer Tracy and Gregory Peck (April 5), Francis Ford Coppola and Russell Crowe (April 7), Julie Christie and Sarah Michelle Gellar (April 14), Maria Bello (April 18) and Taurus mega-talents Jack Nicholson (April 22), Al Pacino (April 25) and Penelope Cruz (April 28).

Bette Davis

Aries (March 21-April 20): Just when you thought strong-willed Aries was aptly personified by Joan Crawford (March 26), along comes Bette Davis (April 5) to give Joan a run for her money. An actress, a fighter and a thinker, Davis was always ahead of her time. One off-screen example: When she co-founded and ran the Hollywood Canteen, a nightclub for WWII servicemen, she insisted that the venue be racially integrated, pointing out that in combat, “The black soldiers take the bullets the same as the whites.” This month, follow in her determined footsteps and, on the creative front, adhere to this Davis maxim: “Attempt the impossible in order to improve your work.” Meanwhile, live it up! Be spontaneous, sexy and silly, and don’t waste time on guilt.

Taurus (April 21-May 21): It might be high time for a spring shopping spree. But before you whip out your wallet, consider the singular beauty of a big fat bank balance; it is a sight to behold. Perhaps you could get by on last year’s haul or restrict yourself to one frugal purchase. Don’t forget to tap your crafty, ever-so-slightly conniving side to dream up a few clever April Fools’ jokes. You shouldn’t deny your adoring fans the chance to enjoy your terrific flair for fun. Be bold with your man the week of the 18th. Come to think of it, why wait till then? [Read more…]