Sly, stylish “Strange Darling” takes us on a weird and wild ride

September 15, 2024 by

2023 Film Festivals/2024 Theatrical Release/1h 37m

In a summer that’s short on must-see movies, “Strange Darling” ranks as essential viewing for fans of neo-noir thriller/horror flicks. A riveting story of a serial killer on the loose in rural Oregon, the film has much to recommend it: compelling creepy characters; superb acting; first-rate visuals; gritty intensity; and taut pacing, clocking in at 96 minutes. But most memorably, “Strange Darling” upends our expectations of the genre in a strikingly original way.

Bookended by stark black and white photography, the film opens with a moody shot, introducing us to the two leads: the red-headed, doe-eyed Lady (Willa Fitzgerald) and the clean-cut, rugged Demon (Kyle Gallner) – two easy-on-the-eyes, mutually attracted strangers who are sitting in the Demon’s truck swigging booze late one night, deciding whether they will take their party to a room at the nearby Blue Angel hotel. She comments that violence is always a risk for a woman in this situation and asks him if he’s a serial killer. He says no. From there, the story unfolds in six non-linear chapters.

Chapter 3 “Can you please help me?” comes first (and the phrase pops up several times throughout the movie). The next morning, the Lady, pale and frail but wiry, is now a blonde and has changed into hideous red scrubs. Driving a red Pinto, she floors it frantically down a quiet road. The gun-toting Demon is in determined, coke-fueled pursuit, but she escapes into dense, sun-dappled woods and eventually pounds on the door of a rustic cabin, occupied by hippie/doomsdayers (with a penchant for butter-laden breakfasts) Genevieve (Barbara Hershey) and Frederick (Ed Begley Jr.), and they let her in.

Terrified, wounded, hungry and hungover, she feasts, like a feral animal, on what’s left of their hearty morning meal. But when Frederick suggests they call the cops, the Lady vehemently disagrees. (Later, we do meet two officers, well played by Steven Michael Quezada and Madisen Beaty, who fall into a figurative snare that’s constructed from gender stereotypes.)

To reveal more of the plot would ruin the movie, so suffice to say as writer/director JT Mollner skillfully puts the puzzle pieces together, holes are tightened and questions are answered. That is, except for the most perplexing, probably unanswerable, question: how do people become crazy enough to go on a bloody killing binge with zero remorse?

The Demon (Kyle Gallner) is on a mission in rural Oregon.

Watching this masterful work, you feel the influence of Quentin Tarantino, the Coen brothers, Martin Scorsese, Michael Mann, David Lynch and Alfred Hitchcock. Mollner delivers a picture (his second) that’s bold, clever, sordid and sometimes darkly comic. Shot in 35 mm by cinematographer Giovanni Ribisi, “Strange Darling” is great-looking throughout – boasting rich color and arresting compositions. Composer Craig DeLeon’s score and original songs written and performed by Z Berg help to sustain the suspenseful mood.

Additionally, Mollner elicits terrific performances from the entire cast and especially from the captivating Fitzgerald as she pulls out all the stops playing a Lady you’ll never forget and Gallner, by turns sinister and phlegmatic; threatening and vulnerable.

Granted, “Strange Darling” won’t be everyone’s cup of blood. It’s a dark dive into the world of a serial killer, so if gore and graphic violence are a deal-breaker, you’ll want to give this a pass. (Also, if you’re looking for deep, thoughtful commentary on gender roles and sexual politics, look elsewhere.)

But for those who dig crime tales, sly, stylish “Strange Darling” takes us on a weird and wild ride.

“Strange Darling” opened Aug. 23 and is playing in theaters nationwide.

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Film Noir File: Your passport to Coen Bros.’ neo-noir ‘Country’

February 27, 2015 by

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). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously in Film Noir Blonde and can be searched in the FNB archives (at right).

Pick of the Week

No Country poster”No Country for Old Men” (2007, Joel and Ethan Coen). Tuesday, March 3, 12:30 a.m. (9:30 p.m.)

The Coen Brothers’ most praised and prized movie, and one of their most memorable, is the grim, mesmerizing crime-drama/chase-thriller “No Country for Old Men.” The multiple-Oscar winning film is adapted, very faithfully, from one of Cormac McCarthy‘s darkest and most violent novels.

Set in 1980s Texas, in an anti-John Ford Western land of harsh plains and searing deserts, barren cities and the hot, speedy roads that connect all of them, the movie is about a huge cache of illegal drug money that falls into the hands of a local cowboy-hatted small-towner named Moss (Josh Brolin) after a massacre wipes out most of the criminals and smugglers handling the transfer.

Unfortunately, there’s one deadly efficient collector still around: the incredible Javier Bardem as Anton Chigurh a.k.a. Sugar, a terrifying psychopathic killer with a seemingly permanent dour deadpan stare, a laughably lousy haircut and a relentless talent for finding the right people in all the wrong places – and sending them to the hell that surely must have spawned him.

There are other terrific actors (playing terrific roles) in “No Country,” namely Tommy Lee Jones as Ed Tom Bell, a melancholy old sheriff watching his world disintegrate, Bell’s lonely old friend (Barry Corbin), Moss’s steadfast but unlucky wife (Kelly MacDonald) and a lippy, freelance loot-scavenger (Woody Harrelson).

Texas. Tough guys. Epic bad hairstyling. Enjoy your visit to this ‘Country.’ Or else.

Saturday, Feb. 28. Thriller Day

6 a.m. (3 a.m.): “The Window” (1949, Ted Tetzlaff).

7:15 a.m. (4:15 a.m.): “Night Must Fall” (1937, Richard Thorpe).

9:15 a.m. (6:15 a.m.): “Kind Lady” (1951, John Sturges).

10:45 a.m. (7:45 a.m.): “Wait Until Dark” (1967, Terence Young).

12:45 p.m. (9:45 a.m.): “The Narrow Margin” (1952, Richard Fleischer).

2 p.m. (11 a.m.): “Strangers on a Train” (1951, Alfred Hitchcock).

3:45 p.m. (12:45 p.m.): “Shadow of a Doubt“ (1943, Alfred Hitchcock).

Sunday, March 1

Chicago poster10:15 p.m. (7:15 p.m.): “Chicago” (2002, Rob Marshall). This strange, Oscar-winning hybrid is, of all things, a neo-noir crime courtroom musical. It’s based on the jazzy, snazzy Broadway show by songsmiths Kander and Ebb (of “New York, New York”) and director Bob Fosse, which in turn was based on the classic 1942 film noir “Roxie Hart” by writer-producer Nunnally Johnson and director William Wellman.

The story is as cynical as, well, a ’20s Chicago newspaper guy on deadline. Wannabe star showgirl Roxie (Renee Zellweger in the old Ginger Rogers role) schemes to become famous by committing a near-murder and generating a sensational trial. John C. Reilly is her hapless hubby, Richard Gere is her flashy lawyer, and Catherine Zeta-Jones (an Oscar winner here) steals the whole damned show as another would-be murderess and Roxie’s inspiration. This is a good, splashy, nasty neo-noir, but you can’t help wondering about the movie the late Bob Fosse might have made out of it.

Wednesday, March 4

12 p.m. (9 a.m.): “Dementia 13” (1963, Francis Ford Coppola).

Filed Under: Classic Noir Reviews, Neo Noir Reviews Tagged With: , , ,

Hollywood Costume comes to the Wilshire May Co. building

October 2, 2014 by
Tippi Hedren’s pale green dress from “The Birds,” shot by Richard Harbaugh / ©A.M.P.A.S.


Tippi Hedren’s pale green dress from “The Birds,” shot by Richard Harbaugh / ©A.M.P.A.S.

Starting on Oct. 2, you can stroll through history in style at the Hollywood Costume exhibition, which is housed in the Wilshire May Company building (at Wilshire Boulevard and Fairfax Avenue in Los Angeles), the future location of the Academy Museum of Motion Pictures.

Organized by the Victoria and Albert Museum in London and sponsored by Swarovski, this show explores costume design as an essential tool of cinematic storytelling. (The show runs through March 2, 2015.)

The designer Adrian at work.

The designer Adrian at work.

Summing it up perfectly was a quotation inside the show from Adrian, a legendary Golden Age designer and creator of “The Wizard of Oz” ruby slippers, which are on display. Said Adrian: “Few people in an audience watching a great screen production realize the importance of any gown worn by the feminine star. They may notice that it’s attractive, that they would like to have it copied, that it is becoming.

“The fact that it was definitely planned to mirror a definite mood, to be as much a part of the play as the lines or the scenery seldom occurs to them. But that most assuredly is true.”

More than 150 iconic costumes curated by Deborah Nadoolman Landis will be on display – including Marlene Dietrich’s costumes from “Morocco” (1930) and Marilyn Monroe’s infamous white dress from “The Seven Year Itch” (1955) as well as Jared Leto’s costume from “Dallas Buyers Club” and several entries from “American Hustle” and “The Great Gatsby” (all 2013).

Film noir makes a showing (there’d be trouble otherwise!) with Kim Novak’s emerald-green dress from “Vertigo” and Tippi Hedren’s pale green dress from “The Birds,” not to mention examples from “Mildred Pierce,” “Bonnie and Clyde,” “L.A. Confidential,” “The Big Lebowski,” “Basic Instinct” and “No Country for Old Men.” The work of legendary Edith Head is well represented.

Curator Deborah Nadoolman Landis

Curator Deborah Nadoolman Landis

In conjunction with the Hollywood Costume exhibition, the Academy will present screenings, starting Saturday with a terrific double feature: the Coen Brothers’ “No Country for Old Men” and “The Big Lebowski.” Several of the featured costume designers will appear in person to introduce their films.

Designer and curator Deborah Nadoolman Landis originally approached the Academy several years ago with the idea for the show. The Academy passed on Hollywood Costume, so Landis took it to London’s V&A, which snapped it up.

Now the Academy apparently feels the time is right for the show. Commenting on the irony of London having the show first, Landis said, at the press preview Monday: “You can’t be a prophet in your own land.”

Most assuredly.

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Warning: ‘Thin Ice’ has more than a few cracks

February 22, 2012 by

Thin Ice/2012/ATO Pictures/93 min.

Small towns where not much happens, 20-below weather, dive bars and cheese curds. It’s all good fodder for quirky, memorable Midwestern noir. Or it could be. But unfortunately “Thin Ice” lets its promise and potential melt away.

There are some things to like – a few funny moments, it looks good and it’s quite well cast. Greg Kinnear plays a sleazy, smiling insurance salesman named Mickey V. Prohaska. His license plate is MVP2 because someone already had MVP. And he’s desperate for cash. He sees a chance to secure some money after he discovers that a new client (Alan Arkin) has a valuable violin tucked away in his farmhouse, amid the knick-knacks and fading wallpaper.

But when Mickey tries to grab the violin, his plan goes disastrously awry thanks to a local psycho (Billy Crudup). Instead of a clean swipe, there’s a dead body to dispose of and complications ensue. David Harbour shines as Mickey’s earnest employee. So does Lea Thompson as Mickey’s estranged wife and Bob Balaban as the violin appraiser.

“Thin Ice” is watchable, parts are enjoyable, but the story limps, then stumbles to a ridiculous ending. There’s no command of the material as it stands. I say as it stands because writer/director Jill Sprecher, a Wisconsin native who wrote the script with her sister Karen Sprecher, reportedly tried to remove her name from the film after the distributor recut it without their involvement.

I wish I could see Sprecher’s original movie and, as for “Thin Ice,” I wish I’d stayed home and watched “Fargo” by the Coen brothers one more time instead.

“Thin Ice” opened in limited release last Friday.

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Raymond Chandler on the big screen: ‘Brasher Doubloon’ and ‘Murder, My Sweet’ to play this Thursday at the Aero

February 15, 2012 by

I’ve never seen “The Brasher Doubloon” but I love the name! This 1947 film, directed by John Brahm and starring George Montgomery as Philip Marlowe, is based on a Raymond Chandler novel (“The High Window”). “The Brasher Doubloon,” on a double bill with “Murder, My Sweet,” starts at 7:30 p.m. Thursday at the Aero Theatre in Santa Monica, 1328 Montana Ave.

Also, three excellent neo noirs are coming up in Los Angeles. Woody Allen’s “Crimes and Misdemeanors” (1989) in a double bill with “Blood Simple” (1984) by the Coen brothers plays at 7:30 p.m. on Thursday, Feb. 23, at the Aero. Martin Scorsese’s “Taxi Driver” (1976) will show at 7:30 p.m. on Saturday, Feb. 25, at the Egyptian Theatre in Hollywood, 6712 Hollywood Blvd.

Murder, My Sweet/1944/RKO/95 min.

Dick Powell as Marlowe tells the story, in flashback, to police.

One of these days, I’ll get around to compiling my list of the Top 10 classic film noir movies. When I do, “Murder, My Sweet” (1944, RKO) will be on the roster because it’s a superb flick and a defining work of the genre, thanks to Edward Dmytryk’s directorial flair, top-notch acting and a terrific script (based on Raymond Chandler’s novel “Farewell My Lovely”) full of choice one-liners.

“Murder, My Sweet” stars Dick Powell as private eye Philip Marlowe, perhaps Chandler’s most famous character and one of the best-known screen detectives. The movie opens with Moose Malloy (Mike Mazurki) showing up at Marlowe’s office, wanting him to find his old girlfriend, Velma. Marlowe looks for clues at Florian’s, a dive bar, and at the home of widow Jessie Florian (Esther Howard). How to describe Mrs. Florian? Well, it’s hard to beat Marlowe’s take: “She was a charming middle-aged lady with a face like a bucket of mud. I gave her a drink. She was a gal who’d take a drink, if she had to knock you down to get the bottle.”

Meanwhile, Marlowe agrees to act as a sort of bodyguard for another client, fussy and effete Lindsay Marriott (Douglas Walton) who must deliver a ransom for stolen jewels. The exchange doesn’t go well – Marriott is murdered and Marlowe takes a crack on the head. Once back at the office, Marlowe is visited by a reporter asking questions about a stolen jade necklace. The “reporter” turns out be Ann Grayle (Anne Shirley), a cute, feisty Girl-Scout type from a wealthy family. Pretty quickly, Marlowe meets Ann’s cootish Daddy (Miles Mander) and her femme fatale stepmother Helen (Claire Trevor).

The introduction of Helen Grayle (Claire Trevor) and Philip Marlowe (Dick Powell) is one of film noir's great meetings.

And a great meeting it is, a bit like Stanwyck and MacMurray in “Double Indemnity,” but here Trevor, dressed to the nines and sporting ankle-strap chunky heels, can’t really be bothered with coy flirtation. World-weary and blasé, she gives Marlowe the once-over without a word, just a great look of “another day, another guy.” A few minutes later she does fight the ennui enough to say pointedly, “Let’s dispense with the polite drinking, shall we?”

Besides drinking and shopping, Helen likes to dance and has no shortage of partners – guys who take her out on the town because Mr. G isn’t quite up to it. Turns out, Marriott was one of Helen’s companions and had been trying to help her buy back a stolen jade necklace. Now she thinks Marlowe might be up to the task.

But Marlowe isn’t easily seduced, even though he pretends to be if he thinks it will yield a clue or two. As he figures out who’s guilty of what, we meet Marriott’s suave, sinister chum Jules Amthor (Otto Kruger) and the nefarious Dr. Sonderborg (Ralf Harolde).

Dick Powell and Anne Shirley

With its constantly twisting plot, original music by Roy Webb and high-contrast, shadow-heavy visuals from cinematographer Harry J. Wild, “Murder, My Sweet” is awfully good fun to watch.

John Paxton’s sharp screenplay honors Chandler’s wit and many lines still seem fresh today. Ann rails against “big league blondes: beautiful, expensive babes who know what they’ve got – all bubble bath and dewy morning and moonlight. And inside: blue steel, cold – cold like that, only not that clean.” Helen’s retort is simple: “Your slip shows, dear.”

The movie fared well with critics and audiences – the popular appeal was at least in part because leading man Powell was a matinée idol and musical comedy star. Financially strapped RKO signed him to a contract hoping he could pull in much-needed cash at the box office; Powell signed with the condition that he could first play a straight dramatic role. The studio changed the movie’s name from “Farewell, My Lovely” so that viewers wouldn’t mistake it for a musical.

Mike Mazurki

Edward Dmytryk

Though Dmytryk wasn’t thrilled with this casting decision, Powell did a near-flawless job, earning approval from both the director and Chandler. Trevor and Shirley match his fine work as do Howard, Walton, Mander and Kruger. And Mazurki was perfectly cast. Trevor was quite the celluloid bad girl; most notably as the cold-blooded temptress in “Born to Kill” (1947, Robert Wise). She won the best supporting actress Oscar for her role as gangster Edward G. Robinson’s moll in the classic “Key Largo” (1948, John Huston).

Dmytryk deftly balances cynicism and anxiety with acerbic humor and lighthearted romance. Gifted at creating suspense and edgy moods, he is an undisputed master of film noir. After “Murder, My Sweet,” he helmed “Cornered” (1945), “Crossfire” (1947), “The Hidden Room” (1949), “The Sniper” (1952) and “Mirage” (1965).

His career was sidetracked, however, by the House Un-American Activities Committee (HUAC), and its unconstitutional efforts to eradicate a perceived Communist influence in Hollywood. Dmytryk was one of the Hollywood Ten who refused to cooperate with HUAC. But, after spending time in prison, Dmytryk changed his mind, testified before the committee and named names of supposed Communists.

Despite his decision to testify and the enmity it earned him, Dmytryk remains one of noir’s best directors.

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‘Blood Simple’ launches Coen brothers’ brilliant careers

February 16, 2011 by

Blood Simple/1984/River Road, Foxton Entertainment/97 min.

T.S. Eliot wrote that the world ends not with a bang but with a whimper.

In “Blood Simple” banging precedes death, but one life ends spitting dirt; another with a belly laugh. Perhaps that’s not surprising given that “Blood Simple” was the writing and directing debut of first-rate storytellers and masters of neo noir Joel and Ethan Coen. For anyone who saw this movie, now nearly 30 years old, in its initial release in 1984, it must have been exciting to witness the talent of the then almost unknown Coens (Joel was 26, Ethan was 25).

"Blood Simple" was Frances McDormand's first big movie.

The young brothers made a knowing homage to classic noir, updated for ’80s audiences and heavily injected with dark, often perverse, humor. Not only do the Coens honor the traditions and touchpoints of their ’40s predecessors, they also subvert convention and reinvent visual language to serve the story.

Their original tale of adultery, revenge and murder takes place not in the big city, but in Texas, and they nail the mood of a dusty, sweaty small town where lax morals, lust and lawlessness are the only markers on the vast landscape. The title comes from a Dashiell Hammett reference to a dulled mental state (blood simple) that results from repeated exposure to violence.

In her first major screen role, Frances McDormand plays Abby, an appealing country girl – no makeup and all healthy glow – whom some might call a hick. She’s cheating on her husband, tavern owner Julian Marty (Dan Hedaya), with one of his employees, Ray (John Getz). It’s hard to imagine that Abby would even go on a second date with greasy, seething, sleazy Marty, let alone marry him, but hey, that’s why she bedded kinder, gentler Ray. That and his washboard abs.

Dan Hedaya and M. Emmet Walsh

When Marty learns that he’s been cuckolded, he hires venal but philosophical butterball P.I. Loren Visser (M. Emmet Walsh) to knock the lovers off. The movie opens with this narration from Visser: “The world is full of complainers. And the fact is, nothin’ comes with a guarantee. Now I don’t care if you’re the pope of Rome, president of the United States or man of the year; something can all go wrong. … What I know about is Texas and, down here, you’re on your own.”
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It seems that Visser has done his duty, but he double-crosses Marty. After that comes a slew of misunderstandings, mistaken identities and messy cleanups, which is pretty impressive, given that there’re only four main characters in the story.
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One plot detail in particular to watch for: Though money stolen from Marty’s safe is repeatedly referred to, we never know conclusively who took it. Since three people know the combination, your guess is as good as mine. Part of the fun of this movie is anticipating what comes next so I don’t want to reveal any more twists – it’s unpredictable but not convoluted. In fact, the tight plot and spare dialogue lend the movie an earthy sort of elegance.
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Cinematographer Barry Sonnenfeld’s arresting visual style – stark camera angles and repetition of certain images, such as the overhead fan – heightens the suspense. Sonnenfeld was the cameraman on several other Coen Bros. movies and later became a stylish and successful director on his own, best known for the “Men in Black” series. Carter Burwell wrote the “Blood Simple” score and has worked on every Coen brothers movie since.
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The characters might be a bit cartoonish, rendered as they are in broad, sweeping strokes. But that approach works in a movie like this and for these characters who are archetypes of noir love triangles. Life is short and they live it hard. Who has time for psychological complexity and multiple layers of personality? “Blood Simple” is taut, suspenseful, slyly funny and very entertaining. And it holds up well. “Blood Simple” was remade as “A Woman, A Gun, and A Noodle Shop” in 2009 by Zhang Yimou.

Joel, left, and Ethan Coen at the New York premiere of 2010's “True Grit,” their most recent movie.

Additionally, the Coens get excellent performances from their actors. With little to say, McDormand instead conveys feeling, especially fear, through nervous gesture and subtle facial expressions. Walsh’s gross gumshoe effortlessly glides from mutton-headed and dawdling to powerful and menacing.

Hedaya’s Marty fights to the bitter end and has since made a reputation in films as a snarling villain (I also loved his tough-love Dad in “Clueless.”) Getz makes the most of his part as well, the neo-noir version of a knight in slightly tarnished armor, though in his case, the armor is more muddy and dusty than tarnished.
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The Coen brothers, who later made Oscar winners “Fargo” and “No Country for Old Men,” rank with the world’s finest filmmakers and they are the undisputed champions of American neo noir.
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Coen brothers photo by Evan Agostini/Associated Press/New York Times
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‘Blood Simple’ quick hit

February 16, 2011 by

Blood Simple/1984/River Road, Foxton Entertainment/97 min.

How FNB would love to meet those darling Coen brothers and probe their diabolical little minds. And of course I’d gush about “Blood Simple,” their first baby, a fast-paced, taut thriller that will keep you guessing till the end. When a husband (Dan Hedaya) confirms that his wife (Frances McDormand) is cheating on him, he decides to have the lovers killed. But simple? Not so much, especially not in Texas.

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