Silver and Ursini reflect on the mighty influence of film noir

April 30, 2012 by

Alain Silver (left) and James Ursini discuss their book, “Film Noir: The Directors.”

Historians/authors/editors Alain Silver and James Ursini discussed and signed their new work, “Film Noir: The Directors” (Limelight Editions, $24.99, multiple contributors) on Saturday afternoon at Larry Edmunds Bookshop in Hollywood.

James Ursini

Ursini maintains that film noir is the most important artistic movement Hollywood has produced, and one that’s perfectly capable of jumping genres from Westerns to sci-fi to the traditional women’s picture.

Said Ursini: “Film noir is the overwhelming influence on directors today, in film, TV, comic books … in America and worldwide. Though it went into a sort of remission in the late ’50s, by the ’70s it was back and it never stopped. It’s an incredibly vibrant movement that’s as influential today as it was in the ’40s and ’50s.”

Though appreciated by French critics, most film noir titles (especially low-budget B movies) were widely snubbed by America’s cinematic elite. Ursini recalled that as a UCLA film-school student in the late ’60s, he had to push hard to be allowed to write a paper on director Henry Hathaway.

Alain Silver

Silver pointed out that though the two most frequently cited factors in film noir’s development are the exodus of European filmmaking talent to the U.S. starting in the 1930s and the canon of hard-boiled American literature by authors such as James M. Cain, Dashiell Hammett and Raymond Chandler, the real story is more complicated.

Specifically, it’s hard to pinpoint exactly what inspired these very different directors (the book covers 30) to pursue this unique aesthetic, often self-consciously borrowing and sharing ideas. One certainty, though: Billy Wilder’s “Double Indemnity” (1944) was the prototype for the genre.

He added that because of World War II, the production code loosened and the American public developed a taste for realism. Were audiences of the ’40s and ’50s shocked by these cynical, gritty, fateful stories on the screen? It’s hard to say. Silver said the most interesting contextual endeavor now would be to compare the audiences’ expectations against their reactions.

Photos copyright of Film Noir Blonde

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Film noir feline stars: The cat in ‘Postman Always Rings Twice’

November 30, 2011 by

More on the most famous kitties in film noir …

The Cat in “The Postman Always Rings Twice” 1946

Name: Sasha Pirster

Character Name: Curiosity

Though her screentime was brief, Sasha Pirster made a memorable impression in "Postman."

Bio: “I like cats, they’re always up to something,” says the motorcycle cop as he looks admiringly at a full-figured kitty climbing a ladder in “The Postman Always Rings Twice.” Directed by Tay Garnett and based on the famous novel by James M. Cain, “Postman” is a seminal film noir.

Sadly for Curiosity (Sasha Pirster), platinum blondes with nice legs are also always up to something. The blonde in this case is Cora (Lana Turner) who plots with her lover Frank (John Garfield) to kill her husband Nick (Cecil Kellaway). Curiosity is on screen only long enough to be noticed by the cop and make Frank nervous before she meets a rather brutal end.

The lovers’ first attempt to do away with Nick is staging an accidental drowning in a bathtub. But when the power fails, their plan is foiled and poor Curiosity, who happened to be an innocent bystander, is electrocuted. “I never saw a prettier cat,” says the cop. “It killed her deader’n’ a doornail.” This strange omen does not deter the killers in the least and they proceed to Plan No. 2.

Lana Turner

Despite her character’s grim fate, feline actress Sasha Pirster was a joy to work with. Known for her wry one-liners and practical jokes (she was fond of offering cash rewards for mittens), Sasha was popular with both cast and crew.

In fact, Lana Turner was between husbands during the filming of this movie and the two actresses frequently went out on the town; their drink of choice was kahlua and cream. It was on one of these outings that Sasha met the love of her life, a wealthy fish merchant (well, ok, he was a fat cat) named Felix Kurllup, whom she married in 1947.

Sasha said goodbye to acting and became a homemaker; the couple had 13 children. After raising the kittens, she launched a popular line of turbans inspired by Turner’s elegant toppers in “Postman.”

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On the radar: Noir fest hits the Egyptian, get into Cain’s brain on ‘Mildred Pierce’ tour, Bette and Joan on stage

March 31, 2011 by

There’s nothing like a bunch of noirs in my back yard to put me in a good mood!

Ingrid Bergman and Charles Boyer star in "Gaslight" from 1944.

So I’m very excited that the NOIR CITY: HOLLYWOOD film festival, presented in collaboration with the Film Noir Foundation, returns to the Egyptian Theatre on April 1.

Now in its 13th year, the program features several new prints preserved by the foundation and the UCLA Film & Television Archive. The series is hosted by the foundation’s Eddie J. Muller and Alan K. Rode. For more info, visit: http://bit.ly/ebV4uM.

There is much to see at this year’s fest (28 films total) and top on my viewing list are:

“High Wall” (1947, Curtis Bernhardt)

“The Hunted” (1948, Jack Bernhard)

“The Two Mrs. Carrolls” (1947, Peter Godfrey) and “The Dark Mirror” (1948, Robert Siodmak)

“Journey into Fear” (1943, Orson Welles)

“Kiss Tomorrow Goodbye” (1950, Gordon Douglas)

“A Woman’s Secret” (1949, Nicholas Ray)

“Caught” (1949, Max Ophuls)

“Framed” (1947, Richard Wallace)

“Gaslight” (1944, George Cukor) and “My Name is Julia Ross” (1945, Joseph H. Lewis)

One way ticket to Noirville: Viewers of HBO’s “Mildred Pierce,” directed by Todd Haynes, may be interested to know about a bus tour of the Los Angeles venues that inspired James M. Cain, author of the novel on which the series and the 1945 film were based. Read Sean Macaulay’s story at: http://bit.ly/enRyfV.

London anyone? According to Playbill: “London’s Arts Theatre has announced details of its summer program, which will include the world premiere of Anton Burg’s Bette & Joan, which will star Greta Scaachi and Anita Dobson in the title roles of Bette Davis and Joan Crawford, respectively.” Read more at: http://bit.ly/f8kghH.

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‘Mildred Pierce’ by Haynes savors subtext of Cain’s novel

March 25, 2011 by

Crawford and Blyth

HBO’s “Mildred Pierce” mini-series, directed by Todd Haynes and based on James M. Cain’s 1941 novel, starts this Sunday.

In director Michael Curtiz’s 1945 movie version of the book, Joan Crawford won the Oscar for her portrayal of the title role in the ultimate story of a self-sacrificing mother and her ungrateful child, Veda (Ann Blyth). Mildred’s hard-earned success as a restaurateur allows her to support not only her family but also her aristocratic and cash-poor love interest Monty Beragon (Zachary Scott).

In Haynes’ mini-series, Kate Winslet stars as Mildred, Guy Pearce plays Monty and two actresses share the Veda role: Morgan Turner as the girl and Evan Rachel Wood as the young woman. Haynes and Jon Raymond wrote the teleplay.

In many ways, the series, which follows the book more faithfully than the 1945 movie and covers nearly 10 ten years in the characters’ lives, is a delight to watch. Depression-era Southern California is beautifully recreated and shot by Edward Lachman. Carter Burwell’s original music is spot-on as is Ann Roth’s costume design. And the acting is excellent, particularly the leads.

Whereas Crawford’s Mildred is stoic and dignified, Winslet’s is sensitive, wistful, often tentative and unsure of herself. Her expressive features suggest her mounting anger, guilt and desperation as her business grows but her relationships deteriorate.

Early on in the series, Winslet’s Mildred identifies in her daughter a “pride or nobility I thought I had” and we glimpse the complexity and closeness of her bond with Veda. The mother-daughter relationship in Haynes’ five-hour version is perhaps more nuanced than in Curtiz’s film.

Pearce easily inhabits the playboy scoundrel Monty and Wood sizzles as the junior miss femme fatale. As the story unfolds, we learn that Mildred and Veda also have very similar taste in men. This year’s supporting actress Oscar winner Melissa Leo and Mare Winningham are quite good as Mildred’s friends.

A disappointment, however, is James LeGros’ insipid performance as Pierce family “friend” Wally Burgan. In Curtiz’s version, the role as played by Jack Carson – conniving and sly, but charming – was one of the movie’s many strengths.

Another downside is the pacing, which is far too slow. It would have benefited from shaving about an hour, especially in the beginning. But then if Haynes’ aim was to be true to every page of the book, he has succeeded.

I prefer Curtiz’s original because it is canonical film noir, in tone, look and story. Granted, Cain’s book was altered because in 1940s Hollywood, immorality was never allowed to triumph. Instead of the evil-doers leaving California to begin a new life in New York, one is fatally shot and the other eventually is punished. The murder sets the story, told via flashback, in motion and lends an edgy suspense.

Still, Haynes did not set out to make a noir; apparently his aim is to explore the subtext and subtleties in Cain’s novel. Cain was, arguably, sympathetic toward his feisty protagonist (what choice does she have but to establish independence and security, given the weak and deceitful men she has to choose from?). But she pays a dreadful price for doing so and the book decries materialism, the class system and social climbing. As for Cain’s ultimate take on Mildred’s power, in Hayne’s work, there is fodder for both sides of the argument.

Warner Bros. image of 1945 “Mildred Pierce”

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On the radar: HBO’s ‘Mildred Pierce’ premiere in New York, the launch of ‘Parisian Chic,’ and an of-the-moment site

March 22, 2011 by

Kate Winslet and Guy Pearce walked the red carpet Monday night in New York at the premiere for HBO’s “Mildred Pierce,” directed by Todd Haynes and based on James M. Cain’s novel. The mini-series starts Sunday. The 1945 movie version of the book stars Joan Crawford in the title role.

Inès de la Fressange

Look book: Magazine illustrator, Roger Vivier consultant and former Chanel model Inès de la Fressange shares her style secrets in “Parisian Chic” out next month. In addition to fashion pointers, the book includes tips on living well, 70 pages of her favorite places to go in Paris as well as ideas for entertaining at home, and who does that better than the French?

A sample de la Fressange maxim: “A true Parisian is not looking to snag a billionaire husband. She is uninterested in spending for its own sake and sporting the labels to show for it.”

Read more and see highlights on savvy and soigné Shana Ting Lipton’s site, Chic Trek.

Newness to me: I recently discovered the elegant site NOWNESS, which features “stories influencing contemporary culture and global lifestyle, previewing the latest in fashion, gastronomy, art, film, music, design, travel and sport.” Part of the Moët Hennessy Louis Vuitton family, the site notes that all content is editorially independent. Bella Freud, Bret Easton Ellis, Joan Juliet Buck and Daria Shapovalova are just a few of the contributors.

Inès de la Fressange image from Chic Trek.

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‘Double Indemnity’ proves accessories are make or break

December 30, 2010 by

Double Indemnity/1944/Paramount/106 min.

Fred MacMurray and Barbara Stanwyck

She’s got a plan, she just needs a man. And that’s a welcome challenge for a femme fatale, especially one with an ankle bracelet.

In Billy Wilder’s film noir masterpiece, “Double Indemnity,” from 1944 Phyllis Dietrichson (Barbara Stanwyck) wants out of her marriage to rich, grumpy oldster, Mr. Dietrichson (Tom Powers). Poor Phyllis doesn’t get much love from Dietrichson’s adult daughter, Lola (Jean Heather) either. Fresh-faced and feisty, Lola is hung up on her temperamental boyfriend Nino Zachetti (Byron Barr).

For Phyllis, seducing a new guy to help make hubby disappear is so much more cost-effective than hiring a divorce lawyer. A smart insurance man is even better. Along comes Walter Neff (Fred MacMurray) trying to sell a policy, just as Phyllis finishes a session of sunbathing, wearing an ankle bracelet and not much more. That’s about as much bait as Walter needs.

They flirt, fall for each other and eventually arrange to bump off Mr. Dietrichson, making it look like he fell from a train. It’s a one-in-a-million way to go with a huge payoff from a double-indemnity insurance policy issued by Walter’s company. After that, they play it cool and wait for the check. They’ve planned it like a military campaign, so they’re in the clear until Walter starts to suspect that he’s not the only guy who’s been drooling at Phyllis’ ankles.

Edward G. Robinson

Besides his lust for the blonde (and their chemistry truly sizzles), Walter’s real love is the platonic father/son relationship he has with his boss at the insurance company, Barton Keyes, sharp, cynical and married to his job, played brilliantly by Edward G. Robinson.

Critic Richard Schickel says “Double Indemnity” is the first true noir. I disagree – what about 1941’s “The Maltese Falcon” and “Stranger on the Third Floor” from 1940? Or even Fritz Lang‘s “M” from Germany in 1931? But the point is “Double Indemnity” was the standard against which every subsequent noir was measured. It’s a glorious treat visually. John Seitz’s luscious lighting and captivating use of shadow bring to mind Vincent Van Gogh’s observation: “There are no less than 80 shades of black.” The score by Miklos Rozsa works perfectly with the visuals to build and sustain atmosphere.

The performances (Stanwyck, MacMurray and Robinson) are tremendous. Though Stanwyck was nominated for the best actress Oscar and “Double Indemnity” was also nominated in six other categories (picture, director, screenplay, cinematography, sound recording and score), MacMurray and Robinson were not in the running and the film didn’t win any Oscars. In retrospect, their work in this movie is some of the best acting of the decade. MacMurray (who might be most familiar as the father in TV’s “My Three Sons”) is such a natural as the easily tempted yet very likeable Neff, it’s surprising now to learn that the role was a major departure from his usual nice-guy parts.

As James Pallot of “The Movie Guide” writes: “Robinson … beautifully gives the film its heart. His speech about death statistics, rattled off at top speed, is one of the film’s highlights.” When Keyes realizes that Walter has betrayed him, it’s heartbreaking in a way that few other noirs are.

Wilder co-wrote the script with Raymond Chandler, based on the taut little novel by James M. Cain, published in 1936. (The novel was inspired by the real-life 1927 Snyder-Gray case.) In the book “Double Indemnity,” smitten Walter says of Phyllis’ physical charms, “I wasn’t the only one that knew about that shape. She knew about it herself, plenty.”

The dark, witty script follows the book pretty closely, but Chandler’s contributions are key. For example, check out this bit of simmering dialogue:

Phyllis: There’s a speed limit in this state, Mr. Neff, 45 miles an hour.

Walter: How fast was I going, Officer?

Phyllis: I’d say around 90.

Walter: Suppose you get down off your motorcycle and give me a ticket.

Phyllis: Suppose I let you off with a warning this time.

Walter: Suppose it doesn’t take.

Phyllis: Suppose I have to whack you over the knuckles.

Walter: Suppose I bust out crying and put my head on your shoulder.

Phyllis: Suppose you try putting it on my husband’s shoulder.

Walter: That tears it…

Chatting things over while Mr. Dietrichson is away.

Now it seems egregious that Wilder (1906-2002) and “Double Indemnity” were snubbed at the Oscars. Born in what is now Poland, Wilder escaped the Nazis, but his mother and other family members perished in a concentration camp. He knew firsthand the dark, sometimes horrific, side of life and that knowledge imbued his work with an unparalleled richness and depth. He was also hilarious. If I could have martinis with any film noir director, living or dead, it would be Billy.

I’ve seen interview footage of him where he punctuated his conversation with deep and frequent laughter. And I’ve heard stories about him playing practical jokes – apparently he when he lost the 1944 best director Oscar to Leo McCarey (who won for “Going My Way” starring Bing Crosby) Billy stuck out his foot and tripped McCarey as he walked down the aisle to pick it up. Maybe if I get that fantasy date with the spirit of Billy, I’ll bring Dick Schickel along too. He might benefit from a girly martini and tagging along with Billy and me.

So, suppose you do yourself a favor and watch “Double Indemnity” the first chance you get. You won’t be sorry.

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‘Double Indemnity’ quick hit

December 30, 2010 by

Double Indemnity/1944/Paramount/106 min.

A hands-down noir favorite. Fred MacMurray and Barbara Stanwyck are adulterous lovers who plot to get rid of Stanwyck’s husband in a seamless “accident” and pounce on his insurance policy. Knock-out performances and marvelous direction from Billy Wilder. Based on a James M. Cain novel, the script, by Wilder and Raymond Chandler, crackles with wit and innuendo.

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Sly guys, coffee, pie: It’s all in ‘Mildred Pierce’

December 1, 2010 by

Mildred Pierce/ 1945/Warner Bros./ 111 min.

“Mildred Pierce” was Joan Crawford’s comeback role and she won an Oscar for her performance.

I saw “Mildred Pierce” for the first time nearly 20 years ago on a Sunday afternoon in my small, studenty London flat – pale gray walls, Venetian blinds, a Victor Skrebneski print opposite the TV.

Just before the opening scene unfolded – a shooting in a shadow-drenched California beach house with a sinister vibe – I remember popping a batch of popcorn in oil on the stovetop and making American lemonade (fresh lemons, sugar and water). Such wholesome snacking for the decadence on the little screen.

Directed by Michael Curtiz, “Mildred Pierce” is based on James M. Cain’s 1941 novel, adapted by Ranald MacDougall with uncredited help from William Faulkner. Joan Crawford plays the title character, a wife and mother, who tries to buy the love of her spoiled and ungrateful teenage daughter Veda (Ann Blyth). Her younger daughter Kay (Jo Ann Marlowe) is easy to love, but Mildred is determined to win Veda over as well.

Hubby Bert Pierce (Bruce Bennett) doesn’t think Veda is worth it and they break up over Mildred’s intense maternal devotion. Some subtexters theorize that Mildred’s love has romantic overtones; I don’t think there’s a strong case for that.

Mildred works as a pie-baker and a waitress, then opens a chain of restaurants to pay for Veda’s clothes, music lessons and extravagant taste. Problem is, nothing’s ever good enough for the Everest-level high-maintenance Veda. “I can’t wear that rag,” she snarls, upon seeing a dress Mildred bought for her.

Besides sniping at loved ones and spending their money, Veda enjoys hatching blackmail plans and singing in sleazy nightclubs. So it’s no shocker that she also has designs on Mildred’s new love interest Monte Beragon (Zachary Scott). Monte is an aristocratic playboy who’s always short of cash but really rather useful for Veda’s plan to become patrician.

Ann Blyth and Joan Crawford as daughter and Mumsy

No matter what, Veda sinks her serpent’s teeth deeper and deeper into Mildred’s flesh, which, by the way, at 40, was still very shapely. Curtiz wisely gives Crawford plenty of opps to show off her gams. And her little hats, tailored suits and ankle straps are the picture of retro chic. [Read more…]

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