Robert Ryan author J.R. Jones to appear at Larry Edmunds Bookshop in conversation with Film Noir Blonde

Robert Ryan exuded masculinity and mystery in equal parts and he’s always been one of my favorite film noir actors. He could easily play a good guy but his forte was for those tormented, enigmatic characters, who were dark and volatile, moody and quick-tempered.

Robert Ryan book coverRemember him as an embittered vet in “Act of Violence,” (1948, Fred Zinnemann), where he co-starred with Van Heflin, Janet Leigh and Mary Astor? He made his mark the previous year as a vicious bigot in “Crossfire” (1947, Edward Dmytryk) with Robert Young, Robert Mitchum and Gloria Grahame.

He was unforgettable as the over-the-hill boxer fighting his last fight in “The Set-Up” (1949, Robert Wise) with Audrey Totter, and as the tormented cop in “On Dangerous Ground” (1952, Nicholas Ray) with Ida Lupino. In 1959, playing another bigot, Ryan again worked with Wise in the classic heist movie “Odds Against Tomorrow” which also starred Harry Belafonte, Gloria Grahame and Shelley Winters.

Not to mention “The Naked Spur,” “Bad Day at Black Rock,” “God’s Little Acre,” “Billy Budd,” “The Dirty Dozen,” The Wild Bunch” and “The Iceman Cometh.”

So, I am very excited to announce that I will be talking with Chicago-based author J.R. Jones about his new book, “The Lives of Robert Ryan,” at 12:30 p.m. on Saturday, May 16, at Larry Edmunds Bookshop in Hollywood.

“Crossfire” was the film that put Robert Ryan on the map.

“Crossfire” was the film that put Robert Ryan on the map.

According to Amazon: “The Lives of Robert Ryan” provides an inside look at the gifted, complex, intensely private man whom Martin Scorsese called “one of the greatest actors in the history of American film.”

The son of a Chicago construction executive with strong ties to the Democratic machine, Ryan became a star after World War II. … His riveting performances expose the darkest impulses of the American psyche during the Cold War.

At the same time, Ryan’s marriage to a liberal Quaker and his own sense of conscience launched him into a tireless career of peace and civil rights activism that stood in direct contrast to his screen persona. Drawing on unpublished writings and revealing interviews, film critic J.R. Jones deftly explores the many contradictory facets of Robert Ryan’s public and private lives, and how these lives intertwined in one of the most compelling actors of a generation.

Larry Edmunds Bookshop is at 6644 Hollywood Blvd., Los Angeles, CA, 90028, 323-463-3273.

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. 😉

Ryan to discuss working with film noir stalwart Lee Marvin

Mitch Ryan

Mitch Ryan

Actor Mitch Ryan will join Lee Marvin biographer Dwayne Epstein at 7:30 p.m. on Thursday, Aug. 21, at Larry Edmunds Bookshop in Hollywood to celebrate the paperback release of Epstein’s book, Point Blank.

Perhaps best known for playing Burke Devlin in the 1960s TV series “Dark Shadows,” Ryan also had a Hollywood career. He’ll discuss working with Marvin in “Monte Walsh,” (1970, William A. Fraker), a Western that co-starred Jack Palance and Jeanne Moreau.

Ryan and Epstein will present a clips reel of Lee Marvin TV appearances.

“Ah, stardom!” Marvin once said on the topic of fame. “They put your name on a star in the sidewalk on Hollywood Boulevard and you walk down and find a pile of dog manure on it. That tells the whole story, baby.”

Carole Lombard author gets two parties from Larry Edmunds

The nice guys at Larry Edmunds Bookshop are back in the swing of events with two book parties for Robert Matzen, author of “Fireball: Carole Lombard & the Mystery of Flight 3.”

Carole Lombard died  in a plane crash in 1942. She was 33.

Actress Carole Lombard died in a plane crash on Jan. 16, 1942. She was 33.

Matzen takes a fresh look at Hollywood’s Queen of Screwball Comedies, Carole Lombard, and examines the plane crash that took her life on Jan. 16, 1942. With TWA’s most experienced pilot flying a 10-month-old aircraft on a clear night, why did the flight crash into the side of a Nevada mountain?

Having just completed the first sale of war bonds and stamps, following the U.S. entry into World War II, Lombard became the first Hollywood star to sacrifice her life in the war. “Fireball” tells multiple stories: the passengers (including 15 members of the U.S. Army Air Corps), the friends and families left behind (such as Lombard’s husband Clark Gable) and the first responders who struggled up a mountain hoping to perform a miracle rescue.

There will be two signings this week:

From 8-10 p.m. Thursday, Jan. 16 at the Museum of Flying, 3100 Airport Ave. in Santa Monica.

At 4 p.m. Saturday, Jan. 18 at Larry Edmunds Bookshop, 6644 Hollywood Blvd., Hollywood, 323-463-3273.

Hurrell's HollywoodAlso available at the bookshop is this essential book for any film lover’s library: “George Hurrell’s Hollywood: Glamour Portraits 1925-1992” by Mark A. Vieira, with a foreword by Sharon Stone.

Known as the Rembrandt of Hollywood, Hurrell (1904–1992) was the creator of the glamour portrait and played a crucial role in establishing the star power of Tinseltown’s elite. Perhaps most famous for his work with Joan Crawford, he also photographed Marlene Dietrich, Norma Shearer, Bette Davis, Jane Russell, Clark Gable, Gary Cooper, Warren Beatty and, as you can see from the book’s cover, the stunning blonde goddess, Carole Lombard.

Silver and Ursini reflect on the mighty influence of film noir

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

On the radar: ‘The Artist’ and inspiration; ‘Chinatown’ kicks off series; long gone Hollywood; Crawford goes a little crazy

Gwyneth Paltrow looked super chic at the Oscars.

Now that “The Artist” won the Oscar for Best Picture, I’m hoping more people will feel inspired to explore black and white movies, especially Billy Wilder b&w flicks. (“The Artist” director Michel Hazanavicius thanked Wilder three times last night!) Overall, I enjoyed the show, though there were few surprises. Billy Crystal is always good and my favorite look of the night was Gwyneth Paltrow in the Tom Ford cape gown.

Meanwhile, this looks set to be a busy week for cinephiles. Starting tonight: Unique LA presents a monthly movie series at the Echoplex. First up is “Chinatown.” Doors open at 7 p.m. Movies start at 8 p.m. Tickets are $10 pre-sale online only.
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At 7 p.m. this Wednesday (Feb. 29) at Larry Edmunds Bookshop in Hollywood, author Gregory Paul Williams will sign the paperback edition of his book “The Story of Hollywood.” He’ll also present a program on long gone Hollywood, featuring favorite haunts and spots of legend and lore.
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At 7:30 p.m. this Wednesday (Feb. 29), the Million Dollar Theater and the UCLA Film & Television Archive co-present a double feature from director William Castle: 1964’s “Strait-Jacket,” starring Joan Crawford as a hatchet-wielding maniac released from prison after serving time for killing her husband, and “Homicidal” (1961) about a small-town killing and its effects on members of a family vying for an inheritance.
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Gwyneth Paltrow photo: Heather Ikei / © A.M.P.A.S.
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