3D Noir Watch!: Inferno (1953)

absolutely no one swings into action on top of a couple having a cuddle in the course of this movie

Watched:  07/11/2019
Format:  Alamo South Lamar
Viewing:  First
Decade:  1950's

Well, somehow Wednesday became my Robert Ryan double-bill day.  SimonUK and I headed over to the local cinema to take in this novelty 1953 film.  Ostensibly noir, this movie is both in technicolor (not a disqualifier) and in 3D (a curiosity for noir, to say the least).  It also takes place in the desert and is 65% a tale of survival in extreme conditions, and - while I get why it gets lumped in with noir, I'm a bit on the fence. 

If the movie borrows from noir, it's trying to borrow from the best - in some ways asking "yes, but what if the husband in Double Indemnity had lived?" and pairing it with a survival tale in which the husband is not on an urban railroad track but thrown from a horse in the Mojave Desert. 

Noir/ Lupino Watch: On Dangerous Ground (1951)

Watched:  07/10/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1950s

If I were to buy this movie on Bluray (and it's Lupino, so don't count me out), I would wish it had Eddie Muller's conversations which bookended the showing on Noir Alley.  Muller says he's doing "barroom, not classroom", but I'll argue that by showing a wide variety of films on Noir Alley and talking about why we should pay attention, discussing what happened during production, etc... and not just lauding whatever it is we're about to see, Noir Alley is one of the best movie-watching experiences and educations you can hope for.  And, yeah, he makes it all as casual as a talk over cocktails. 

On Dangerous Ground (1951) is directed by Nicholas Ray and stars two of my favorite denizens of Noir Alley, Ida Lupino* and Robert Ryan (here wearing a coat and hat and a tough cops face in a way I wish with all my heart I could pull off).  I'd meant to watch it some time ago, and I can't recall why it fell off the list - but now was the time!  Muller certainly discussed details of the film and production, but his real focus was on the Bernard Herrmann score.  And it is very, very much a Bernard Herrmann score, which is almost off to see against an RKO b&w cop picture. 

Signal Watch Reads: "The Long Goodbye" (1953) and "Playback" (1958)

At long last, I read both The Long Goodbye (1953) and Playback (1958), the last of Raymond Chandler's novels centered upon detective Philip Marlowe.

You'll note a lengthy dry spell between books here, and there's a precipitous drop-off between the two in depth and strength.  It's curious as The Long Goodbye feels less like a detective novel and more like an author wrestling with himself, working through the point in his life where he'd enjoyed success and some fame and found neither amounted to much as he was still living with himself as an alcoholic, a writer of genre fiction, and now a widower.*

Noir Watch: Woman on the Run (1950)

Watched:  06/30/2019
Format:  BluRay
Viewing: First
Decade:  1950's

First - this poster is doing Ann Sheridan no favors.  She's a gorgeous woman, and here she looks like a wax museum figurine that's been set too close to a lamp.  Second - like many-a-noir, this title isn't actually accurate.  The movie is about a woman seeking out her husband, who is a dude "on the run".  Unless this is when I find out "on the run" in this era meant "she's just moving about quickly", which I don't think it did.

Noir Watch: The Shadow on the Wall (1950)

Watched:  06/27/2019
Format:  Noir Alley TCM on DVR
Viewing:  First
Decade:  1950's

The core idea of this movie is so... evil... I almost think it'd make for a swell comedy. 

Ann Sothern - a sort of "America's sweetheart" of the era - plays a woman who murders her own sister but can pin it on her brother-in-law.  BUT!  Her niece saw the whole thing, so she won't go to the gas chamber, she's in a race to kill the little girl before Nancy Davis (read: Nancy Reagan) helps the the little girl recover her memory.

I mean, you can imagine the Looney Tunes quality of repeated murder set-up after murder set-up to kill a bright-eyed little girl who is working through her cloudy memories by playing dolls with Nancy Reagan. 

This movie plays it straight, is a lesser entry in everyone's resume but that of child actor Gigi Perreau (still living, people!), and is good enough as yet another entry in the "psychology is a an alchemical force toward unlocking the mind" films of the era.  It does co-star a pre-Ronald-betrothed Nancy Davis, who is better than I figured she'd be, but still very much Nancy Reagan.*  It does not feature nearly enough Zachary Scott, whom I always like. 

My favorite scene is one where Sothern poisoned the little girl's chocolate milk and it seems like anything can happen in this particular set-up, shot from the kids' eye level as her friend wanders in to see why she isn't drinking her milk.  Just great stuff. 


*I'm sorry - the lady just seemed like a scold all the time when I was a kid, and she feels that way here, too

Noir Watch: Nobody Lives Forever (1946)

Watched:  06/28/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

A bit of lighter, post-war crime drama. 

Garfield plays a former con-man coming back to New York to reclaim the girl he left when he enlisted, and the wad of money he left in her hands.  She's thrown in with a club-owner and spent the money, and so he heads out to LA to reconnect with an old friend.

Running into some pre-war fellow goons, he's turned onto a scheme to rip-off a wealthy widow, who turns out to be less tired old lady and instead the lovely Geraldine Fitzgerald.  Trouble ensues.

The movie is so light in places and features so many comedic bits, it barely feels like noir - but structurally, it fits the bill.  Nothing ground-breaking here, but Garfield shows his chops as a strong leading man, and we get some great character actor performances and Fitzgerald demonstrates why she flirted with major stardom.

Noir Watch: Nora Prentiss (1947)

watched:  06/15/2019
format:  Noir Alley on TCM
viewing:  First
Decade:  1940's

Eddie Muller intro'd this movie by discussing how this film was marketed and considered "a woman's picture", and from what I've gathered about Women's Pictures of the mid-20th Century, I can see why that label got dropped on it.  But had he not mentioned this in the opening, I'd have seen this as soft-boiled noir and maybe mentioned women's films in passing.  Bear in mind, one of my favorite movies if Mildred Pierce, which one can see as equal parts Women's Picture and Film Noir, so that's not taking a particular stance, it just changes the formula a bit.

Noir Watch: Dead Reckoning (1947)

Watched:  06/06/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

I know it seems like I heap praise on every single noir that comes along, but I'm usually trying to find some good in the film or a reason it was included in Eddie Muller's Noir Alley line-up.

Muller himself warned us up front that Dead Reckoning (1947) wasn't going to shake the Earth, and in practice - the movie has a wide variety of components that, if I were to tell you "it stars so-and-so, it has this and that plot element, it has a unique location" you'd be nodding and getting noir-jazzed for the movie.  But, in execution...  the movie just feels like a lesser picture almost immediately, and it just never manages to catch fire.

Noir/ Heist Watch: The Asphalt Jungle (1950)

Watched:  06/03/2019
Format:  Noir Alley on TCM on DVR
Viewing:  7th?  Unknown
Decade:  1950s

I know I throw a lot of soft recommendations around, saying "oh, you might like this" or "it's worth catching", but The Asphalt Jungle (1950) was one of those hit-me-like-lightning movies the first time I watched it, and, in a lot of ways, I've been chasing that same high ever since.  That viewing was way back in college from a rented tape on a 20" TV, and I've seen and owned various copies of the film ever since.  Frankly, when I just looked up the movie on this blog, I assumed I'd written it up 3 or 4 times, but, instead, I'm just finding mentions of it tucked into other posts.  So, it's been a while.

In some ways, in 2019 there's little new in The Asphalt Jungle - the film is one of those that reset the path for heist movies and created the template from which heist movies would flow from then til now.  But for a movie popping up just a few years after World War II, and because of the influence, it feels shockingly modern (especially for modern TV more than movies, which are largely toothless in comparison these days).  It's 3/5ths getting to and getting through the heist, and 2/5ths things going wrong and the fallout as our ensemble tries to sort out the mess they're in.

Noir Watch: Key Largo (1948)

Watched:  05/31/2019
Format:  Noir Alley on TCM on DVR
Viewing:  Second
Decade:  1940's

The notion of a bunch of folks hanging out in a hotel in the Florida Keys probably doesn't ring very "noir" to folks who start and stop their definition of noir with Jane Greer in large hats, but there's a sub-genre of noir that's "people in remote locations trapped in a building/ held hostage by gangster while some sort of event occurs outside".  In this case, the gangster is Edward G. Robinson and the event is a hurricane.

I recalled loving Key Largo (1948) when I watched it a few years back, and I believe it made top marks in my end of the year Krypto Awards as the movie I most enjoyed watching at home.

Y'all...  this movie held up just fine.

Noir Watch: White Heat (1949)

Watched:  05/22/2019
Format:  Noir Alley on TCM
Viewing:  Second (third?)
Decade:  1940's

Cagney made it big in films of the 1930's with breakout roles like The Public Enemy and Angels with Dirty Faces.  During the war, he had a massive hit with Yankee Doodle Dandy, but by 1949, he was back in tough-guy mode when he was brought on to play Cody Jarrett in White Heat, maybe one of the most famous outlaw films in American cinema.

Noir City Austin - Day 3 "Nightfall" (1957) & "Murder By Contract" (1958)

First, I forgot to mention that on Day 2, the TCM Backlot Austin Chapter met up at Noir City and grabbed a picture, and you'll see me awkwardly standing in the back.  Thanks to Jane, et al, for organizing.

Next: Upfront, I'll tell you, I only saw two of the four films on Day 3 of Noir City Austin.  This is not due to film programming, venue or any of that. I just had stuff I needed to go do as the coming week of work/life is set to be  busy one.  So, I was able to see the first two films shown on Sunday.

Noir City Austin continued exploring the 1950's, and by the late 1950's, the differences in style of dress, attitude and film-making choices between the first film shown on Friday night from '49 and by the time we hit boom-time/ post-Korea America in '57, a lot has shifted.  Hell, men aren't even wearing hats as a required feature.

Noir City Austin - Day 2: "City That Never Sleeps" (1953) & "Private Hell 36" (1954)

Watched:  05/18/2019
Format:  Noir City Austin at Alamo Ritz
Viewing:  First
Decade:  1950's

Long ago I had purchased tickets to see a baseball game in the evening, so I was only scheduled to see two films for Noir City Austin, Day 2.

The theme for 2019 was a follow up on 2018, which was Noir in the 1940's, year-by-year.  This 10 film cycle was tracing noir as we left the 1940's and how and why the films changed as we hit the 1950's as cultural issues crept into the films and television competed with the big screen and informed the lives of characters on screen.  And, by the mid-to-late 1950's, began influencing how movies were shot so they'd work on the television sets of the era as Hollywood looked to cash in on the secondary income stream.

Noir City Austin - Day 1 - "Trapped" (1949) and "The Turning Point" (1952)

Viewed:  05/17/2019
Format:  Noir City Austin at Alamo Ritz
Viewing:  First for both
Decade:  1940's/ 1950's

Eddie Muller is back in Bat City for Noir City Austin, our annual showing of films I'd never find on my own, and always can't believe the gold Muller is able to surface.   Muller isn't just host of TCM's Noir Alley weekly dose of crime, implied sex and moral gray areas - he's also head of the Film Noir Foundation.  Proceeds from the festival and merch sales go back to the FNF, who, in turn use the money to rescue films from obscurity and eventual loss.

Noir Watch: Nightmare Alley (1947)

Watched:  05/12/2019
Format:  Noir Alley on TCM on DVR
Viewing:  Second
Decade:  1940's

I remember reading that film-reviewer Pauline Kael made it a rule to only ever watch a film once - maybe a practicality of her business, maybe a personal quirk (as in all things, it's only mostly true).  I think about this a lot, because - as anyone who has followed the blog or PodCast knows - I find returning to movies fascinating, both to see what my now-brain thinks of a movie versus what I thought of it then, and because of how those differences reflect on your own experience, making films something all the more personal.

I saw Nightmare Alley (1947) about four years ago, and I remembered thinking it was good - but not really clicking to it in particular.  But on this viewing, despite the fact I remembered the film fairly well, it just reached out and hit me over the head.  This is a brilliant, wonderfully crafted movie, tackling deeply sensitive material and plowing right through, and getting away with it like the low-level conman who inserts himself with the right clothes and patter - the movie sure looks like a morality tale and crime movie, while questioning the nature of anyone selling you salvation, spiritual insight or deep insight into your own psyche. 

Noir Watch: 99 River Street (1953)

Watched:  04/18/2019
Format:  Noir Alley on TCM on DVR
Viewing:  Third
Decade:  1950's

I've written up 99 River Street (1953) once before, and watched it something like 1.5 times before, but I genuinely really like this movie.  Starring John Payne as a former champion boxer, now a cab driver - he's trying to adjust to a world of broken dreams and settle in with the dishy blonde he married at the height of his fighting days when he finds her cheating on him.

In a twist of just insanely bad timing,* a pal - Evelyn Keyes - lures him to a theater to show the body of a man she accidentally killed when he tried to #MeToo her during an audition.  Just to make matters worse, the guy Payne's wife is running around with is a jewel thief who just heisted $50K in diamonds.

Noir Watch: Border Incident (1949)

Watched:  04/08/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

...so...

We've essentially not only just *not* made any progress on how we deal with our border with our Southern neighbor since the release of this film in 1949, but we're now actively and intentionally worse about how all of this works.

Border Incident (1949) follows law enforcement working together from both the Mexican and American governments, seeking not to punish the braceros crossing illegally so much as to stop the exploitation and criminal behavior of the coyotes, who use the undocumented status of their victims to exploit them for terribly low wages, awful living conditions and potentially violent treatment.

Noir Watch: His Kind of Woman (1951)

Watched:  03/23/2019
Format:  Noir Alley on TCM on DVR
Viewing:  Second
Decade:  1950's

If you're looking for a fun, kinda-noirish movie with a great sense of humor and a bit of sexiness, action and character, you can do a lot worse than His Kind of Woman (1951).

Starring Robert Mitchum, Jane Russell and a terrifically camp-tastic Vincent Price - the movie also features a few other notables.  Charles McGraw, Raymond Burr, Jim Backus and Marjorie Reynolds also show up as various antagonists.

Mitchum plays a small-time hood who is given a wad of cash and sent to a really nice Mexican resort where he's supposed to just wait for further instruction, no matter how long it takes.  En route he meets Jane Russell, a society gal-turned-chanteuse, who - as would happen - draws Mitchum's eye.  Russell is there to meet up with her actor boyfriend, Price.  For a bit there's a tad of Casablanca as Mitchum wanders around trying to figure out who is who and what's going on and a few colorful characters drift in and out of the scenes. 

I don't want to spoil the plot, but it is.... goofy.  But it's fun.  And Russell is... well, there's a reason we're still pondering Russell seventy years after the fact.

Weirdly, I didn't really remember the ending of the movie which is insane.  Muller's story about the making of the film explained a ton (Howard Hughes, y'all), but it does make for a crazy series of events that doesn't really match the first half, tonally, but does match up narratively.

Give it a shot!  It's a hoot and Vincent Price is hysterical.

Noir-ish Watch: High Sierra (1941)

Watched:  03/21/2019
Format:  Noir Alley on TCM on DVR
Viewing:  at least fourth
Decade:  1940's

I've surely written this movie up before, but it's a great heist flick.  Maybe not Ashpalt Jungle good, but one for the pantheon.  And, it was a breakout movie for Bogart, hot on the heels of Petrified Forest.  And, of course, it broke Ida Lupino, which is a boon to us all.

Noir Watch: D.O.A. (1949)

Watched:  03/13/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

You know how sometimes you hear about the premise of a movie and you write the whole thing in your head in about 5 seconds?  I mean, I'm often wrong, and I find that really nice, but other times the movie wraps and you say "that is exactly what I thought it was going to be"  And even that isn't all bad.  But that's more or less why I never bothered seeing this film, and, here we are, and I am reporting out that D.O.A. (1949) was more or less exactly what I expected it was going to be.

A fun ride, yes, and... no - I didn't guess every twist and turn (who could?), but "sounds like a dude running around trying to figure stuff out as he tries to beat the clock" - done in one, mi amigos.  What I wasn't anticipating was the weird tone of the film which, alone, kind of makes it worth a peek.