Noir Thriller Watch: Diabolique (1955)

Watched:  01/19/2026

Format:  Noir Alley on TCM

Viewing:  First

Director:  Henri-Georges Clouzot

Diabolique (1955) hangs heavy over so much of cinema that, like many other films I've both finally watched - or still haven't seen (hello, Bicycle Thieves) - the very weight of it made it seem like homework instead of watching something for the sake of watching a movie.  

It also makes these movies difficult to write about.  I don't guess I'm ever breaking new ground, but when it comes to something with the gravity of this film, what's the point of writing about it, really?

But even I thought it was ridiculous I'd never seen Diabolique.  Spousal murder movies are part-and-parcel for noir, from probably before Double Indemnity.    

Anyway - TCM's Noir Alley programmed the movie, and what better way to frame the movie than with Eddie Muller's brand of bar room rather than classroom?  

The film is both familiar - it's been ripped off endlessly in the ensuing 71 years - and yet it remains unique and surprising in other ways.  A post-WWII France, still sorting itself,makes for an interesting locale.  The economic situation is still rough, and the occupation has left its shadow and scars.  It's also made in France and therefore the Hayes Code isn't so much a factor.  But I'd really point to the characters and performances.  Grade A stuff riding a Grade A script..

At a boys' boarding school - the principal is carrying on with a teacher with the full knowledge of his wife, a timid woman with a heart condition.  However, the principal abuses the teacher, and somehow - the wife and the mistress have fallen into a conspiratorial friendship.  Even as we meet them, they're planning how to kill the principal and make it look like an accident.

Vera Clouzot - wife of the writer/ director - plays the wife of the principal.  She is, frankly, stunning in a complex, conflicted role, asked to play so many things, and she pulls it all off brilliantly.  It's simply one of those roles that will never play as outdated and because of the legacy of the film, will keep Clouzot in the public mind despite having only three film roles to her resume (she passed 5 years later).

I don't know what to say - yeah, the movie met expectations.  Windy, twisty, unrelentingly tense...  and, of course, with an ending good enough that they ask the audience not to share the end with anyone right there at the film's conclusion - something I'm respecting here in 2026, and so I'm not discussing the film too much more.  

Anyway - that one is now checked off. 

Noir Watch: Decoy (1946)

Watched:  01/15/2026

Format:  DVD

Viewing:  First

Director:  Jack Bernhard

What an odd film.

Devoid of narrative economy, the movie starts with a guy staggering his way to the highway, and then hitches a ride from the countryside to San Francisco.  He then takes the lift up to someone's apartment, and shoots them.  It's a dame!  

A cop - an instantly recognizable Sheldon Leonard - who played Nick the bartender in It's a Wonderful Life, here playing a cop named Joe Portugal* - shows up too late.  And the woman shot tells her tale.  But only after she gets to hold the unopened MacGuffin box.

The woman is our femme fatale, Margot, played by Jean Gillie in her penultimate performance before succumbing to pneumonia in 1949 in her early 30's.   Margot's been working a grift on a mobster who knocked over an armored truck, but for his trouble is on death row - and no one knows where the money is.  She's cheating on him with another gangster, Jim, with whom she concocts a plan to get the dough.  

They'll let the guy get executed by cyanide gas, but then steal the body and revive him with Methylene Blue,** a very real medication that can, in real life, combat cyanide, but, alas, in real life, does not restore life function to a corpse.  But in this movie, it sure does.

To do this, Margot seduces the doctor who does the autopsies on executed crooks.  I guess she's really good at *something*, because in a short time she convinces the doctor (Herbert Rudley) to join in on the operation.  If they can get that money, then she'll be happy!, she says.

Anyway, things take... a while... to get to the point.     

The one thing this movie has... well, it also has a knock-out nurse (Marjorie Woodworth) working for the doctor who seems like she's in a completely parallel story that isn't being filmed... So the OTHER thing this movie has is British-born lead actress Jean Gillie, who is really pretty terrific, gorgeous, and as solid a femme fatale as you're likely to find.  The character as written is why this movie exists - not that all the characters aren't a *little* bit bonkers, but Margot is a stunning psycho, using her charms to manipulate three men at a time, sometimes two in the same room.   

The weirdest thing is that the movie is called "Decoy", and at the beginning of the movie they start at the end, seeing Margot shot, the doctor clearly dying and you see an unopened money box.  And , because the movie is called "Decoy", one might spend 80+ minutes sitting there going "well, clearly that money box is a decoy".  

Like, I have zero idea why this starts at the end and tells itself in flashback.  It does nothing to help the story as we can see what will become of everyone before the story starts.  And it's not a good enough movie to make you say "gee, what was that?  Maybe there's twists and turns!"  It just plods toward that ending we saw at the beginning.

Anyway, it's certainly not awful, and from a "this is bonkers" perspective - bringing people back from the dead, Margot's scheming, etc.. - it's interesting.  But the pacing can feel deadly in the first thirty minutes or so, and it telegraphs the ending in the title.  So.

*truly, it can be said he is Portugal, The Man 

**Methylene Blue is the name of my new shoegaze band

Neo-Noir Texas Watch: Lone Star (1996)

Watched:  01/09/2025

Format:  Criterion 4K

Viewing:  Unknown - likely 4th or 5th

Director:  John Sayles

I remember going to see this opening day in Austin at the Arbor 4 at, like, a 4:00 pm show, thinking "no one will be there.  It's John Sayles.  And, I'm going by myself, I can find a seat.".  

Y'all, it was so packed when I showed up, I wound up in the front row staring straight up at the screen for the duration.

And I loved it.  

At the time I was double-majoring in film and history at the University of Texas.  As part of my load, I took as much local and regional history as my degree plan would allow.  And, yes, the courses I took illuminated the material certain officials are currently screaming to the heavens about colleges teaching.*

Noir Crime Watch: Dillinger (1945)

Watched:  01/08/2025

Format:  HBOmax

Viewing:  First

Director:  Max Nosseck

A biopic of famed gangster John Dillinger, Dillinger (1945) is really a crime drama that feels pulled from a "true crime" pulp magazine - the sort where facts will not stand in the way of a good story.  I can't tell you what's real here or not as I know two things about Dillinger - that he once broke out of jail with a fake gun, and something I can not print in a family publication like the Signal Watch.*

Anyway, this is the movie that broke Lawrence Tierney, for good or ill.  And he's solid in the movie - maybe singularly good here playing a (checks notes) absolute cold-blooded monster.  I won't get too much into Tierney as a person, but apparently he was a real asshole - like in a way you or I can't comprehend putting up with.  

Happy Birthday, Audrey Totter - Noir Watch: Lady in the Lake (1947)

Watched:  12/18/2025

Format:  HBOmax

Viewing:  ha ha ha ha...  oh, mercy

Director:  Robert Montgomery

December 20th marks the birthday of Signal Watch patron saint of noir bad girls, Audrey Totter.  

For more on one of our favorite stars of the silver screen, here's a post from earlier this year on Moviejawn.

Last year, through a series of misadventures, we missed our annual watch of Lady in the Lake (1947), and so we wanted to make sure we got in this year's screening.   You have your Christmas movies, I have mine.  

Robert Montgomery stars and directs, mostly as Marlowe's voice over.  Montgomery is not a bad actor, but his Marlowe is maybe my least favorite - I mean, Bogart plays the same guy in The Big Sleep, and I'm a huge fan of Dick Powell in Murder, My Sweet.*

There's truly nothing like this movie - not from this era.  95% of the film is presented from the subjective viewpoint of Philip Marlowe - our lead and a detective.**  The idea is that the audience is looking through Marlowe's eyes - eyes which are a camera the size and weight of a Mini-Cooper.  As a studio film where they let a new director run with an idea, it's some very strange viewing that in 2025, feels like the world's longest videogame cut-scene.

Holiday Noir Watch: Repeat Performance (1947)

Watched:  12/16/2025

Format:  Kanopy

Viewing:  Second

Director:  Alfred L. Werker

I'd seen Repeat Performance (1947) a few years back, I assume during one of the windows where blogging was on pause, because I have no write-up of the movie.  I'm very sure I saw it as part of Noir City Austin, but if I found out it was under different circumstances, okay then.

I didn't remember it particularly well, just a few impressions that turned out to hold.  I remembered it had a really solid ending that kind of saved the movie for me, the lead was a little aimless, and it sagged in the middle.  But it also was a curious exploration of a concept that would be pretty popular now and would withstand a remake.

The film opens on Joan Leslie murdering a "Barney" (Louis Hayward) and then fleeing to find friends at a New Years' party.  She's asking for help, and Richard Basehart takes her to see George Sanders Tom Conway.  En route, she makes a wish to have the whole year to do over - and she gets it.

After Joan Leslie has adjusted to the idea that she is living over 1946, she races home to change things.  

But no matter what she tries to do, fate keeps bending back to the inevitable conclusions of the year before.  Her husband, Barney, will play around on her with playwright Paula Costello (Virginia Field).  She'll star in Costello's play.  Richard Basehart will find himself under the thrall of Mrs. Howell Mrs. Shaw (Natalie Schafer), a wealthy financer of the arts, who will do him dirty.  And it doesn't matter what Joan Leslie changes.

If marching inevitably toward one's doom is a feature of noir, then this slam dunks so hard it shatters the noir backboard.  But it is a weird fantasy movie, and for this sort of stuff that lived mostly in pulp magazines and would become more familiar with TV anthology series like Twilight Zone, it feels really early for a movie to be pulling mystical hoo-har and genre mixing.

If I'm looking for a way to strike it as noir, it's one part "oh, magic", and one part "this movie has a femme fatale, but our female lead is both dumb and spineless, not the usual strong woman at home.".  Sure, they frame her as such, but she's a dope when it comes to her shit-bag of a husband.  

That's no shade on Joan Leslie, who nails what she's given... but two years after WWII, it seems very, very odd that wed have a movie where a woman - who has murdered her philandering husband and is given another chance - once she sees how things are lining up - wouldn't kick his ass to the curb and avoid, you know, MURDER a second time.  He's also a terrible drunk, emotionally abusive, capable of physical abuse, and not once does he demonstrate why anyone wants to spend time with him.  He's arguably also the least handsome guy in every scene.

And still this lady is clinging onto him after he humiliates her and ruins himself.  It's kind of painful to watch. 

Virginia Field as the evil Paula Costello is actually pretty great.  Hats off.  She is one stone cold b.  

Anyway, not my favorite, but it's interesting.  

True Crime/ Noir Watch: The Phenix City Story (1955)

Watched:  12/14/2025

Format:  TCM on HBOmax

Viewing:  First

Director:  Phil Karlson

The Phenix City Story (1955) was not at all what I was expecting from brief descriptions I'd read over the years when making a choice for what to watch.

First - Phenix City is a real city in Alabama on the Georgia state line.  Second - this is a true crime movie that was made in the wake of the assassination of a recently elected new Attorney General from the State of Alabama who was voted in on his promise to clean up the vice and corruption in Phenix City.

Phenix City sits across the Chattahoochee River from the larger Columbus, Georgia and near a very large Army Base, Ft. Benning.  Apparently, for decades and decades, that was enough to make the small town (about 24,000 people) into a place where one could gamble and pick up hookers while the locals looked the other way.  While Phenix City also had more churches per capita than anywhere else in Alabama, somehow the city basically turned a blind eye to the economic engine that is allowing your town to be Pottersville.  

The movie is wildly frank about this for a Hayes Code-era movie.  They murder children, on screen.  There's other acts of terrible violence.  It mentions and shows prostitution, gambling, etc...  and even discusses and shows prostitution offered in return for votes for the corrupt politicians.  I'm kind of shocked this movie isn't a much bigger deal just as a counterpoint to what people think is both the squeaky clean media of the Eisenhower era and a counterpoint to the dumbulbs who think things were all Mayberry in ye olden thymes.  

Neo-Noirvember Chabert Watch: The Pleasure Drivers (2006)

Watched:  11/29/2025

Format:  DVD

Viewing:  First

Director:  Andrzej Sekula

Editor's note:  we've decided to Thelma and Louise our way through the remaining Chabert filmography.  I've been looking to see if I can find the Chabert films I haven't seen yet via very cheap used copies or online one way or another.  This one set me back about $5.

Truly a product of a particular decade, somehow The Pleasure Drivers (2006) arrived about seven years after that decade.  It's another LA-based low-budget crime movie, with this one peppering itself with vague philosophical aspirations, but what they are saying lacks any insight and is dumb.  And, the movie is entirely populated by characters who take their cues from how human beings behave from other movies, leaving us with weird third-generation xeroxes of motivation instead of anything identifiable as human.  

Everything about the film feels late-90's, part of the post Pulp Fiction indie boom.  It's three stories that loosely intertwine, and, of course, collide at the end.  But none of the three stories is very interesting and none of the characters terribly watchable.  

Noirvember Watch: Saigon (1947)

Watched:  11/27/2025

Format:  BluRay

Viewing:  First

Director:  Leslie Fenton

I was pretty psyched to see a new-to-me movie starring Alan Ladd and Veronica Lake.  And one that was set in a post-WWII Saigon.  I was very curious how they'd handle the dynamics of the French colonialism, Japanese occupation, rise of Communism, etc...  

Well, the answer is, none of that comes up.  In fact, I don't think there's a single Vietnamese person in this movie.  That's... wild.

I *do* like the basic idea of the plot.  

Three Army Air Corp soldiers in post-War China are getting discharged.  One of them doesn't know he has only 2-3 months to live due to an ailment (cancer?  something else?) but will likely just die suddenly.  So, the other two decide to show him the time of his life, which they can do if they take a lucrative but shady gig flying a businessman from Shanghai to Saigon.  

But when they go to get the plane and fly him out, the cops stop the businessman, while his secretary, Veronica Lake, jumps in the plane and they fly off.  The plane crashes in Vietnam, and they make their way to Saigon.  Along the way, the dying man falls for Lake (reasonable) while she spars with Alan Ladd.

Oh, and she has a briefcase full of cash.

And, as Lake humors the dying guy, she and Ladd start to fall for each other.

Anyway, it's super weird.  They treat it as if everyone in Vietnam is French?  Or vaguely European?  There's only one Asian person in the movie at the very beginning who sounds very Southern Californian.  

The movie is fine.  It'll never be a favorite, but when I was thinking "I don't think this is working", it kind of changed directions a few times and saved itself.  It fits into that "it's fine" category, but closer to "it's good".  But I just wasn't 100% on board.  But I maybe need to give it another shot.

Noirvember Watch: Ace in the Hole (1951)

Watched:  11/22/2025

Format:  Disc

Viewing:  First

Director:  Billy Wilder

If you ever wanted to crush the human soul with a pair of slick mid-century movies, you could do worse than to schedule this movie alongside The Sweet Smell of Success.  

The movie probably seems a little over the top in some ways, but holy christ, you kind of know it's more accurate about our relationship with the media and how the media keeps us invested than any of us really want to admit.  

Kirk Douglas plays a talented journalist who has been run out of every decent newspaper on the East Coast.  He rolls into town in Albuquerque in a broken down car and takes a job at a small paper that insists he publish only the truth.  

A year later, he's sent to go cover a rattlesnake roundup but en route stumbles across an accident.  At a roadside shop and restaurant they find that across the way the owner of the place has gone into an old cave where he often finds Native American artifacts, and the place had collapsed on him.  Douglas smells a story, and calls it in.  It's the first time he's really been able to cut loose with some real sensationalism, and the story gets picked up by the wire.

Noirvember Watch: Crossfire (1947)

Watched:  11/12/2025

Format:  Criterion

Viewing:  Unknown

Director:  Edward Dmytryk

Crossfire (1947) is one of the movies they recommend when you're first trying to sort out noir, which is a bit odd.  It's about as far from Maltese Falcon or Out of the Past as you're going to get.  Heck, it's a social message movie, and feels like a prestige film on top of that - earning a few Oscar nominations, including that for Gloria Grahame in a small but powerful role.

The movie is about a murder that occurs, and the suspects are from a group of soldiers waiting to be de-enlisted from the army in the wake of World War II.  There's no obvious motive,just possibilities for opportunity.  

Robert Young plays the cop figuring out who did it, and he pulls in a young Robert Mitchum, Robert Ryan and is looking for Steve Brodie and George Cooper.  None of these guys seem to particularly like each other - their grouping is the loose affiliation of their unit, but they all know Cooper's character, Mitchell,is struggling.

Mitchell had really tied one on, and tried to find solace with a girl from a dime-a-dance joint, Ginny (Gloria Grahame).  And, man, is there a lot of story in her relatively few minutes on screen.  There's a whole other noir here about a girl trapped in hell who maybe saw Mitchell as anything from a chance at one night with a decent guy to maybe a way out.

And, kudos to Paul Kelly who plays a singularly weird role as "the man" against Graham.

The victim is played by one of my favorite supporting actors of this era, Sam Levene.  And eventually it becomes clear that the only motivation that Young can figure is that he was killed merely for being Jewish.  

If it's noir, the movie is a post war film reflecting on the darkness waiting for people as they came home, from cheating spouses to the same hatred that fueled the fascism in Europe and Asia that's festering at home.  This is about people already out of control before the movie even starts.  

The look is probably the tipping point.  This movie is *beautifully* shot, and in the version on Criterion, you can really see how brilliantly J. Roy Hunt lit and filmed each scene.  This is a movie that takes place mostly over one night, in the dark of the city, in bars, walk-ups and hotel rooms.  And a few scenes in the balcony of a theater.  As good as the film is story-wise, acting (Grahame was nominated for Best Supporting Actress), directing (Dmytryk also nominated), it's worth watching just for Hunt's work.

Also, the scene where Graham meets Mitchell's wife (Jacqueline White).  Hoo-boy.

In short, I love this movie, but felt I'd watched it several times and could take a break.  But I am so glad I returned to it.  It remains as relevant and powerful as ever, and maybe hits harder in 2025 than it did a decade ago.

Noirvember Watch: Blind Spot (1947)

Watched:  11/11/2025

Format:  TCM Noir Alley

Viewing:  First

Director:  Robert Gordon

A cheap and cheerful B-noir from 1947, Blind Spot is a quick watch that depends on charm of its talent and two or three gags to keep it moving.

The film was programming on TCM's Noir Alley, which I confess I am not watching as much as I should be of late.  The good news is that I found myself, once again, enjoying the intro and outro by noirista Eddie Muller as much or more than the movie.

This film follows an alcoholic writer of novels with an artistic bent (Chester Morris) who, while on a bender, goes to his publisher's office to try and sneak in and tear up his contract, which he has decided is unfair.  While there, he meets a sultry blonde (Constance Dowling) and argues with his publisher in front of a successful writer of mysteries (Steven Geray).  It is suggested that Morris switch to writing mysteries to make more money, and he agrees to do so.

He retreats to the bar in the lobby of the publisher's building and makes time with the blonde, who has just quit after the publisher got handsy.

That night, the publisher is found dead, and Morris seems to be the suspect.  But the evidence is circumstantial.  

It's a lost-time mystery as the now sober Morris tries to pull the pieces together, including possibly condemning himself as the murderer.  It seems the technique he dreamed up for his own murder mystery novel is what was used to kill the publisher.  Meanwhile, both Dowling and Geray are working overtime to assist the writer.

It's no award winner, but it plays like a solid novella or short story, and the characters are colorful.  Morris and Dowling play very well off each other, even if she seems drawn to him for absolutely no reason.  And part of the cost-savings appears in overly long scenes where the same ideas keep getting conveyed as we work to fill the necessary runtime.

It's absolutely not crucial viewing, but you could do way worse.  Oddly, it would also fit in neatly with Criterion's current "Black Out Noir" showcase of film's where a lead is trying to account for lost time while they were drugged, asleep, drunk, hallucinating, etc...  

HK Noir Watch: Hard Boiled (1992)

Watched:  11/08/2025

Format:  Criterion Channel

Viewing:  Unknown.  Probably fourth or fifth.

Director:  John Woo

Back in the early 1990's, JAL and others and I would head over to Hogg Auditorium on the campus of the University of Texas on the weekend.   One of the campus clubs would bring in prints of Hong Kong cinema action movies and, sometimes sober, sometimes not, we'd sit in the then 60-year-old auditorium with whomever else had the few bucks needed to get in.  

And, bats.  Austin is full of bats, and the Mexican Free-tailed Bats would flit about above us in the dark, occasionally throwing shadows in the screen.  

Anyway, that was my intro to all kinds of movies, and where I developed a huge crush on Michelle Yeoh during Police Story 3:  Super Cop, and then had it reinforced with Heroic Trio (and of course no one ever saw Michelle Yeoh again).

I considered myself a fan of action films, but, holy shit, I had never seen anything like Hard Boiled (1992) before that first screening.  It had elements of what I was used to from American-produced action films with a dash of what I was used to from what I'd learn to call Neo-Noir.  Chow-Yun Fat was so clearly a leading man, and Tony Leung an ideal up-and-comer.  But it would be decades before I'd get around to watching him in In the Mood For Love, probably his greatest success in the west until Shang-Chi.  

As a story, Hard Boiled has enough twists to keep you going, and not all of them add up.  It's also largely a backdrop for the kick-ass action that John Woo would deliver that would fundamentally change action cinema world wide.  As JAL pointed out, you don't get to John Wick without Hard Boiled.  And, it has the mix of action and bits of oddball comedy that would come to punctuate American action film (and confuse a generation that is very cross that moods can sometimes mix in a movie).  

In general, I feel like this is a movie that film fans should see at least once.  You may not even like it, but if you understand the flow of time and how influence works in cinema, this is one of *those* films.  Just be ready for more cartoonish violence than you ever thought could fit into a single minute of film occurring for at least 1/3rd of the movie's runtime.

Neo-Noir Waddingham Watch: The Woman in Cabin 10 (2025)

Watched:  11/07/2025

Format:  Netflix

Viewing:  First

Director:  Simon Stone

It's Noirvember, so I need to keep fitting in noir, neo or otherwise.  I also had foot surgery yesterday, so I am couch-bound and taking drugs.  So maybe all of my choices are not great in the moment.  I vaguely remember putting on like 4 Hallmark movies yesterday as I rode out a hydrocodone adventure.

Anyhoo...  I was pretty excited back when I heard Hannah Waddingham was going to be in an ensemble locked-room-murder-mystery.  She seems kind of perfect for being a little extra in a Murder on the Orient Express sort of movie.  And I like Keira Knightley well enough.  And I've been pulling for Guy Pearce since Memento.  

I was even planning to make time for this movie the weekend it dropped on Netflix.  And then the reviews hit.  Not great.   

And having had watched this movie, I am not surprised by this.

First:  all the acting is fine to good.  You cannot blame Ms. Knightley, Mr. Pearce or Hannah Waddingham (especially not Ms. Waddingham).  

The directing is... fine?  The script is awful.  The cinematography is beyond dreadful.  Who even knows about the editing...

But the movie feels like it has no idea why people find these movies interesting.  

Noirvember Watch: Deadline at Dawn (1946)

Watched:  11/04/2025

Format:  Criterion Channel

Viewing:  First

Director:  Harold Clurman

I know a tiny smidge about the Group Theatre in New York in the pre-WWII era, and have made a few connections over the years.  And so it was that I saw Clifford Odets' name come up during the opening credits as the screenwriter, and I got a rough idea of the film that was about to unspool.  Odets was an actor who participated in the Group Theatre movement before finding his footing as a writer - in fact, the writer upon whom the Coen Bros. based the titular character in Barton Fink.

So while Criterion included this movie in with "Blackout Noir", as in "people who lost time and are trying to recover what happened", my attention shifted to the usual social issues and naturalism that I expected to populate the film.  Curiously, the film is also directed by Harold Clurman, one of the Group Theatre directors - in his sole film directing credit.  Methinks it did not go well.

The major spoiler I'll drop here at the beginning is that this movie seems like a wandering mess until the finale slam dunks everything you've seen before, tying together themes, plot elements and character motivation that has seemed... wandering at best.  Honestly, tip of the hat to that end, which is how I'll remember the film.  

Noirvember Watch: Winchester '73 (1950)

Watched:  11/03/2025

Format:  Criterion Disc

Viewing:  Second

Director:  Anthony Mann

I don't think I've seen Winchester '73 (1950) since Jamie and I rented it circa 1998 when a Hollywood Video opened near us, and unlike Blockbuster, Hollywood prided itself on having a section for older films.  And the nice thing about that was that they had limited shelf-space, so if they had it in, the movie was pretty solid.  

The movie often gets mentioned in the discussion around "Western Noir", and seeing it now, I can absolutely see why.  It doesn't hurt that director Anthony Mann rewrote the film to better suit his interests, and his prior films included noir classics like Side Street, Border Incident, T-Men and plenty of others.  At any rate, Mann was familiar with putting a lead through the ringer and understanding that they can have an irrational obsession and still be a compelling protagonist.  

In this case, all we know is that Jimmy Stewart is playing Lin McAdam, who comes to Dodge City looking for Dutch Henry Brown, and it's a vendetta.  In Dodge City, he and his partner (Millar Mitchell) have to hand in their guns just as they come across Brown, also without a gun.  A lengthy shooting competition for a prized Winchester '73 rifle takes place with McAdam winning, but Brown steals the gun and makes off.

Soon, the gun is changing hands from Brown to an Indian Trader to a chief on a warpath, to a cowardly would-be criminal.  It's great stuff.  And along the way, we see early appearances of Rock Hudon as a war chief and Tony Curtis as a young cavalry soldier.  

Stewart's obsession will be reflected in 6 years in Johns Wayne and Ford's The Searchers, but here it feels like pure noir.  Millar Mitchell's sidekick is there to comment upon said obsession as well as keep our hero on the straight and narrow.  And even the ending, where our hero has accomplished his task (spoiler) sure feels like noir with Stewart looking haunted and having to realize even as he holds the female lead (Shelley Winters), he has no idea what to do now, or if the murder of his brother did anything at all to soothe the rage.

Yes, the movie co-stars Shelley Winters, and this may be the movie where she's totally fine.  At no time did I want to shoot her out of a cannon.  Dan Duryea shows up to add to the noir flavor and play Dan Duryea, even letting his hair flop in a scene.  God, he's an amazing asshole on screen.  It's amazing.*  Charles Drake plays "Steve", the world's greatest coward.  Character actors John McIntire and Jay C. Flippen are used exceedingly well.  

It's also shot (in monochrome) in the Tucson area, and makes excellent use of the western landscape.  Gorgeous stuff.  

I guess this movie was a sort of career-saver for Stewart, and allowed him to start playing more complicated roles.  I need to check out his re-teaming with Anthony Mann on The Naked Spur.  But I certainly think of Stewart as a guy who can and did do everything in his work, from Vertigo to Harvey.  I mean, come on.  

Anyway - I kind of loved it.  On the disc there's actualy a commentary track with James Stewart and I want to give it a listen ASAP.  

*I would pay $400 to watch a movie that was just 1950 Duryea and 1950 Richard Widmark insulting each other

35th Anniversary Re-Watch: Miller's Crossing (1990)

Watched:  09/27/2025

Format:  Criterion Disc

Viewing:  Unknown

Director:  Coen Bros.

In late summer 1990, I saw the trailer for Miller's Crossing (1990) at my local cinema in Spring, Texas.  I don't remember what movie I saw that day, but I remember seeing the lush, lyrical trailer for a movie that seemed to jump off the screen with its imagery, language and violence.  Coming off of my first high of mob movies with The Godfather around that time, as well as seeing the guys who had made Raising Arizona were behind the movie, I was ready to see the film on opening day.  

But the Coen Bros. were not yet famous, and Fox, which had distribution rights, didn't really push the movie.  I kept looking for it in show listings.  But it played downtown Houston, not out in the 'burbs, and I was still something like eight months away from my license.  And, so it was that I missed the film until it came out on VHS.  

New Parker Movie Trailer: Play Dirty

One of the only book series I've read in its entirety, and re-read multiple volumes, has been the Parker series of books by Richard Stark (aka: Donald Westlake).  I tend to think of Parker as a criminal project manager, and that works for me in my world.

A while back I'd read of the casting of Robert Downy Jr. for the role of Parker in the Shane Black helmed film, but that seems to have gone away with Avengers stuff back on RDJ's slate.  To my surprise, the role here is occupied by Mark Wahlberg.  I'm not anti-Wahlberg, but after spending 20-something books with Parker, I was of the opinion that RDJ could do it, but he wasn't my first choice.  Look, Parker is supposed to be a towering figure and RDJ Is like 5'9".  I am a bit baffled by the casting of Wahlberg, but no one asked me. We have a whole Dave Bautista out there.

There have been many adaptations of Parker books to film, and all of them make the mistake of wanting Parker to have... feelings.  He does have feelings, like anger, mild-irritation, general crankiness...   but he's not a joker or hugger.  He does not quip.  And that's hard for folks writing him or playing him, and why Lee Marvin's take in Point Blank was probably closest.  He's largely amoral, and will put a bullet in you if you cross him, even if he's known you for years as a colleague.  He *does* have unspoken feelings and maybe even what he considers friendships, if Butcher's Moon is any indication.  

So, long story long, the trailer doesn't reflect the novels.  

Nor is it, exactly, one of the books.  It seems to be melding elements from The Handle and another book or two. But it's its own thing, in the end.

But what I have heard twice now is that the movie is not the Ocean's 11-vibe that I'm getting from the video above.   In my humble opinion, the closest to the vibe of the books is probably Payback with Mel Gibson, or the aforementioned Point Blank.  

If I may... Amazon is doing the wrong thing here in general, and should just make 3 Parker movies per year for maybe 3 years, and just stick to the books, setting the movies in the era in which the novels were released.  Stop at The Rare Coin Score, I think.  Bring in Claire and then decide if it's worth continuing.

Noir Watch: Force of Evil (1948)

Watched:  09/01/2025

Format:  Disc

Viewing:  Third

Director:  Abraham Polonsky

So, what I remembered about this movie from my prior viewings:

• it's super dark
• it's a bit confusing/ complex
• John Garfield and Thomas Gomez are in it
• Marie Windsor is in it and clearly taller than Garfield and it impacts the blocking
• Windsor, as always, looked smashing

French Noir Watch: Le Cercle Rouge (1970)

Watched:  07/27/2025

Format:  4K disc

Viewing:  First

Director:  Jean-Pierre Melville

So, there's a whole bunch of Criterion movies on sale on Amazon, and I wasn't doing much this weekend, so I got silly and justified the expense on this movie.  Because.  

Leave me alone.  Sometimes I do things.

If you've never dipped your toe in French noir, or only watched Breathless, the French noir movement is fascinating as it's so clearly done with love for and homage to American noir (which the French coined - we just called them crime movies).  I assume American culture was imported via Hollywood in the post-war years as American GI's rambled around Europe and France took a minute to get its film industry fired up again.  But the American movies are refracted through the lens of a nation crawling out from occupation, and maybe contain the spirit which gave us Camus.  

I mean, one of the French noir films I'd rec is called Elevator to the Gallows.  Fate vs. freewill and existential dread hangs heavy on the minds of these movies - more so than American films mostly being about "don't pursue the wrong dame".

Le Cercle Rouge (1970) is a crime/ heist movie in which we're told at the outset, before we meet any characters "these people will come together, and it will go very badly, indeed".  And, that is what happens.