Showing posts with label Film Noir. Show all posts
Showing posts with label Film Noir. Show all posts

Sunday, July 2, 2023

Even innocent lies can have dire consequences...

White Lies Noir (2017)
Starring: Ross Marquand and Alana O’Brien
Director: Jared Lapidus
Rating: Nine of Ten Stars

A dame (O'Brien) walks into the office of a private eye (Marquand) and a string of lies eventually leads to the truth...

Alana O'Brien in "White Lies" (2017)

 "White Lies Noir" is one of those short film you need to come to completely unawares for it to have its greatest impact. Anything I can say about it--beyond the teaser summary above, and the fact that I loved almost everything about this film--will spoil the experience of watching it.

The filmmakers did a much better job of capturing the feel of a genuine film noir picture than many out there and the pace at which the film unfolds is almost perfect. I even loved the blooper reel at the end, with actress Alana O'Brien staying in character even as the scene went completely sideways.

If you like film noirs and enjoy the occasional film that doesn't end up where you thought it was going to, you'll get a kick out of "White Lies Noir". Check it out by clicking below.


Thursday, June 22, 2023

A word from our sponsor!


We are proud to have gained a new sponsor here at Shades of Gray! We think this is a perfect partnership, and we hope you agree (especially considering our side business venture)!


Thursday, March 16, 2023

Well-crafted film noir homage with a twist!

Long Cold Walk (2022)
Starring: Nat Wise, Rocco La Motta, Stephen Scott, Jessica Rudolph, and Gene Winer
Director: Gene Winer
Rating: Seven of Ten Stars

A homicide detective on the nightshift (Wise, voiced by Winer), is called to the scene of what turns out to be a greater mystery than he could have possibly imagined.

 
Nat Wise in "Long Cold Walk" (2022)


"Long Cold Walk" is a well-crafted film noir homage with an unexpected twist. Visually, there are a few jarring elements--such as some extreme close-ups that don't seem to serve any purpose and an extra that seems out place with the historical setting of the film--but overall Gene Winer and his crew do a fine job, on pretty much every technical level you'd care to consider.

As this film reached its final moments, I was certain that I would be giving it a solid Six of Ten Stars... but then the twist occured. I was expecting there to be some sort of twist due to a comment made by the narrator at the very beginning of the film, but when it happened, it was not at all what I expected it to be. That twist, and how it was executed, got a star added to the rating all by itself! I've watched and reviewed so many films over the past 30 years that "WOW!" moments don't happen all that often anymore, but Winer delivered one with "Long Cold Walk".

If you like old-school detective movies and TV shows, you're going to enjoy this short. Click below to check it out!

Thursday, March 9, 2023

A short film that made me say, 'That's all?!'

The Detective (2021)
Starring: Alex Perri
Director: Alex Perri
Rating: Nine of Ten Stars

Late at night, a hardboiled detective (Perri) sits down to write a report. But something is amiss...


I have only two negative things to say about this excellent homage to the hardboiled film noir detectives and their cinematic vehicles of the 1940s and 1950s--because Alex Perri pretty much gets everything right in the minute-and-a-half run-time of "The Detective".

First, the narration provided by the title character is a too much. I understand that Perri was trying to fit all the standard elements of a film noir mystery into a very brief space, but it was so intense that it was bordering on parody. It wasn't bad, just a little over the top.

Second, despite my complaint above, I was drawn into the situation that is set up here... and when the end title card appeared, my reaction was: "That's all?! What happens next?! What about--argh!"

So, my second complaint about "The Detective" is that wanted more than what's here. What Perri delivered was so good and so engaging that I was taken aback when it ended. My complaint, therefore, is that this is vignette is so good that I want MORE! I want to know the story that's unfolding around this tiny glimpse into the shadowy world in which this nameless detective lives. 

Basically, my complaint is actually the highest praise I can give to any bit of creative story-telling that I come across: I enjoyed it so much that I didn't want it to end.

How about you? Check out "The Detective" by clicking below and let me know if you like it as much as I do!


Monday, December 5, 2022

Musical Monday with Beyonce

Beyonce Knowles and Brett G Smith in "Dance For You" (2011)

Here's a music video that seems to embody the historical and stylistic mishmash that is the content of this blog!


Dance For You (2011)
Starring: Beyonce Knowles and Brett G. Smith
Directors: Alan Ferguson and Beyonce Knowles
Rating: Eight of Ten Stars

It's night in the city, and a private eye receives an unexpected visit...



Beyonce Knowles and Brett G Smith in "Dance For You" (2011)

This video would have gotten a rating of Ten Out of Ten Stars if it had ended with the Private Eye saying, "That's great, doll. But it's still twenty dollars a day, plus expenses."

Friday, September 9, 2022

The Shadows Know...

Chasing Shadows (2012)
Starring: Jose Rosete
Director: Armin Siljkovic
Rating: Eight of Ten Stars

A game of cat-and-mouse reaches its deadly conclusion in the shadow-filled back alleys of the Big City.

Jose Rosete in "Chasing Shadows" (2012)

For a film that doesn't even run seven minutes, "Chasing Shadows" delivers a lot. Hell, it delivers more than many films that run seventy minutes!

First, if you are just looking for a taut mini-thriller where every second of run-time is put to good use, this is a film for you. Second, if you're a lover of the film noir esthetic and need a quite fix to satisfy a hunger, this is a film for you. Third, if are looking for a film that brilliantly presents all the fundamental elements of  film noir in a compact, high-quality package, then this is definitely a film for you.

Writer/director Armin Siljkovic has written that "Chasing Shadows" was made as an exercise in exploring all the elements of the film noir genre. As such, it is an unqualified success. It would have earned a Nine-star rating if not for a couple minor stumbles at the end (which, I have no doubt, were the result of both time and budgetary constraints)... and I might not even have noticed them if everything else here hadn't been so perfect.

Take some time out of your busy day to watch this excellent short film. Be sure to let me know in the comments section if you think there isn't an element of the film noir genre that isn't represented here.


Thursday, June 23, 2022

'Edge of Doom' is a fascinating look at the psychological effects of poverty

Edge of Doom (1950)
Starring: Farley Granger, Dana Andrews, Paul Stewart, Robert Keith, Joan Evans, Mala Powers, Howard Vermilyea, Houseley Stevenson, and Adele Jergens
Director: Mark Robson
Rating: Six of Ten Stars

When his devoutly religious, beloved mother dies, Martin (Granger) snaps under the pressure of living life in poverty and murders an elderly priest (Vermilyea) he blames for much of his misery. As he spirals deeper into despair and madness, Martin becomes obsessed with getting enough money to provide his mother with the elaborate funeral he feels she deserves.

Farley Granger in "Edge of Doom"

"Edge of Doom" had the potential to be one of the bleakest, most depressing, and emotionally impactful films ever made. It takes place almost entirely at night, which is an embodiment of the everpresent gloom in the impoverished inner-city neighborhood in which the story unfolds. The central character is one of the working poor who, despite living an honest life and working hard can't get ahead. There is no way to not feel empathy for him, because circumstances have literally been against him his whole life. The film gets even darker, because those in his life who could possibly stop his downward spiral are either self-interested criminals, trying to keep their own heads above water, or so distracted and/or burned out by the unending cycle misery and social and economic struggles of the neighborhood that they are blind to Martin's meltdown and that they have the ability to stop it.

The villains in this picture aren't any of the characters (although Paul Stewart, in an excellently performed supporting role, comes close to filling that slot)... no, the villains here are Fate, Luck, and perhaps Society. It's rare that a film that a film successfully manages to have ephemeral concepts as the primarily antagonists in a story, but "Edge of Doom" pulls it off. Mostly. Some terrible decisions are made, which I get into below.

The set design, camerawork, and lighting are excellent and all work together to emphasize the unescapable gloom that permeates the neighborhood and infects everybody. Most of the performances are likewise fitting for the characters and situations, with the way the characters are written and how the actors portray them . Even the main police detectives who initially seem to be one-dimensional, dimwitted bully-boys that populated many films of the 1930s and 1940s, end up being portrayed with some nuance, both due to the story and to actors portraying them. 

Although Farley Granger does not get top billing, he is the undisputed star of the film. His character is central to almost everything that happens in the picture, and he has more screen time than any other actor. He also delivers a star-caliber performance, even if he goes a little over the top on a couple of occasions. He's not as good here as he is in "Strangers on a Train" (which he would star in the following year), but it's close.

With all the praise I'm heaping on "Edge of Doom", why is it only getting a Six-Star rating? Well, because someone, somewhere, made the absolutely awful decision to tell the story in flashback, bookending the main story with a sequence featuring Dana Andrews trying to convince a young priest to not quit the parish, because, despite the harsh nature of life there, he has a chance to make a difference if he just sticks with it. This sappy framing sequence not only undermines the dark tone of the story, but it removes any tension that surrounds Andrews' character as the main story unfolds, since we already know how his part in it ends. 

Dana Andrews and Farley Granger in "Edge of Doom" (1950)

The cheesy narration that the flashback structure provides an excuse for, further undermines the tone of the film and brings to the fore what might otherwise have been a preachy under-current. The message that poverty breaks those trapped in in and those who try to get them out of it is delivered clearly enough through the story without the narrator beating us over the head with it. It also undermines Andrews character, since he does seem like a devout, humble and empathetic priest and not a holier-than-thou, preachy one--which is what the voice-over narration borders on. And this is a real shame, because Andrews does a good job with the character otherwise.My dislike of the framing sequence and related narration can't be overstated, and it caused me to knock at least a Star off my rating.

Despite the terrible decision to tell the dark and tragic story of "Edge of Doom" in a flashback sandwiched by a hokey priestly pep talk, I think this is a film that's well worth watching. Farley Granger and Dana Andrews are both very good, and their performances are enhanced by equally remarkable performances from the supporting cast. As mentioned above, Paul Stewart is particularly impressive as Martin's sleazy neighbor. Adele Jergens, as Stewart's wife play a much smaller part, but she is equally remarkable. Both these characters are obviously bad people, but they are portrayed with deftness and nuance by the actors to the point where the viewers can actually find them somewhat sympathetic.

If you are an Amazon Prime subscriber, "Edge of Doom" is, as of this writing, one of the films you can watch for free. Click here to check it out.


Wednesday, June 22, 2022

In memory of Tim Sale

Seattle-based comic book artist Tim Sale passed away on June 16, 2022. Here are some of the great drawings he created.

The Punisher by Tim Sale
Femme Fatale by Tim Sale

The World's Finest by Tim Sale

Pen-and-Ink drawing by Tim Sale
Harvey Dent (aka Two-Face) by Tim Sale
Black Widow by Tim Sale

A Spider-Man in Paris by Tim Sale
Moon Knight by Tim Sale

Femme Fatale by Tim Sale
Superman and Lois Lane by Time Sale
Deadly Woman by Tim Sale
Superman by Tim Sale

James Bond by Tim Sale
Femme Fatale by Tim Sale

Batman vs Joker by Tim Sale

Tuesday, February 8, 2022

A great effort with serious flaws

Killing Time (2010)
Starring: John Carlin and Zander Riggs
Director: Phil Baumhardt
Rating: Six of Ten Stars

A young man (Carlin) sits alone in a room, waiting...


"Killing Time" is a short film that resulted from a student project, but it's very impressive. I really like the lighting (even if it's a little on the dark side), the use of sound, the placement of the camera. All-in-all, it does a great job in capturing the film noir mood and style.

Except for a couple minor details.

Usually, when I post student films I come across during my trawling through YouTube, I don't get too critical of them--they're student films for crying out loud, so if I'm impressed or amused, I leave it at that! There's generally no point in nitpicking them: If I think they're worth the time of the visitors to the blog, they're good enough, period. 

In the specific case of "Killing Time", the flaws break the illusion Phil Baumhardt was going for with such force that it almost ruined the whole thing for me. Still, the overall effort is good enough that I think it's worth checking out... even if you have to click through to YouTube to do so. (And if you do... maybe you can spot the flaws that I did. If you do, let me know if you think I'm being too critical.)


Tuesday, December 28, 2021

'Black & White': Fun take on the hardboiled genre

Black & White (2018)
Starring: Emily Inserra, Nick D'Ambrosia, Amber Walker, Tommy Barbara, Jaime Plitnick, Dave Cifelli, and Alex Luckenbaugh
Director: "Collective Brain"
Rating: Seven of Ten Stars

After getting black-out drunk at a party, college girl Rose (Inserra) wakes up to find that everything around her now appears in shades of gray. She sets out to reconstruct what happened the night before and to hopefully get some color back into her life!

Emily Inserra in "Black & White" (2017)

"Black & White" is a well-crafted spoof of the hardboiled detective thrillers where the main character is trying to piece together a mystery that has deep and personal ramifications for his or her future, but which consists of clues and mysteries within mysteries that defy meaning until they are all uncovered and put together. In this case, the detective role is a party girl who has a bad habit of getting drunk and breaking up with her boyfriend, but her narration is hilariously hardboiled, as is a couple of the actions she takes while seeking out witnesses and gathering clues to solve the mystery.

Over its 9-minute running time, "Black & White" pokes fun at college campus stereotypes (especially as they manifest in romance fiction and dramas), detective fiction, the film noir movie genre, and perhaps even one or two other subjects that escaped my notice. The script is hilarious, with Rose's internal monologue causing me to have a near-constant smile on my face as the film unfolded, and the "what are going to do?" scene had me laughing out loud. I also loved the splashes of color that entered into the film as it reached its conclusion, effectively driving home the point that Rose has reached the end of her journey of discovery and that maybe better days are ahead. 

I also thought the film was nicely photographed, the soundtrack music was perfect, and the sound was always clear and well-balanced. That's actually a bigger deal than someone who doesn't watch a lot of these sorts of YouTube videos might realize. There have been many, many shorts that I've not bothered featuring here or at the "Terror Titans" blog, because the sound was so badly done that dialogue couldn't be heard clearly due to background noise or was drowned out by the soundtrack music due to bad mixing, or because the sound effects so badly integrated so as to be distracting. There are even some otherwise good films that are weakened by bad choice of soundtrack stock music.

I really only have one real complaint about "Black & White", and I don't know if I should be grateful for the filmmakers for giving me the opportunity to make it. There's a scene where Rose barges in on a guy sitting on the toilet, but he has his long-johns fully pulled up. Why? How? What could he have been doing there, dressed like that? It was such a weird moment that it pulled me out of the film. (There are some nitpicks, but I'm not going to call them out, because I understood and appreciated and was amused by what the filmmakers were going for, even if they didn't quite manage to pull it off.)

All in all, if you like film noir or college-based dramas or romantic comedies, I think you'll get a kick out of "Black & White". 


--
"Black & White" was made by a group of then-students at Ramapo College in New Jersey. They created films under the name Collective Brain, because, according, to the person monitoring their Facebook page, their films were true group efforts and there was no clear delineation between who wrote what and who directed it. Unfortunately, if the views, likes, and subscriptions visible on the Collective Brain YouTube Channel are any indication, their efforts have not gotten a whole lot of traction or attention. That's too bad, because, if "Black & White" is any indication, they were creating good stuff. (It's not all bad news, though; I found a smattering of credits at IMDB for several of the members of the Collective, and at least one has been performing with a Shakespearean theatre company in Massachusetts. It appears they on their way to success in the Real World, YouTube be damned!)

Thursday, December 16, 2021

A Very Film Noir Christmas

Film Noel (2013)
Starring: Oskar Brown, Wenonah Wildblood, Jerry Kwarteng, and Philippe Linus Petit
Director: Sebastian Matthias Weissbach
Rating: Seven of Ten Stars

Winter's twin sister Snow (both Wildblood) has gone missing, and she hires hardboiled detective Claus (Brown) to bring her home before Christmas.

Oskar Brown in "Film Noel"

Part film-noir spoof, part Christmas movie, and all goofy, "Film Noel" is a lighthearted and pun-laden film that will have you alternatively chuckling and groaning at the jokes and gags that flow steadily across the screen. If you enjoy films like "Young Frankenstein", "Dead Men Don't Wear Plaid", or anything from the second stage of Leslie Nielsen's career, I think you'll appreciate this fun little film... which is embedded below so you can check watch it right now!

Tuesday, June 8, 2021

Part homage, part spoof, all good

Miss Barton's Famous Cakes (2019)
Starring: Lauren LaVera, Michael Doherty, and Charlie McElveen
Directors: Jared Hirsch and Nelson Vicens
Rating: Eight of Ten Stars

On a rainy night, Miss Barton (LaVera) learns that a pair of homicidal maniacs are searching for her in order to sate their hunger for her award-winning cake.

Lauren LaVera in "Miss Barton's Famous Cakes"

"Miss Barton's Famous Cakes" captures the look and feel of 1950s film noir, slanted more in the direction of the British manifestation of the genre than the American one. It has fun with the style and conventions of the genre, but it's also obvious that the filmmakers have love and respect for the material they drew inspiration from. Viewers are treated to about 15 minutes of excellent cinematography and lighting (that takes full advantage of the black-and-white medium); tight dialogue and fine acting (that is equal parts dramatic and the delivery vehicle for several moments of hilarity you won't see coming); and nicely done period costumes and hair styles (which is where many films that this usually fail).

The only complaint I have is that Miss Barton's visitors are slightly miscast. Both actors (Charles Doherety and Michael McElveen) give fine performances, but they both seem a little young and/or fresh-faced for homicide squad detectives in a film noir bit. This might be an unfair and nitpicky complaint, but it's the only thing about the whole film that didn't quite work for me.

Take a few minutes to check out "Miss Barton's Famous Cakes" by clicking below. I'm sure you'll find it time well spent.

Thursday, June 3, 2021

A Stranger's Final Moments...

Stranger (2013)
Starring: Gabriel Burrafato, Nathalie Ben-Kely, Rusty Meyers, and Billy Gilbride
Director: Brandon Christensen
Rating: Seven of Ten Stars

Stranger (Burrafato), a lonely hitman who is now a target for death himself, is resigned to spending his final moments, admiring Iris (Ben-Kely), the woman he secretly loves from afar. But then things take a turn....

Gabriel Burrafato as Stranger

"Stranger" is a short film from 2013 that set out to capture the look and mood of the film noir genre of the late 1940s and early 1950s. It is largely successful--especially during the shots of Gabriel Burrafato sitting at the bar while his character internally monologs. 

In addition to some great cinematography, this little film features a story and characters that's portrayed effectively enough that not only will you be able to imagine what has gone before and what will follow the events shown on screen, but you may find yourself wishing there was more time with Stranger, Iris, and whoever Stranger has crossed than just these few minutes.

As enjoyable and well-done as I found this film to be, there were a couple things about it that bothered me--admittedly small things but one still bugged me enough to rise above the level of a nitpick.

There needed to be a difference in sound quality between Stranger's narration and the conversation he has with Iris. Stranger's internal monolog happens against an audio backdrop of total silence, which makes sense since it's in his head, but the same is true of the exchanges he has with Iris. The parts where Stranger isn't narrating would have benefitted tremendously from a little ambient sounds drifting in from nearby tables or other patrons at the bar.

Despite that highly technical complaint, I think "Stranger" is an excellent short film, and I think you'll find the four minutes it will take you to watch it well worth your time. It may even brighten your day... because who doesn't like a love story (even one between a hitman and a hostess... perhaps *especially* one between a hitman and a hostess)? 

Hey, I think you'll like it so much that I've embedded it below, via YouTube, so you can watch it right now!

Tuesday, August 21, 2018

It's the French Revolution, Film Noir Style!

The Black Book (aka "Reign of Terror") (1949)
Starring: Robert Cummings, Richard Basehart, Arlene Dahl, Richard Hart, Arnold Moss, and Jess Barker
Director: Anthony Mann
Rating: Seven of Ten Stars

As the power-hungry Maximillian Robespierre (Basehart) uses a series of rigged show-trials and executions of his rivals to usurp the French Revolution and make himself dictator of the emerging republic, Charles D'Aubigny (Cummings) infiltrates Robespierre's inner circle to secure evidence of his corruption and evil. When he discovers that the most damning piece of evidence--a list drawn up by Robespierre of those marked for death--has already gone missing, he begins a desperate search for this other mystery operative and gain control of the list, before he himself is revealed as a traitor. The only person he can rely on in his mission is his ex-lover Madelon (Dahl)... but is even she trustworthy in a moment when the fate of a nation turns on who has possession of a single black book?


"The Black Book" is the sort of film that usually takes place on the mean streets and seedy dives of the Big City of the 1940s. Here, however, the look and tone of film noir and the frenetic pace of a spy thriller is applied to a story that unfolds in the back alleys and dungeons of 17th century Paris. It's a film noir historical costume drama spy thriller... and it's a heck of a ride.

Three film genres are intertwined in this movie and the result is a fast-paced, visually interesting drama with so many twists and turns to its plot that, even though the Good Guys and the Bad Guys are clearly defined, by the end of the movie, you'll be wondering if good really has won out in the end... especially given one ominous note that is struck when a young soldier introduces himself as Bonaparte.

One weak spot of the film is it's dialogue. To describe it as trite and uninspired is generous, but the rapid pace and gorgeously moody visuals of the film more than make up for this weakness. I suppose one could also complain that it's not historically accurate in many ways, but that should earn the response, "it's just a movie; you should really just relax."

If you enjoy spy movies, film noir, or costume dramas, I think you'll enjoy "The Black Book". It's one of many entertaining films in "The Fabulous Forties" 50-movie boxed set.

Wednesday, February 28, 2018

'The Lady from Shanghai' is a beautiful mess

The Lady from Shanghai (1947)
Starring: Orson Welles, Rita Hayworth, Everett Sloane, and Glenn Anders
Director: Non-Credited [Orson Welles]
Rating: Six of Ten Stars

A chance encounter with Elsa (Hayworth), the younger wife of a famed trail attorney (Sloane), ends up drawing an independent-minded sailor (Welles) into a web of jealousy, hatred, and murder.


"The Lady from Shanghai" is, like every Orson Welles-directed film beautifully shot and visually ahead of its time. It is also features a cast that is perfect for their roles, with Rita Hayworth, as the title character, and Glenn Anders, as a creepy lawyer, being particularly excellent. Unfortunately, the fine performances and brilliant visuals are undermined by a plot-line that's jumbled and haphazard and which leaves the characters underdeveloped and just a little too mysterious. Hayworth's character in particular could have done with a little more background exposition.

Film historians (including Peter Bogdanovich in the documentary included on the version of the DVD I watched) say that Welles cut of the film was almost an hour longer than what was ultimately released by Columbia Pictures. While I think two-and-half hours might have been a big much run-time wise, I also wish the studio hadn't been quite so aggressive with their chopping. I can't help but wonder if some of the character actions would have made more sense if we what we've been with hadn't been a little closer to what Welles' had intended. (He was so unhappy with the final product that he had his director credit left off--even if it was the score and the sound work in general he the most upset about.)


Friday, August 16, 2013

Classic Cinema: D.O.A.

D.O.A. (aka "Dead On Arrival")  (1949) 
Starring: Edmond O'Brien, Pamela Britton, Beverly Garland, Lynne Bagget, Luther Adler, William Ching, and Henry Hart
Director: Rudolph Mate
Rating: Nine of Ten Stars

 Frank Bigalow (O'Brien) is a small town accountant on a spur-of-the-moment vacation in San Francisco when he is poisoned by a slow acting toxin with no hope of surviving. He spends his last few hours of life trying to solve his own murder.


"D.O.A." is one of the greatest murder mystery films ever made, as well as a stellar example of the film noir genre as it manifested in American movies. It turns a number of movie and mystery conventions on their heads, and even some six decades after it was made, it feels fresh and exciting as one watches it unfold. The pace grows more frantic as the literal deadline for our hero approaches while the mystery of why he was poisoned seems to grow more elusive with each supposed clue he uncovers. It's a movie that holds up to repeated viewings--it almost demands it, because once you know the answer to the mystery, it's great fun to see how certain scenes take on a different tenor. What this film does with snappy writing, moody lighting, and artful cinematography is amazing... and I wish there was some sign that modern filmmakers watched movies like this and studied them and took lessons away from them. Sadly, this does not appear to be the case.

As great as I think this movie is, it's not perfect. There are a couple of ham-fisted attempts at comedy early on, as Bigalow walks into the middle of a salesman's convention at his hotel; one of the film's villains is portrayed by a performance that goes just a bit too far over-the-top in this film which is otherwise marked by fairly low-key performances; and the overly sinister and melodramatic appearance of the poisoner in the jazz club when a close-in shot of a patron switching Bigalow's drinks wold have been far more effective and in keeping with the rest of the scene. Despite my sense that the director went too far with these three elements, they still make sense within the context of the film, and given the greatness of what surrounds them, they are easily forgiven.

If you're a lover of mystery films or the film noir genre, you absolutely must see "D.O.A.". This goes double if you fancy yourself a writer or a filmmaker; we need more work like this these days. I thought I had reviewed this film years ago, but since I can't seem to find any sign of a post, I must never have gotten around to it. So, although my intent was to just make an entry in the "Classic Cinema" series and give you the chance to watch this great film right here, I figured there was no time like the present.

And there's no time like the present for you to watch "D/O.A."/ I've embedded it below for your enjoyment.



Monday, May 9, 2011

Featuring the craziest pre-1960s femme fatale?

Night Editor (1946)
Starring: William Gargan, Paul E. Burns, Janis Carter, Frank Wilcox, and Jeff Donnell
Director: Henry Levin
Rating: Six of Ten Stars

A homicide detective (Gargan) having an affair with a thrill-seeking married wealthy woman (Carter) witnesses a murder during one of their trysts. Even though he can identify and arrest the killer (Wilcox), he can't do so without causing a scandal, destroying his family and ruining his career. Will a good cop who made a bad call do the right thing, or go further down the path of corruption?


This is the stuff good 1940s film noirs and crime dramas are made of, and this is pretty good crime drama. Part proto-police procedural, part film noir, part melodrama, this film is fun! It gets really exciting when classism enters the picture, and the psycho dame the cop is fooling around with decides to choose between "her kind" and doing the right thing when the cop's conscience really starts bothering him. It's a nice twist that comes at just the right moment to kick the film's suspense level up even higher.

While the high quality of the film--with its perfect pacing, appropriately moody lighting, superior cinematography, and a cast that gives excellent performances all around--is to be expected from a major studio like Columbia, the film offers the surprise of what is perhaps the most sociopathic/borderline psychopathic femme fatale I recall seeing in a Hollywood movie made before the 1960s. From her demand to see the body of the murder victim to the icepick action late in the film, I was surprised by just how nasty she was. She makes the crazy scheming women of "Strange Woman" and "Lady From Shanghai" look like they should be selling Girl Scout cookies. While Janis Carter made a career out of playing characters like this, this is the most twisted character I've ever seen her play, and I wonder if this extreme character could be a reason the film sank from view after its initial release.

The only serious complaint I have with "Night Editor" is that they filmmakers, aside from the cars being driven, didn't make even a halfhearted attempt to match the look of the characters to the late 1920s time-frame the bulk of it takes place in. Would it really have been that hard for a major operation like Columbia to adjust the hairstyles of the women and get proper wardrobe for the entire cast instead of having everyone in contemporary mid-1940s styles?

A smaller complaint is that the film's resolution is ultimately predictable (doubly-so if you pay close attention to the exchanges that take place in the newsroom as the story unfolds). However, getting there is so much fun that it doesn't really matter.

Fans of film noir pictures, classic mysteries, and the type of crime dramas where the hero has to work backwards to prove the guilt of a murderer he has already identified will find plenty of entertainment here. This is one of the many movies that could do with a little more recognition from us film-fans.




Trivia: "Night Editor" was a popular radio anthology series where the editor of title would relate the "unreported facts" of some news item. It later became a television series.

Sunday, April 10, 2011

'Blackout' may put you off the bottle

Blackout (aka "Murder By Proxy") (1954)
Starring: Dane Clark, Elanor Summerfield, Belinda Lee, Andrew Osborn, and Betty Ann Davies
Director: Terence Fisher
Rating: Eight of Ten Stars

An American drinking away his sorrows in London (Clark) is offered a large sum of money by a young woman (Lee) if he will marry her. He wakes up the next morning with a pocket full of cash, blood on his coat, and no recollection of happened after his "engagement" in the bar. However, his "wife" is nowhere to by found, and the newspapers are full of the news that her wealthy father was murdered the night before.


"Blackout" may be the best of the film noir-style pictures produced by the venerable British film studio Hammer, first with American B-movie producer Robert Lippert and later with Columbia Pictures. I haven't watched them all, but this one was by far the most interesting of a batch of films that are undeservedly obscure.

Dane Clark excels here as an Everyman who suddenly finds him thrust into a world of deception, intrigue, and murder. The script is expertly paced as the story of his efforts to find out what sort of trouble he is in, so he can find a way out, and the red herrings and plot reversals and surprise twists are all perfectly timed. This is one mystery that will keep you guessing almost up to the very end as to who is behind the killings and why.

The rest of the cast also does a fine job, although Belinda Lee--who plays the girl who marries Clark, either to escape impending forced nuptials or to frame him for murder--was probably hired more for her beauty than her acting talent. She is perfect at playing a distant upper-class snob, but falters when called upon to do anything else. Of course, Lee might just be suffering in comparison to strong and experienced character actors like Clark and Elanor Summerfield--who plays an artist who helps Cook on his quest of discovery, and whose performance and character is so much more lively than Lee's that one hopes that she is the Clark will end up with in the end--as she was just 19 and this was her first major film role.

Then again, good performances from the actors, along with plenty of striking visuals, are to be expected when Terence Fisher is at the helm of a picture. He rarely disappoints, and he doesn't do so with this one, either.

Fans of film noir pictures and well-crafted mysteries will appreciate this film... especially since it comes bundled cheaply with other neglected Hammer Films mysteries.

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Sunday, September 19, 2010

Be careful not to wake 'The Sleeping Tiger'

The Sleeping Tiger (1954)
Starring: Dirk Bogarde, Alexis Smith, Alexander Knox, Hugh Griffith, and Patricia McCarron
Diretor: Victor Hanbury (aka Joseph Losey)
Rating: Five of Ten Stars

A psychotherapist (Knox) invites a wanted criminal (Bogarde) to stay in his home in the hopes of finding a solid treatment for criminal behavior. The experiment starts to go awry when the doctor's sociopathic, bored wife (Smith) starts an affair with the criminal in the hopes that she will run away with her.


"The Sleeping Tiger" is an overblown melodrama with just enough character development and film noir elements to make it interesting. A decent cast also helps the movie along quite nicely.

Dirk Bogarde--as the young career criminal who finds himself caught between a rock and a hard place, but who might find his way to a new life if he can go straight--and Alexis Smith--as a gorgeous and deeply twisted woman who has everything except a soul) give outstanding performances, with Alexander Knox providing a fine backdrop for them to play off, as he plays a bland but unshakably confident man of science who only has thoughts of his experiment.

There's nothing really outstanding about this British excursion into the film noir/crime drama genre, but there's also nothing particularly awful. It's one of those films that's worth checking out if you notice it included in a DVD multipack, or if it shows up on some cable channel, but it's not worth going out of your way for.

Monday, March 8, 2010

Doc has ultimate ethical conflict in 'Shock'

Shock (1946)
Starring: Vincent Price, Lynn Bari and Anabel Shaw
Director: Alfred Werker
Rating: Four of Ten Stars

Dr. Cross (Price) faces the ultimate ethical conflict when he is charged with the care of the woman who can indetify him as a murderer (Shaw). Will his coldhearted mistress (Bari) spur him to committ another murder, or will he find his humanity again?


"Shock" is a thriller with an average, predictable storyline. The actors all give some pretty good performances (with Price, as the conflicted and ultimately spineless Cross, and Bari, as his evil mistress, being particularly strong), and the lighting and camera work is also decent. However, although the film only runs 70 minutes, there isn't enough story to fill it, and things start to drag very early on.

With a few more twists and turns, and perhaps a little more action than Cross and his floozy plotting nefarious deeds within earshot of a semi-concious Janet, "Shock" could have been a fun little suspense movie. Instead, all we have here is a B-movie where the B stands for "boring."