Month: September 2021

Modern Film Noir: The Dark Side of Life (In Color)

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Body Heat (1981)

This film is considered to be an erotic thriller; it is (obviously) inspired by classic noir. So, maybe we can consider this to be neo-noir? Matty (Kathleen Turner) is the femme fatale; she has a secrets in her past. Ned (William Hurt) is the not-so-smart/playboy/lawyer who gets caught in her web.

Read my review.

Blade Runner (1982)

Many critics consider this to be the first sci-fi noir. It is a deep film that makes us wonder re: the nature of humanity. Many have wondered if Deckard (a young-ish Harrison Ford) was a human or a replicant. If you find this interesting, you may also like the sequel- Blade Runner 2049 (starring Ryan Gosling).

Dir. Ridley Scott and D.P. Jordan Cronenweth achieved the “shining eyes” effect by using a technique invented by Fritz Lang (“Schüfftan Process”) where light is bounced into the actors’ eyes off of a piece of half mirrored glass mounted at a 45 degree angle to the camera. Lang is known as a titan of the noir genre.

Miller’s Crossing (1990)

This is a lesser-known Coen bros film w/ young-ish Gabriel Byrne and Marcia Gay Harden (who I saw on the NYC subway years ago) that I really enjoyed. You see fine character actors in a world of their own which is very engaging (as expected from the Coens).

Read my review.

Cape Fear (1991)

This is the remake of the classic film dir. by Scorsese; the stars are Nick Nolte, Robert De Niro (sporting long-ish hair and fake tattoos), Jessica Lange, and a teenaged Juliette Lewis. You will also see cameos from Gregory Peck and Robert Mitchum (I got a kick out of that). It’s NOT as good as the original, but still worth a look.

Heat (1995)

This film is loved by many who like action films, but also want strong character development. Fans of De Niro and Pacino will definitely want to check it out!

Read my review here.

The Usual Suspects (1995)

I haven’t seen this movie in a long time- think will give it a re-watch soon! It’s been on “modern noir” lists I looked up.

Fargo (1996)

Perhaps the Coens’ most well-known/loved film; we find quirky characters, dark humor, crime, moments of lightness, etc. Frances McDormand is the pregnant cop who you just can’t help but admire and root for, as she works to investigate some shady events in her small/snowy/usually safe community.

L.A. Confidential (1997)

Three young cops w/ different approaches to their work: Russell Crowe (looking hot), Guy Pearce (also looking hot), and Kevin Spacey investigate a series murders in 1950s LA. Kim Basinger revives her career w/ a strong (supporting) role. I will re-watch this soon.

Se7en (1997)

I’ve only seen this film once; I didn’t like it that much (aside from Morgan Freeman’s role). You get to see a young/lonely wife (Gwenyth Paltrow) and her hubby/rookie detective (Brad Pitt); they are newlyweds starting their lives in the big city (Chicago). Of course, the baddie (Spacey) steals the show, as many of you know. We know dir. David Fincher made a big splash w/ this controversial/bloody/creepy film.

Training Day (2001)

You all probably know I’m a big fan of Denzel Washington; I also really like Ethan Hawke. They make a great/unlikely duo in this film, which has good supporting actors, action, dark humor, crime, etc. Denzel is really good as a baddie, though he’s NOT a one-note villain!

No Country For Old Men (2007)

Wow, the Coens really hit it out of the park here! I recall many/diverse viewers commenting that they enjoyed this film; they were also scared (or at least, on edge). I became a fan of Javier Bardem (who they ugly-fied for his baddie role). I also enjoyed seeing Tommy Lee Jones; also, I think Kelly Macdonald should’ve gotten even bigger roles (as she’s good in everything).

Gone Girl (2014)

I saw this film w/ a group of (mostly) single gal pals in one of our local theaters; we were NOT expecting what we saw (LOL)! Is this a farce (as some critics have noted)? Is the depiction of dysfunctional marriage meant to be taken (mostly) seriously? You can hate exurban life in the Midwest (BUT not as much as the wife played by Rosamund Pike)! Ben Affleck had his Batman physique then; I found that somewhat distracting (he’s supposed to be a underemployed teacher/writer). I liked the detective (Kim Dickens) and the defense lawyer (Tyler Perry); they were the ONLY characters that seemed somewhat normal/relatable. Maybe I’m just NOT a fan of Fincher’s cold/slick style? Thank goodness for my single life!

Hell or High Water (2016)

This is a Western neo-noir set in the Southwest starring the (always great) Jeff Bridges, Chris Pine (in a rare non-glam/anti-hero role), and Ben Foster (a fine character actor I’ve admired since he was a teen). The two working-class bros at the center of the story can’t seem to get ahead, so they take a (criminal) turn. A must-see for fans of smart films!

Read my review.

Film Noir takes on “Bonnie & Clyde”: “Gun Crazy” (1950) starring John Dall & Peggy Cummins

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Thrill Crazy… Kill Crazy… Gun Crazy -A tagline for the film

Since he was a little boy, Bart Tare (John Dall) has loved guns. After 4 yrs. of reform school, then a stint in the Army, he returns home to his small town. His older sister (Ruby)- who raised him after they lost their parents- is now married w/ 2 young kids. His two best friends (a cop named Clyde and a newsman named Dave) take him to a carnival; he meets Annie Laurie Starr, a blonde/petite woman who is a sharp-shooter. Laurie loves guns as much as Bart- even getting him a job! They end up getting married, leaving the carnival (after the boss hits on Laurie), and have a long honeymoon where they live it up. When they get low on money, Laurie tells Bart her idea- robbery!

I told John, “Your c*ck’s never been so hard,” and I told Peggy, “You’re a female dog in heat, and you want him. But don’t let him have it in a hurry. Keep him waiting.” That’s exactly how I talked to them and I turned them loose. I didn’t have to give them more directions. -Joseph H. Lewis, director

This film is based on a story written by McKinley Kantor reworked by Dalton Trumbo (who was blacklisted). Here we see the linking of sex and violence; it also reveals that guns are a big part of American life. Though this was an inexpensive B movie, it has some fine elements that were ahead of its time. Director Joseph H. Lewis uses long takes, angles, deep focus, and jerking camera movements. Lewis also gave the actors permission to improvise. As the hosts commented on Out of the Podcast, “Bart and Laurie are equals” and “are the only ones who understand each other.” Though Bart avoids shooting anyone, Laurie isn’t as careful; she tells him early on that she’s “no good” and wants some “action” (excitement). Dall and Cummins have great chemistry; they are like two magnets instantly drawn to each other. Coming from the theater, Dall is also not afraid to express emotions (incl. fear and doubt).

Dall and Cummins did all their own driving in the film; only one process shot (i.e., rear projection behind the actors pretending to drive) was used in the film. The cinematography by Russell Harlan is a standout. The bank heist sequence was done in one take, with no one outside the principal actors and people inside the bank aware that a movie was being filmed. When Bart says, “I hope we find a parking space,” he really meant it. At the end of the scene, someone screams that there’s been a bank robbery; this was a bystander who saw the filming and assumed the worst.

[1] It’s psychological side of danger, pathological lies, and the pattern of a downward spiral in having to commit violent acts (even un-intentionally), becomes what really pulls in the viewer into the picture, aside from the more loose, on-location ‘real’ style and interesting camera-work.

[2] Peggy Cummins is really good in this. …her baby-doll voice creates an effective contrast to her colder-than-ice attitude. She’s crooning into her lover’s ear one minute and itching to kill someone the next.

I thought John Dall was at first odd casting for the role of Bart. Annie is supposed to think of him as a man’s man, and Dall, with his willowy physique and gentle mannerisms is far from that. But then when we realize that he’s at heart really too gentle for the life he and Annie have chosen for themselves, his casting makes sense.

[3] What is the quintessence of a film-noir? A good answer is: an evil strong woman that manipulates a weak, although basically decent, man, involving him in a crazy love, doomed to a tragic ending. Then we can safely state that “Deadly is the Female” [the original title] is a perfect instance of film-noir.

The movie has outstanding merits. The cinematography, and especially the camera-work are excellent, and comparable to the best achievements in the film-noir genre.

-Excerpts from IMDB reviews