Tag: Mystery

Two Movies from Noir City DC (OCT 13th-26th, 2023)

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Introduction

Hey y’all, how is your Fall season going? Thanks for reading! As local noir-istas may know, Noir City DC film fest is going on (OCT 13th–26th) at AFI Theatre here in my area (downtown Silver Spring, MD). Eddie Muller (TCM host; founder of the Film Noir Foundation) helped to curate the movies for this event. Muller introduced screenings on the opening weekend (OCT 13th–15th); I saw 2 movies (for the 1st time).

The Big Clock (1948) starring Ray Milland, Maureen O’Sullivan, Charles Laughton, George Macready, Pauline York, & Elsa Lanchester

The Strangest and most Savage Manhunt in History! -A tagline for the film

When a publishing tycoon, Earl Janoth (Charles Laughton), commits murder in a heat of passion, he begins to cover his tracks. Janoth frames an innocent man he doesn’t know, BUT who knew the victim, Rita Johnson (Pauline York). That man, George Stroud (Ray Milland), works for one of Janoth’s magazines and is enlisted to trap the “killer.” George must “help” his boss, elude the police, and find proof of his innocence and Janoth’s guilt!

Rita Johnson: You know, Earl has a passion for obscurity. He won’t even have his biography in ‘Who’s Who.”
George Stroud: Sure. He doesn’t want to let his left hand know whose pocket the right one is picking.

Kenneth Fearing’s 1946 novel and this film adaptation bear many similarities to Samuel Fuller’s novel Dark Page (1944) and its screen adaptation Scandal Sheet (1952). Janoth’s right-hand man/lawyer, Steve Hagen (George MacCready), does his dirty work; they’re close (though- b/c of censorship- we don’t see how much). Neo-noir fans will find similarities btwn this movie and (the 2nd adaptation of The Big Clock) No Way Out (1987) dir. by Roger Donaldson. In that movie, Sen. Brice (Hackman) has a V clever/loyal aide, Scott (Will Patton), who cleans up his messes (and is obviously in love w/ the politician).

Don Klausmeyer: Our organization, the Janoth Publications, is trying to find someone, possibly a collector of your pictures.
Louise Patterson: So have I- for fifteen years.

Milland got the roles that Cary Grant turned down, Muller noted; he’s best known for The Lost Weekend (1945) and Hitchcock’s Dial M for Murder (1954). Like Michael Douglas, he has the air of a man who could be a “regular” guy, yet w/ a “shady” side. According to Muller, Louise Patterson (Elsa Lanchester) is based on (IRL American artist) Alice Neel. Laughton and Lanchester were married at this time, though we later learned that he was gay. Director John Farrow and Maureen O’Sullivan (who plays Georgette Stroud) were also married. Unlike what you’d expect from a “typical” noir, there are some of funny moments; Lanchester made my audience LOL during a few scenes.

Act of Violence (1948) starring Van Heflin, Robert Ryan, Janet Leigh, Mary Astor, & Phyllis Thaxter

The Manhunt No Woman Could Stop! -A tagline for the film

Robert Ryan is like one of my top 2 or 3 actors in noir. -Eddie Muller, in intro to the film

WWII veteran Frank Enley (Van Heflin- age 40) is a family man/builder in SoCal. He has a modest house, a beautiful/young wife, Edith (Janet Leigh- just 21 y.o.) and toddler son; he’s respected as a “war hero” in his small town community. One day, he learns that Joe Parkson (Robert Ryan- age 39) is searching for him; he is out for revenge, b/c of something which occurred while they were POWs. Joe drags his right leg as he walks; he carries a handgun. Ann (Phyllis Thaxter- age 29) is the woman following Joe, in the hopes of stopping him from doing something drastic. When Frank has to leave for a builders convention in LA, Joe is close behind! When Frank happens upon a bar, he meets Pat (Mary Astor- in a daring/unglamorous role at age 40).

Joe [to Edith]: Sure, I was in the hospital, but I didn’t go crazy. I kept myself sane. You know how? I kept saying to myself: Joe, you’re the only one alive that knows what he did. You’re the one that’s got to find him, Joe. I kept remembering. I kept thinking back to that prison camp. One of them lasted to the morning. By then, you couldn’t tell his voice belonged to a man. He sounded like a dog that got hit by a truck and left in the street.

No one wore makeup on this movie. Zinnemann wanted somewhat of a documentary look. -Cheyney Ryan (son of Robert Ryan) on the podcast Robert Bellissimo At The Movies (10/12/22)

Some viewers were surprised to see issues tackled so soon after the end of WWII. At the forefront is the question: How does an individual adjust to “normal” life after surviving war? I was excited to watch this movie; it’s currently NOT on any streaming platform. This is a tense noir that’s unpredictable both in its character development and plotting. It’s V well-paced (at only 82 mins), has great dialogue, and important themes. Director Fred Zinnemann (an Austrian Jew who fled Europe before WWII) went on to work on some big movies: High Noon (1952) and From Here to Eternity (1953). As Muller said, Zinnemann learned that both parents were killed in a Nazi concentration camp. The writers of the screenplay are Robert L. Richards and Collier Young (husband of actress/director Ida Lupino).

Edith: Suppose there is a grain of truth to it. Suppose you did have some kind of trouble with him. I can understand how something like that could happen in a prison camp.
Frank: No. You don’t know what happened.
Edith: What was it Frank? Whatever you did you must have had reasons.
Frank: You can always find reasons. Even the Nazis had reasons.

Ryan (who Scorsese called “one of the greatest actors in American film”) and Lupino later starred together in 2 unique noirs- On Dangerous Ground (1951) and Beware, My Lovely (1952). Ryan and Leigh were co-stars in the Western The Naked Spur (1953). Ryan (nearly 6’4″) towers over almost all the others; his simmering rage adds to the intimidating effect. When he talks w/ Edith, his voice is NOT loud/frightening, BUT holds pain/regret. I wanted to see more of Joe’s relationship w/ Ann; they discussed re: what happened in wartime (unlike Frank and Edith). The two leads are opposites in looks: Ryan is brown-haired w/ small/dark eyes, while Heflin is blonde/wide-eyed. Heflin (almost 6″ tall) gets to stretch himself, showing more depth (and emotion) than is usually required of his “Everyman” roles. Leigh does a fine job w/ her role (opposite these experienced men) at such a young age (early in her career). I really liked the cinematography; light, dark, and shadow are used quite effectively.

[1] One of the most daring elements of the film is its suggestion that Heflin is deserving of forgiveness, because the codes of conduct that govern men in the theater of war are different from those that govern us in our day-to-day lives. That maybe doesn’t seem like a daring thing to say now, but at the time it would have been.

Heflin and Ryan are both terrific; Ryan is one of my favorite film noir actors. But the women in the film make quite an impression… If the mens’ world- both at war and at home- is one of violence and revenge, it’s the women who act as the voice of reason and sanity, trying to impose a sense of stability amid the chaos.

[2] This grim look at a couple of de-mobbed soldiers continuing their private war at home rarely get mentioned in lists of essential noirs; maybe, upon release in 1949, it was just a little too close for comfort- hinting a truths the victorious American public were unwilling to acknowledge. If so, the film has yet to be rediscovered- or reappraised. […]

Though the script opts for a strange and bitter “redemptive” ending, the acrid taste of Act of Violence lingers long.

-Excerpts from IMDb reviews

“The Handmaiden” (2016) directed by Park Chan-wook

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Are you a fan of erotic thrillers (which were prominent in the ’80s-’90s)? Though this is a historical drama, you’ll find elements of the erotic thriller genre. As you may’ve noticed from ads/trailers, there is a love triangle (yet w/ an unexpected twist). This is one of those films where the less you know going in, the better! It is truly unlike anything I’ve seen before; some viewers said they needed to watch it 2x to get everything that’s going on. The story is divided into 3 chapters w/ each told from a different character’s POV. The film may be 2.5 hrs. long, BUT I hardly moved from my seat! The themes are quite relevant to our world: greed (lust for money), gender/sexual repression, women’s desire, and the (potential) dangers of porn. The Handmaiden was selected to compete for the Palme d’Or at Cannes (2016). It was released in South Korea on June 1st 2016, to critical acclaim and grossed $38M worldwide. At the 71st BAFTAs, it won Best Film Not in the English Language.

This movie is inspired by the novel Fingersmith by Sarah Waters (2002) which is set in London during the 19th C. The Handmaiden is set in Korea in the 1930s under Japanese colonial rule. Before filming, Park Chan-wook (an auteur w/ an eye for beauty) sent the completed script to Waters for comments. She liked the script, though felt that it is more appropriate to say that the film was ”inspired by” her novel. The film title in Korean (Ah-ga-ssi) means The Lady, referring to Lady Hideko (Kim Min-hee); the English/international title is The Handmaiden, referring to Sook-hee (Kim Tae-ri). Both Japanese and Korean were spoken by the (mainly Korean) cast. Before shooting, the Korean actors were all assigned Japanese teachers to study the script and learn to speak Japanese. For the theatrical release, the subtitles were color coded to differentiate the two Asian languages spoken in the film: white subtitles were used for Korean, while yellow subtitles were used for Japanese.

[1] What the film does with this basic plot is enjoyable and engaging. The narrative is solid, holds the interest without effort, and is very well paced and structured. […]

The direction, production values, and general pacing of the film, all work together to give it a beautiful appearance and tone. It is quite sensuous to watch, with such great colors, sets, costumes, and designs.

[2] Adapting Sarah Waters’ Fingersmith, a Victorian tale awash with all manner of Dickensian motifs, Park spins an engrossing tale that ebbs and flows with a Hitchcockian suspense; it withholds as much as it discloses; it is an erotic tale that beats with raw fervour.

[3] If the plot and the direction weren’t amazing enough, the movie is as beautiful as they come. From the darkest moment, the most violent, to the most intimate, beauty transpires in every frame, and every scene comes to life and threatens to pop and break free from the screen.

-Excerpts from IMDb reviews

Movie Trailers: Fall/Winter 2023

Emma2 Comments

Hey y’all, thnx SO much for reading!

Wow, can you believe we are already in SEPT!? As it’s now Fall, MANY trailers for (potentially intelligent/interesting) movies are being released. It’s the time for film fests, incl. Venice, Telluride, and TIFF. If you follow me on any social media (knightleyemma), you’ve seen a BIT of the Venice Film Fest coverage. The WGA/SAG-AFTRA strikes are still going on (here in the US); however, a FEW actors (EX: Jessica Chastain, Adam Driver, Jacob Elordi, Peter Sarsgaard, and Cailee Spaeny) have been out promoting their new movies (under an interim agreement). Directors are NOT on strike, so you may’ve seen some on morning shows, entertainment podcasts, etc. What movie are you most looking forward to this season? Who is the best new actor/actress that you want to see more of in the future?

All the best,

EMMA.

FOE (OCT 6th): Official Trailer

Killers of the Flower Moon (OCT 20th): Official Trailers

Saltburn (NOV 17th): Official Trailer

Priscilla (NOV 3rd): Official Trailer

The Holdovers (NOV 10th): Official Trailer

The Bikeriders (DEC 1st): Official Trailer

Poor Things (DEC 8th): Official Trailer

Ferrari (Christmas Day: DEC 25th) : Official Teaser Trailer

“Tequila Sunrise” (1988) starring Mel Gibson, Michelle Pfeiffer, & Kurt Russell

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A dangerous mix. -Tagline

A former L.A. drug dealer tries to go straight but his past and his underworld connections bring him into the focus of the DEA, the Mexican feds and the Mexican drug cartels. -Synopsis

This is a neo noir (written/directed by Robert Towne) set in LA; it’s streaming on Max (formerly HBO Max). It was also shown on TCM’s Noir Alley. I must’ve seen it MANY yrs ago (maybe as a teen) b/c I recalled V little about it (aside from the hot/famous cast). It’s trying to be edgy, as the good guy is an ex-drug dealer and the cops/feds are baddies. There is a love triangle of 2 men (friends since HS) and one woman; this is unusual for mainstream Hollywood. Critics are mixed re: this movie; some enjoyed it, while others noticed the (many) flaws.

Jo Ann: I’m sorry. I was just joking. I didn’t mean to hurt you.

Mac: Aw, come on. It didn’t hurt that bad. Just looking at you hurts more.

What’s up w/ the odd title? When the DEA agent, Maguire (J.T. Walsh), is listening to surveillance tapes of restaurant owner, Jo Ann Vallenari (Michelle Pfeiffer), she’s heard offering Dale “Mac” McKussic (Mel Gibson) a cocktail (Tequila Sunrise). FYI: The drink consists of tequila, orange juice, and grenadine syrup. The producers wanted Harrison Ford and Jeff Bridges for the male co-leads; that could’ve been a better movie. Gibson was V popular then; he’d recently been in Lethal Weapon; Mac is more nuanced than Det. Riggs (trying to be a good father). Russell (acting since childhood) was known for his likeability and work in the action genre; Lt. Nick Frescia is NOT so nice though. Pat Riley (coach of the LA Lakers) provided the inspo for Nick’s look (suits and slicked-back hair).

Jo Ann: Mr. McKussic, it seems, has been engaged in his business for purely romantic reasons, whilst you have been engaged in romance for purely business reasons.
Nick: I’m not sure I understand.
Jo Ann: A little vague for you?
Nick: A little.
Jo Ann: Well, then, let me spell it out for you: you want to f**k your friend, then f**k him, not me!

Did these (mostly male) writers and producers have any (female) friends!? Mac’s ex-wife is depicted as vain/money-obsessed; she gets V little screen time. As some viewers noted, neither Nick not Mac is good enough for Jo Ann! Pfeiffer (in mostly cream-colored outfits) is doing her best w/ Jo Ann’s (shallow/contradictory) characterization. She didn’t get along w/ Towne; he called her “the most difficult actress I have ever worked with.” The actress was going through a divorce at this time. There is a (infamous) love scene; the hot tub was NOT built properly/chlorinated. Pfeiffer, her body double, and Gibson got skin rashes and splinters from the wood- ouch! Production shut down for a few days while they recovered.

Carlos [to Mac]: You son of a bitch! How could you do this? Friendship is the only choice in life you can make that’s yours! You can’t choose your family, God damn it – I’ve had to face that! And no man should be judged for whatever direction his d**k goes – that’s like blaming a compass for pointing north, for Christ’s sake! Friendship is all we have! We chose each other. How could you f**k it up? How could you make us look so bad?

The dialogue can be good (at times), BUT also quite cheesy/predictable. The plot and editing are often confusing; Roget Ebert commented: “It feels like there are chunks of the movie cut out.” The filmmakers could’ve made better (more nuanced) choices. I expected Mac to die at the end of the film; that would’ve made more sense! Towne wanted that ending also, BUT producers said Gibson had to be alive. Is there anything fun re: this movie? Well, Gibson is shirtless in several scenes (in FAB shape). The kid playing Mac’s son (Cody) does a good job in his small role. When the main villain, Carlos (Raul Julia), appears- he steals the movie! Julia (a trained singer) sings some; he does the best he can w/ what he has been given. A young Matt LeBlanc (Friends) appears on the TV; this was a real commercial for Heinz ketchup.

“The Dark Corner” (1946) starring Lucille Ball, Clifton Webb, William Bendix, & Mark Stevens

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Kathleen Stewart [to Bradford Galt]: I don’t play for score, I play for keeps.

PI Bradford Galt (Mark Stevens) has moved to NYC from San Fran after serving a jail term (manslaughter) on account of a barrister/former business partner, Tony Jardine (Kurt Kreuger- an Austrian actor). When Galt sees a white suited man (William Bendix) tailing him, Galt believes Jardine is behind it. As he discovers more, Galt is V glad to have his loyal secretary/love interest, Kathleen Stewart (Lucille Ball), around for support. You can watch this movie for free on YouTube.

Kathleen: I’ve never been followed before.

Galt: That’s a terrible reflection on American manhood.

I think Mark Stevens was the only man my dad was jealous of. [The audience laughs.] Hey, they [the actor and her mother, Lucille Ball] had some good love scenes! -Luci Arnaz, at a pre-screening talk hosted by TCM

At the time this film was made, Lucy was suing to get out of her contract w/ MGM; they loaned her to Fox (where she had to take a big pay cut). In later years, Lucy said she hated the experience of shooting The Dark Corner. She resented director Henry Hathaway, whose bullying reduced her to stuttering (he then accused her of being drunk)! As Eddie Muller (TCM) commented: “Hathaway was NOT known for being a woman’s director.” Hmmm… some guys just can’t deal w/ strong gals!

Hardy Cathcart: Lovers of beauty never haggle over price, Tony.

This is a tightly edited/efficient B-picture that is fun to watch (even if you aren’t a noir-ista)! The snappy dialogue incl. some fun/memorable lines. This is considered to be the best of Lucy’s roles; she has top billing. Another great ensemble film that I enjoyed w/ her is Stage Door. Lucy’s character here is smart, loyal, and brave. Lucy can do it all; she went on to her (iconic) TV show and producing Star Trek. Stevens (on the other hand) only made a few small movies in his brief career. The art gallery owner, Hardy Cathcart (Clifton Webb), is V similar to the character of Waldo Lydecker (also played by Webb) in the hit noir Laura (1944).