Tag: Romance

Noir City DC 2025: “Tomorrow is Another Day” (1951) starring Steve Cochran & Ruth Roman

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They take their lives in their hands… when they take each other in their arms! -Tagline

Prison Warden: Your generation grew up, married, raised families, went to war. But nothing happened to you, Bill. You just got older.

Bill Clark (Steve Cochran) leaves prison after 18 yrs; he has the thinking of an awkward teen (he was sentenced at age 13) and a grown man’s body. Feeling lonely, he visits a dance hall (Dream Land), where he meets a jaded/platinum blonde, Cathy Higgins (Ruth Roman). Taking pity on the earnest/persistent man, Cay shows Bill around town. After the sudden shooting of a police detective (her “sugar daddy”), the odd couple decides to hit the road. Along the the way, they hitch a ride w/ a family, Stella (Lurene Tuttle) and Henry Dawson (Ray Teal), and their young son who’re going to pick lettuce in California.

Cay: I came to New York from upstate. I was gonna be a dancer. I was a brunette. Started on my toes and wound up on my heels.

The amount ($222.35) that Bill receives from his warden would equal about $2,700 (2024). Less than 10 taxi dance halls existed in NYC (1951), compared to 100+ about 20 yrs earlier. Cay’s comment (quoted above) is a reference to an older slang term for a promiscuous woman (having round heels). Perhaps the censors let it go, b/c of the noir nature of the film. As critics have pointed out, this is the rare noir w/ a (male) virgin. I had NOT heard of this movie until I saw it at the film fest; it was well-made and kept me interested. Film scholars noted that WB tacked on the (happy) ending, BUT I didn’t mind it! This movie delves into issues we’re facing today (in a sometimes lonely/uncertain/disillusioned world): the need for autonomy, intimate/romantic connection, friendship/community, and a sense of purpose.

[1] I can’t think of any other film from the pre-Moon Is Blue period that deals with so many tough social issues (without, of course, QUITE breeching the Production Code): prostitution, rape, pimping, and even premarital sex.

[2] Roman’s the revelation; in her best-known role… Here she modulates persuasively from bottle-blonde taxi dancer to sacrificing wife and mother-to-be (and a brunette, to boot). Cochran’s almost as good, waffling between the suspicion of a wounded child and the explosive reactions of an under-socialized male.

[3] There’s a whole sub genre of noir that involves flights from big cities into the open spaces of America and how those open spaces are no longer safe; the decay of urban environments will follow relentlessly, and the open spaces are even more dangerous because there are fewer places to hide.

-Excerpts from IMDb reviews

“The History of Sound” (2025) starring Paul Mescal & Josh O’Connor

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Lionel Worthing (Irish actor Paul Mescal) is a music prodigy from a humble Kentucky farming family who is able to visualize sound. Orphaned in adolescence, David White (British actor Josh O’Connor) is from a privileged background under his uncle’s guardianship in Newport, RI. Both become students at a music conservatory in Boston and meet at a bar in 1917. Their shared love of folk music brings them together; that bond soon becomes romantic. While the Great War (WWI) separates them, they’re brought back post-war when David (a researcher at an Augusta, Maine college) asks Lionel to accompany him on a trip to collect folk songs. Chris Cooper (the older version of Lionel) narrates the audiobook version of the short story on which the film is based.

Lionel: What happens to all the sound released into the world that is never captured?

The film was announced in October 2021, but due to challenges in aligning schedules of director Oliver Hermanus (who hails from South Africa and is a queer man of color), Mescal, and O’Connor, filming didn’t begin until FEB 2024. Mescal is one of the EPs, which marks the 1st time he has received a producing credit on a film. Mescal and O’Connor became close friends during the pandemic; both young actors shared the experience of becoming famous at the same time. Mescal co-starred in Normal People; O’Connor played Prince Charles in The Crown (S3 & S4). I was excited for this movie (being a fan of its leads), BUT was also somewhat hesitant. I was NOT a fan of the 2024 miniseries (Mary and George) that Hermanus directed. Though the story is centered around Lionel, David is the more interesting character. O’Connor’s gazes, micro-expressions, and (variety) of smiles draw the audience in. No wonder Lionel was under his spell and wanted to follow him wherever he went! The American accents are flawless and the singing was quite good, too.

[1] My favorite scenes were when Paul and Josh were together. They’re both great actors in my opinion, had amazing chemistry. I just wish we had gotten more! Having these two as your lead actors, the possibilities are endless. Perhaps my expectations were too high. That said, I loved the beginning and the last 30 minutes. Another positive is that it’s a beautiful film, with gorgeous shots!

[2] A love story is at the core of director Oliver Hermanus’ slow-moving 2025 period drama, but his introspective approach doesn’t generate enough heat to make it palpable beyond what is portrayed onscreen.

[3] The movie looks gorgeous. The American scenes in particular are reminiscent of the paintings of Andrew Wyeth. Art decoration and cinematography are beautifully detailed. The music is all based on American folk songs wonderfully augmented by evocative music composed by cellist Oliver Coates. […]

This movie is probably not for everybody, but those interested in folk music and American history will find it rewarding. I was tempted to add “gay studies,” but I think that would be somewhat misleading. That is, however, the central issue, even though it never takes center stage. I think that’s what makes the film so haunting.

-Excerpts from IMDb reviews

“In the Cut” (2003) starring Meg Ryan, Mark Ruffalo, & Jennifer Jason Leigh

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Everything you know about desire is dead wrong. -Tagline

On the LES of NYC, Frannie Avery (Meg Ryan- age 41 and de-glamorized)- a college English teacher/writer- begins an affair w/ Det. Giovanni Malloy (Mark Ruffalo- age 35 w/ a mustache)- one of the cops investigating the murder of a young woman. Malloy’s partner, Det. Ritchie Rodriguez, is played by Nick Damici (who I haven’t seen in any other movies/shows). Malloy believes the murder is the work of a serial killer. Frannie continues her relationship w/ Malloy, even after catching him in a lie (which could be dangerous). This is the (controversial) film that tanked Ryan’s acting career and derailed that of director Jane Campion. Originally, Nicole Kidman (who served as a producer) wanted to play Frannie. She decided to drop out, as she was going through a (much publicized) divorce from Tom Cruise. Mickey Rourke was considered for a supporting role; however, he was allegedly vetoed by Kidman b/c of his hard-partying reputation. The film is based on a 1996 novel by Susanna Moore.

Frannie: I was at the Red Turtle with one of my students.

Det. Rodriguez: One of your students?

Frannie: Cornelius Webb, but it was early, three-thirty. I was there for a short time, then I went home.

Det. Malloy: Cornelius Webb. Is that with two B’s or not two B’s?

It’s rare to see an erotic thriller (or neo noir) from the POV of a (complicated/independent) woman, as many critics/podcasters/viewers have commented. Usually, the male cop is the central figure, as in Laura (1944) or Basic Instinct (1992). Ruffalo went undercover w/ NYPD officers to prepare for his role. Malloy is macho, rough-hewn, and uses the language of the streets. However, he can also be soft-spoken, compassionate, and witty. Pauline (Jennifer Jason Leigh- age 40) is Frannie’s slightly younger/half-sister; the women have a close/warm relationship. Pauline is a stylist who lives above a go-go (strip) bar; she’s self-aware, yet looking for love (in ALL the wrong places). The costumes were bought from the The Job (2001), a cancelled TV show, for only $400.

I think the scenes are really good though, I think they’re very honest. Jane didn’t want them to be coy, so I don’t think they are at all. And I love how much dialogue is in those scenes. That’s what makes them really intimate. -Meg Ryan re: the love scenes (at TIFF during film’s debut)

Warning: This film NOT for sensitive viewers (incl. those expecting the rom com version of Ryan); it’s gritty, bloody, w/ dark themes and nudity. I saw this movie (which has an R-rated and Unrated versions) many yrs ago; it’s now available to rent (Amazon Prime video). Last week, I came across a (new) pod review of it, so decided to take a (2nd) look. One common complaint from viewers was that characters don’t develop or change. They’re also unapologetic re: their desires. This may remind some of you of European films. One of the main notes Campion gave to Ruffalo was “never apologize.” The filmmakers create an undercurrent of foreboding, showing us how it’s like to be a (big city) woman who is being perceived by (potentially dangerous/deadly) men.

[1] Ryan has never been better than she is here. She plays Frannie almost as if she were one of the urban walking dead, just right for a modern woman who feels no real emotional connection with the world and the people around her.

Mark Ruffalo is excellent as the cop who may be more of a threat to Frannie than the killer who’s terrorizing the area.

[2] This is certainly one of the most unique films I have come across, but I don’t say that in an overly positive manner. It is a very good-looking film, and ignoring camera angles and editing techniques, it still looks very solid on a visual scope.

-Excerpts from IMDb reviews

Noir City DC 2025: “Tension” (1949) starring Richard Basehart, Audrey Totter, Cyd Charisse, & Barry Sullivan

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Introduction

Hey y’all, thanks for visiting! Hope everyone is staying safe and healthy; I was sick w/ a bad cold/cough for 4+ wks (had NOT happened before)! I went to my doctor (2x), took prescribed meds, and even got chest x-rays (no issues found). I had a work deadline to meet, so ended up taking just 2 days for sick leave. I got the (latest) COVID booster and flu shot last weekend, then was able to have a couple more days off. Aging is NOT fun…

This is my 5th year attending Noir City DC film fest; it’s held at the AFI Silver Theatre in Silver Spring, MD (my neighborhood). Sadly, Eddie Muller (TCM; Film Noir Fdn.) didn’t attend the opening wknd/intro the movies. I’m trying to save money (V tough to do in current economy), so chose 3 films (I’d never seen before).

All the best,

EMMA.

Review & Analysis

In Every Two-Timing Kiss You Will Feel… TENSION -Tagline

Freddie: They’re still at it. Tryin’ to find out who owns Germany, who owns the A-bombs, floods, cyclones, earthquakes, riots!

Foster Hirsch (film historian/author) did the intro for this (lesser-known) MGM noir; it was a box office failure. “MGM (which projected a wholesome Americana) was NOT the studio for noir,” Foster commented. “This story is about post-WWII disillusionment,” he added. The score was composed by Andre Previn (then just 21); portions were recycled as title theme for Cat on a Hot Tin Roof (1958). Director John Berry’s Hollywood career was cut short after He Ran All the Way (1951); he was was blacklisted by the House Un-American Activities Committee (HUAC). He went to work in England and France, returning to the US in the early ’70s.

A meek pharmacist creates an alternate identity under which he plans to murder the bullying liquor salesman who has become his wife’s lover. -Synopsis

Warren Quimby (Richard Basehart) has been suffering in silence (for several yrs) over his wife’s shameless flirting and cheating. His sympathetic employee, Freddie (Tom D’Andrea), thinks he needs to take some action. After WWII, the couple met in San Diego and married in a hurry; Claire bitterly recalls: “you looked kind of cute in your uniform then.” When Warren decides to confront Claire and her rich/brawny liquor salesman lover, Barney Deager (Lloyd Gough), he ends up getting a humiliating beating!

Warren: Gee, it’d be wonderful to live out here, darling. Fresh air. Room to entertain. It’s a great spot for kids.

Claire: You want to know something? I think it’s a miserable spot. It’s 30 mins. from nowhere.

Here we find one of the nastiest femme fatales of the genre, as Foster noted. In one revealing scene, Warren (hopeful) takes Claire to the suburban house he intends to buy: she doesn’t even get down from the car to look. When he starts to talk about having a quieter life, she (annoyed) takes the wheel, honks the horn to drown him out, and asks him whether he’s coming w/ her or staying. Then, Claire hits the gas pedal to throw fumes in Warren’s face as he (meekly) gives in to her rejection. Who knows IF this toxic pair were ever in love!? There is no respect in their relationship!

The cuckolded hubby starts thinking of revenge; there are murder tales in mags and the eye doctor points out (cutting edge) contact lenses “which can change your entire personality.” Warren creates the identity of Paul Sothern, a traveling cosmetics salesman; he rents an apt and makes friends w/ aspiring photographer/girl-next-door, Mary Chanler (Cyd Charisse). At last minute, Warren (AKA Paul) can’t go through w/ the murder; he tells Barney that he can have the tramp. The next morning, two cops arrive at the Quimby’s apt, explaining that Barney was found dead! Lt. Collier Bonnabel (Barry Sullivan) drives the plot in the 2nd half of the movie (available on HBO MAX).

[1] Tension is one of those diamonds in the rough you find when you least expect it.

[2] Unlike some noir thrillers that get too clever to make sense, Tension is well-plotted. The pacing keeps Basehart and Totter twisting until the end.

[3] Though there are a few ridiculous elements to the story, standout performances, good direction and fine camera work make this one a winner.

-Excerpts from IMDb reviews

Movie Review: “Far From the Madding Crowd” (2015) starring Carey Mulligan, Matthias Schoenaerts, Michael Sheen, & Tom Sturridge

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I re-watched this movie (Amazon Prime video) recently after listening to a (glowing) review on the Swoon Worthy pod. I recall NOT being V impressed w/ it when it was released in theaters; I saw it w/ my mom (when she lived nearby). I’m now more motivated to read the book; in my HS English classes, we read Tess of the D’Urbervilles and Jude the Obscure– two of Hardy’s other famous novels. I’m NOT sure how close this adaptation stays to the source novel, BUT I do think it makes for a successful romantic drama. The director (Thomas Vinterberg- Danish) and lead actor (Matthias Schoenaerts- Belgian) are NOT British; perhaps this contributes to the freshness and modern vibes. I’m also a fan of Carey Mulligan; I think she capably handles a LOT of types of roles.

Some of y’all regular readers will know of this (iconic) story: Bathsheba Everdene (Carey Mulligan) is a beautiful/independent/young woman who’s pursued by 3 different suitors: quiet/reliable sheep farmer- Gabriel Oak (Schoenaerts), charming/impulsive Army officer- Sgt. Frank Troy (Tom Sturridge), and a middle-aged/gentleman farmer- William Boldwood (Michael Sheen). As Mark Kermode noted, John Schlesinger (who directed the 1967 adaptation) was primarily interested in the relationship of Bathsheba (Julie Christie) and Sgt. Troy (Terence Stamp), the screenwriter here (David Nicholls) fleshes out the roles of all 3 men. Mulligan does a fine job in creating (different types of) chemistry w/ her co-stars. I noticed how hands-on Bathsheba got; she works alongside household servants, farmhands, etc. Her companion is a cheeky/observant young maid, Liddy (Jessica Barden); the actress has a prominent role in the series Dune: Prophecy (HBO MAX).

What is missing from the 1967 film (will review soon), is the (intro) segment w/ the growing friendship of Bathsheba and Gabriel during when she was working on her aunt’s farm. We get a sense that he admires her for her practical side, NOT only her beauty and friendly/open nature. At that time, Gabriel was of higher social status than Bathsheba (on the way to owning the farm he leased). There is a deleted scene (check YouTube) where Bathsheba saves Gabriel from (possible) death; that scene should’ve been kept in the final cut! After the (tragic) loss of his flock, Gabriel is forced to leave the farm and seek out work; by coincidence, he comes upon a barn on fire. He works (along w/ many farmhands) to save the barn; after the smoke clears, Bathsheba (the mistress of this farm) emerges!

Some viewers were confused as to how such a smart businesswoman could fall SO hard/fast for a man she barely knows. We have to remember that Bathsheba is only in her early 20s and inexperienced w/ men and love; Frank is NOT much older than her (and used to getting his way w/ women). They have a meet-cute, BUT it’s potentially problematic, as it occurs late at night while she is surveying her property. Frank appears in the fields soon after, saying that he’s there to help bring in the harvest. IF they’d lived in our (modern) times, this pair could’ve had a brief fling and gone their separate ways (astute viewers commented). In Victorian England, that was NOT an option!

I feel many elements combined to make this a captivating (though NOT an escapist) film; Hardy always contains dark themes after all. I was esp. impressed w/ the cinematography, music, and how Sheen brought (unexpected) empathy to the role of Mr. Boldwood. Book readers have commented that Mr. Boldwood is arrogant, entitled, and obsessive. I got (more) of an appreciation for Shoenaerts; he is tall/broad, w/ expressive eyes, and a strong screen presence (needed for a character who doesn’t say much). I think will have to look up more of his films; Mulligan picked him out for Gabriel after seeing him in Rust and Bone.

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