Film Noir Hall of Fame VI

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.jchekvFwNp5HHKbIYJb5TQHaEK%26pid%3DApi&f=1&ipt=43fb91373ac8cc670888b381929e90a5e71e746c2fc1c4d92638ea99bb8af4c3&ipo=images

Film Noir Hall of Fame VI


Open to movies from Hollywood's classic noir period: 1941 to 1958 that are tagged 'noir' or 'film noir' at either IMDB or Wiki.


This will be the sixth Noir HoF I've done, all of them were a blast!...I know people are still watching horror movies for October, no problem as this HoF will start on Nov 1st just in time for Noirvemeber! So you have an entire week to send me your noir nomination by private message.

Members:

Citizen Rules, John-Connor, I_Wear_Pants, PHOENIX74, iluv2viddyfilms, beelzebubble, Wyldesyde19, John W Constantine


Week 1...The Big Clock (1948) Nov 1st-11th
John-Connor review
(https://www.movieforums.com/community/showthread.php?p=2503479#post2503479)Citizen review
(https://www.movieforums.com/community/showthread.php?p=2503898#post2503898)I_Wear_Pants review (https://www.movieforums.com/community/showthread.php?p=2503916#post2503916)
Phoenix review (https://www.movieforums.com/community/showthread.php?p=2504478#post2504478)
iluv2viddyfilms review (https://www.movieforums.com/community/showthread.php?p=2506319#post2506319)
beelzebubble review (https://www.movieforums.com/community/showthread.php?p=2505464#post2505464)
Wyldesyde19 review (https://www.movieforums.com/community/showthread.php?p=2506611#post2506611)
John W Constantine review

(https://www.movieforums.com/community/showthread.php?p=2505952#post2505952)Week 2...Night and the City (1950) Nov 11th-18th
John W Constantine review (https://www.movieforums.com/community/showthread.php?p=2506484#post2506484)
Citizen review (https://www.movieforums.com/community/showthread.php?p=2507359#post2507359)
John-Connor review (https://www.movieforums.com/community/showthread.php?p=2507453#post2507453)
I_Wear_Pants review (https://www.movieforums.com/community/showthread.php?p=2508987#post2508987)
Phoenix review
(https://www.movieforums.com/community/showthread.php?p=2509351#post2509351)Beelzebubble review
(https://www.movieforums.com/community/showthread.php?p=2510202#post2510202)
Week 3...I Want to Live! (1958) Nov 18th-25th
John-Connor review (https://www.movieforums.com/community/showthread.php?p=2509028#post2509028)
John W Constantine review (https://www.movieforums.com/community/showthread.php?p=2509852#post2509852)
Phoenix review (https://www.movieforums.com/community/showthread.php?p=2510196#post2510196)
Citizen review (https://www.movieforums.com/community/showthread.php?p=2510599#post2510599)
I_Wear_Pants review
(https://www.movieforums.com/community/showthread.php?p=2511104#post2511104)Beelzebubble review (https://www.movieforums.com/community/showthread.php?p=2514949#post2514949)

Week 4...The Naked City (1948) Nov 25th-Dec 2nd
Citizen review (https://www.movieforums.com/community/showthread.php?p=2511780#post2511780)
John-Connor review (https://www.movieforums.com/community/showthread.php?p=2512226#post2512226)
Phoenix review (https://www.movieforums.com/community/showthread.php?p=2513210#post2513210)
John W Constantine review (https://www.movieforums.com/community/showthread.php?p=2512802#post2512802)
I_Wear_Pants review
(https://www.movieforums.com/community/showthread.php?p=2513764#post2513764)Beelzebubble review (https://www.movieforums.com/community/showthread.php?p=2514974#post2514974)
(https://www.movieforums.com/community/showthread.php?p=2513764#post2513764)
Week 5...Stray Dog (1949) Dec2nd-9th
John W Constantine review (https://www.movieforums.com/community/showthread.php?p=2513974#post2513974)
Citizen review (https://www.movieforums.com/community/showthread.php?p=2515019#post2515019)
I_Wear_Pants review (https://www.movieforums.com/community/showthread.php?p=2515744#post2515744)
Phoenix review (https://www.movieforums.com/community/showthread.php?p=2515865#post2515865)
John-Connor review (https://www.movieforums.com/community/showthread.php?p=2515888#post2515888)
Beelzebubble review (https://www.movieforums.com/community/showthread.php?p=2516038#post2516038)

Week 6...The Mob (1951) Dec 12th -19th
Citizen review (https://www.movieforums.com/community/showthread.php?p=2517900#post2517900)
John W Constantine review (https://www.movieforums.com/community/showthread.php?p=2518136#post2518136)
Phoenix review (https://www.movieforums.com/community/showthread.php?p=2518220#post2518220)
Beelzebubble review (https://www.movieforums.com/community/showthread.php?p=2518807#post2518807)
I_Wear_Pants review (https://www.movieforums.com/community/showthread.php?p=2519195#post2519195)
John-Connor review (https://www.movieforums.com/community/showthread.php?p=2519219#post2519219)

[Citizen Rules]

I'm going to take an idea from the recent Hall of Infamy and we will watch the same film noir during the same week. That should make for better conversation. I hope!...


https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2F58%2Fc2%2Fc4%2F58c2c461f17eed711834a3da8c2e3c80.gif&f=1&nofb=1&ipt=c7c0e62151657fce0eecb79646ed49f316b66f555d509cb299b3b32dfbb5f703&ipo=images

So each week we'll watch the same noir. The following week will be a different noir and so on. You can reveal which is your nom when it comes up for the group to watch.

If anyone is concerned that they might not be able to watch all the nominations or can't find them, etc, I can send them the entire list of movies we'll be watching, that list needs to be kept private of course.

These are the film noirs that have been nominated in the last five Film Noir HoFs I don't want to repeat noms for this HoF, so these aren't eligible.

Ace in the Hole
Act of Violence
Criss Cross
Crossfire
Detour
Double Indemnity (1944)
Face in the Crowd
Gilda
Gun Crazy
I Confess
In a Lonely Place (1950)
Kansas City Confidential
Kiss Me Deadly
L.A. Confidential
Laura (1944)
Mildred Pierce
Murder, My Sweet
Night of the Hunter
Out of the Past (1947)
Pickup on South Street (1953)
Scarlet Street
Shadow of a Doubt (1943)
Spellbound
Sunset Boulevard (1950)
Sweet Smell of Success (1957)
The Asphalt Jungle
The Big Combo (1955)
The Big Heat
The Big Sleep
The Breaking Point
The Killers
The Lady from Shanghai (1947)
The Maltese Falcon
The Night of the Hunter
The Set-Up (1949)
The Strange Love of Martha Ivers
The Stranger
The Third Man (1949)
The Wrong Man (1956)
Thieves' Highway
Touch of Evil

[MovieGal]

Sorry, you know this is a genre I don't watch from. I have only seen one Noir film I like and it's French. I'm actually a fan of the director.

[KeyserCorleone]

I'm gonna spend the rest of the year on albums and speedreading, most likely. So I'm declining this one.

EDIT: And late, but, Happy Anniversary!

[I_Wear_Pants]

Do I send you a list of like seven or eight film noir and then when November 1 comes I watch the list of movies to the best of my ability and post on here which ones I've seen?

[John-Connor]

I'm going to take an idea from the recent Hall of Infamy and we will watch the same film noir during the same week. That should make for better conversation. I hope!...
Will you still reveal all the nominations at the start of the HOF, so participants can watch them at their own pace like for example one or two Noirs a day/night?

[Robert the List]

I think all 'my' noirs are on that list except for
Panique (1946)
Key Largo (1948)
Bob Le Flambeur (1956)

I would personally count Alphaville (1965), but it is not tagged noir on IMBd, and Wiki only describes it as, " French New Wave tech noir". Aussi, it is outside your time period.

[Citizen Rules]

Do I send you a list of like seven or eight film noir and then when November 1 comes I watch the list of movies to the best of my ability and post on here which ones I've seen?Anyone who joins sends one film noir from 1941-1958 that is tagged noir or film noir at either IMDB or Wiki. It doesn't have to be tagged at both sites just one of them. You send your nomination by PM to me and keep it private.

When Nov 1st comes around this HoF will officially start and I will post one of the nominations for people to watch that week. After we watch it we post our thoughts on it, we do a write-up just something simple it can be just a short paragraph or much longer if you want. The idea is as a group we watch and discuss each nom then when the HoF is over you send in a ranked voting list of all the noms with the noir that you think should win the HoF as your #1. I tally the points and do a reveal of the results, it's like the countdowns we do here in scoring only the reveal happens all at once.

The next week I'll post a different nomination and the group will watch and post our thoughts on each of the

[Citizen Rules]

Will you still reveal all the nominations at the start of the HOF, so participants can watch them at their own pace like for example one or two Noirs a day/night?We've always done that before but I want to try this new idea out. But if everyone is on board maybe we could make it two noirs per week?

[John-Connor]

We've always done that before but I want to try this new idea out. But if everyone is on board maybe we could make it two noirs per week?
Discussing only one or two selected Noirs every week, I get that part. I was wondering more about the reveal part, so that participants can watch all the noms at their own tempo but still only post a review once or twice a week and discuss collectively.

[Citizen Rules]

Discussing only one or two selected Noirs every week, I get that part. I was wondering more about the reveal part, so that participants can watch all the noms at their own tempo but still only post a review once or twice a week and discuss collectively.OK I see, yes that is doable. On the 2nd post I say anyone who had any concerns could have the entire list of all the noms sent to them by PM, but they still have to keep that list private. And of course do as you suggested still post your thoughts on that weeks noirs. So yes.

[John-Connor]

OK I see, yes that is doable. On the 2nd post I say anyone who had any concerns could have the entire list of all the noms sent to them by PM, but they still have to keep that list private. And of course do as you suggested still post your thoughts on that weeks noirs. So yes.
Nice :up: In that case, I'm IN!:cool:
I'll watch (for the first time) my potential nomination this weekend.

[Citizen Rules]

Nice :up: In that case, I'm IN!:cool:
I'll watch (for the first time) my potential nomination this weekend.Sounds good!

[Citizen Rules]

Very cool, I_Wear_Pants just joined and sent in their noir nomination a great choice btw. Still plenty of time as this will start on Nov 1st, so what are you waiting for, join in the fun already:D

https://i.pinimg.com/originals/22/b9/b2/22b9b2074fcca90662dc3fa6c9617878.gif

[SpelingError]

I might join this one if I can think of a good nomination.

[PHOENIX74]

I'm in - got a lucky break in that the film I really want to nominate has never been nominated before. Unless I_Wear_Pants nominated the same film, which would be upsetting as that wouldn't be the first time that's happened to me.

[Citizen Rules]

Phoenix joining makes four members so far, could really use a few more perps for this dive!

The HoF starts Nov 1st so still time to join.
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fa1%2F55%2Fc2%2Fa155c200968011b5a2401ad612bd7659.gif&f=1&nofb=1&ipt=aa345a03c0ac342638b8f2c9dea9f8d973b033831beef6960450a56f29ffc3b1&ipo=images

[Wyldesyde19]

I’m in.

[Citizen Rules]

I’m in.Very cool!

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fmedia.giphy.com%2Fmedia%2FRMEJ4m2xwyPN6%2Fgiphy.gif&f=1&nofb=1&ipt=af23e58cd8dcae236807ce39eacd5d9b2f44da73f156d6b5b5006660dcf88821&ipo=images

[rauldc14]

I think I'm going to skip this one, but I'll be there for the next general Hall.

[Citizen Rules]

I think I'm going to skip this one, but I'll be there for the next general Hall.This will be a good trail run of the new 'watch rule' which was in the Hall of Infamy, but I added this:
If anyone is concerned that they might not be able to watch all the nominations or can't find them, etc, I can send them the entire list of movies we'll be watching, that list needs to be kept private of course.

I think that helps.

[rauldc14]

Yeah I like the format of the Infamy so I hope it works here too!

[gbgoodies]

I would have considered joining this HoF, but there's just too much going on at home right now and my schedule has been crazy, so there's no guarantee that I'd be able to watch all the movies and finish it.

But I'll try to follow along as much as possible.

[Citizen Rules]

I would have considered joining this HoF, but there's just too much going on at home right now and my schedule has been crazy, so there's no guarantee that I'd be able to watch all the movies and finish it.

But I'll try to follow along as much as possible.Hope to see ya🙂

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP.k3Z91x13sF5NBVcoXJgC6AHaEK%26pid%3DApi&f=1&ipt=171be0a51bdb8467dd54b6ab544afc6839147d65374c875ff2e925ef432c15da&ipo=images
Only one more day until Noirvember
Still time for dicks & dames and even a few perps to join in the festivities:cool:

On Nov 1st I'll post the first noir film for us to watch, that's tomorrow folks! We'll have one week to watch it and chime in on what we thought of it, just like what people do in the Rate The Last Movie You Saw thread. Nothing fancy, low key.

So far we have only a measly 4 nominations in. All 4 are great noirs but come on people we need more than just 4 members in this HoF! I need your help...join already🙂


I have nominations from:
John-Connor
@I_Wear_Pants (http://www.movieforums.com/community/member.php?u=96027)
@PHOENIX74 (http://www.movieforums.com/community/member.php?u=112080)
@Citizen Rules (http://www.movieforums.com/community/member.php?u=84637)

Still interested? I hope! Send a noir nom, see the 1st post.
@SpelingError (http://www.movieforums.com/community/member.php?u=91134)
@Wyldesyde19 (http://www.movieforums.com/community/member.php?u=104656)
@seanc (http://www.movieforums.com/community/member.php?u=75240)
@Allaby (http://www.movieforums.com/community/member.php?u=110465)

I think everyone will be impressed with the noir noms we have so far but we need more members!

[Allaby]

I'm still deciding if I will join. I will decide by tomorrow.

[Citizen Rules]

I'm still deciding if I will join. I will decide by tomorrow.Cool....People can still join up until the end of the first week which would be Nov 7th Thursday.

[Thief]

Thanks to Citizen for reaching out. Still thinking if I might be able to jump into this. What's the deadline to sign up?

[Citizen Rules]

Thanks to Citizen for reaching out. Still thinking if I might be able to jump into this. What's the deadline to sign up?Sooner the better of course but any time up until the end of the first week of November. So say by midnight Nov 7th.

As past HoF noir noms aren't eligible, see the 2nd post, it won't be the same old noirs we've already seen a number of times, which I think is a big plus.

[Wyldesyde19]

Trying to decide on what noir to nominate.

[Citizen Rules]

Trying to decide on what noir to nominate.It doesn't have to be something you've already seen. It could be something you've had your eye on. Blind noms are fine.

[SpelingError]

I'm still deciding whether or not to join this.

[Citizen Rules]

It's time to start! The noir for the first week is:
102130
The Big Clock (John Farrow 1948)
Length: 1h 35m

@John-Connor (https://www.movieforums.com/community/member.php?u=102242)
@I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027)
@PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080)
I won't tag myself😁

[Citizen Rules]

If we can watch these faster that's fine by me. Myself I could easily watch 2 noms a week and if everyone is OK with that we can do that. Oh and if you want to claim your movie when it comes up that's fine too but it's your choice.

[iluv2viddyfilms]

Cool....People can still join up until the end of the first week which would be Nov 7th Thursday.

OK, I'm in if not too late. I'm just now reading through this. I submitted my pick and I don't believe it was on the list of previous films.

[iluv2viddyfilms]

It's time to start! The noir for the first week is:
102130
The Big Clock (John Farrow 1948)
Length: 1h 35m

@John-Connor (https://www.movieforums.com/community/member.php?u=102242)
@I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027)
@PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080)
I won't tag myself😁


Great pick!! I have not seen this but I want to and will now and it's also now available for streaming on Criterion. Also my favorite films youtube.com channel and quite honestly possibly my favorite film analyst/critic of all time, moviewise, did a whole video on why he thinks The Big Clock is one of the greatest "unknown" films:

https://youtu.be/wSby21ejMWQ?si=KEg84YCqSY8fx52L

[I_Wear_Pants]

I don't know where to watch Big Clock. We just started and I already failed. It sounds pretty interesting though. Of course... I've never shied away from a noir.

[Citizen Rules]

OK, I'm in if not too late. I'm just now reading through this. I submitted my pick and I don't believe it was on the list of previous films.Not to late at all. Up until next Friday is fine for anyone else to join. I got your nom and it's a good one! Glad to have ya!

[Citizen Rules]

I don't know where to watch Big Clock. We just started and I already failed. It sounds pretty interesting though. Of course... I've never shied away from a noir.No worries I got you covered. I'll PM you a link to were you can watch The Big Clock.

[iluv2viddyfilms]

I don't know where to watch Big Clock. We just started and I already failed. It sounds pretty interesting though. Of course... I've never shied away from a noir.

The Big Clock is currently streaming on The Criterion Channel... in fact I just finished watching it this evening and I grade it an "A-" Solid, solid stuff. And also, who doesn't like Ray Milland and Charles Laughton?

In addition to The Big Clock, Criterion Channel has dozens of other film noirs currently featured and streaming for Noirvember:

https://www.criterionchannel.com/columbia-noir-4

https://www.criterionchannel.com/noirvember

https://www.criterionchannel.com/starring-ida-lupino-2

[I_Wear_Pants]

The Big Clock is currently streaming on The Criterion Channel... in fact I just finished watching it this evening and I grade it an "A-" Solid, solid stuff. And also, who doesn't like Ray Milland and Charles Laughton?

In addition to The Big Clock, Criterion Channel has dozens of other film noirs currently featured and streaming for Noirvember:

https://www.criterionchannel.com/columbia-noir-4

https://www.criterionchannel.com/noirvember

https://www.criterionchannel.com/starring-ida-lupino-2

Yeah Citizen Rules helped me find a way to watch it. It's above board so it's all good. Thank you for the help though. Yeah I don't have the desire to subscribe to a paid service, at least at the moment.

[John-Connor]

102155
1948 | 1h 35m | Film Noir | Police Procedural | Crime | Drama | Mystery | Psychological Thriller
Director: John Farrow
Writers: Jonathan Latimer, Kenneth Fearing, Harold Goldman
Cast: Ray Milland, Charles Laughton, Maureen O'Sullivan, George Macready, Rita Johnson, Elsa Lanchester, Harry Morgan

Fast paced and gripping, Noir meets Manhunt. With a little humor and lightheartedness thrown in to cut the tension.

What I loved here was the self investigative aspect. The build up of the story and pacing. The use of the clock and the office building. It creates that intense trapped, time 'bomb' ticking away effect. Laughton is superb as always and Milland's character's fear and panic is very palpable which resulted in a never boring and exciting viewing experience. All in all a fun and clever little cat-and-mouse murder Mystery Noir.

For fans of this one, I highly recommend watching the Neo-noir remake No Way Out (1987) starring Kevin Costner and Gene Hackman. Which is also based on the same 1946 book, 'The Big Clock', by Kenneth Fearing.

(By the way do we keep our ratings to ourselves in this new HoF form? I've seen other participants do that in previous HoFs.)

[Citizen Rules]

...(By the way do we keep our ratings to ourselves in this new HoF form? I've seen other participants do that in previous HoFs.)However anyone wants to do it is fine, you can rate them or not. I'll get to The Big Clock hopefully tonight.

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fprod-images.tcm.com%2Fv5cache%2FTCM%2FImages%2FDynamic%2Fi402%2Fbigclock_open36hoursago_FC_470x264_043020 160430.jpg&f=1&nofb=1&ipt=6afc720453440cfb5344b433bd970149cf5d1f422d18e7aa446811c930fd6d19&ipo=images

I watched The Big Clock last night. That was my second time watching it. This time around I'd say my opinion of The Big Clock went up which indicates to me a well made movie.

I loved the opening sequence that shows skyscrapers in NYC, then the camera focuses on the Janoth Publishing building and begins a slow zoom in, so that we can see the inside of a room through the window...without a cut the camera continues into the room and the action starts. Very impressive how they did that.

I liked the choice of over lapping dialogue that was spoken fast paced as everyone was rushing around doing their jobs. The plot was intelligently written and believable. The situation that lead to Ray Milland's predicament that we see in the second scene, happened organically and quite smoothly. I might have nixed the flash back structure of the film and had the events happening in sequence, but not a deal breaker.

Ray Milland added his charmingly flip and self absorbed presences and that's not a knock, I like Milland. I loved when they were searching unknowingly for him and they described him as, "Smug, self-satisfied."

Charles Laughton is always good and particular so here as the 'time obsessed' owner of Janoth Publications. He actually clocks people by the minute and docks their pay for the smallest infractions, that is if he doesn't fire them first. Elsa Lancaster is loads of fun and adds to the film. Enjoy watching this.

[I_Wear_Pants]

I forgot to post this here:

I finally got around to finishing Big Clock. I found it to be a great film from top to bottom. I wouldn't say any part stood out as excellent although I wouldn't say any part was at all bad. I thought it was really well done with a satisfactory, albeit a little short, ending. It's a solid film noir, and I'm glad I took the time to watch it.

There we go.

[Citizen Rules]

I forgot to post this here:

I finally got around to finishing Big Clock. I found it to be a great film from top to bottom. I wouldn't say any part stood out as excellent although I wouldn't say any part was at all bad. I thought it was really well done with a satisfactory, albeit a little short, ending. It's a solid film noir, and I'm glad I took the time to watch it.

There we go.Thanks for posting that:) You know what I learned from The Big Clock? There was a scene where the big clock in the building gets shut off by Ray Milland and all the other clocks which are connected to it went dead as well. When I seen that, I said to my wife, 'Oh they didn't have technology like that back then.' So my wife tells me that they did have what they called 'slave clocks' on ships back then. I just looked it up and she was right! Wiki Slave Clocks (https://en.wikipedia.org/wiki/Slave_clock)

[I_Wear_Pants]

Thanks for posting that:) You know what I learned from The Big Clock? There was a scene where the big clock in the building gets shut off by Ray Milland and all the other clocks which are connected to it went dead as well. When I seen that, I said to my wife, 'Oh they didn't have technology like that back then.' So my wife tells me that they did have what they called 'slave clocks' on ships back then. I just looked it up and she was right! Wiki Slave Clocks (https://en.wikipedia.org/wiki/Slave_clock)

That's pretty interesting. The time stuff was pretty important and incorporated pretty well.

Yeah I'm still getting used to the site again.

[Citizen Rules]

...Yeah I'm still getting used to the site again.Were you gone from MoFo for awhile? I remember you in the past but I don't remember you being around much except for very recently.

[Thief]

Can we still jump in? I can come up with a nom later tonight

[Citizen Rules]

Can we still jump in? I can come up with a nom later tonightSure if you have a big block of cement on your feet:p...Sure thing, I'd love to have you join Thief, still plenty of time too:)

[I_Wear_Pants]

Were you gone from MoFo for awhile? I remember you in the past but I don't remember you being around much except for very recently.

I've had the account since IMDb got rid of their board and visited here sporadically. I don't know how long I'll post here this stint so we'll see. I don't dislike the site. I just lost interest very easily.

[Citizen Rules]

I've had the account since IMDb got rid of their board and visited here sporadically. I don't know how long I'll post here this stint so we'll see. I don't dislike the site. I just lost interest very easily.I never liked the IMDB boards, too nasty! I enjoy reading your post so I hope you'll stick around.

[I_Wear_Pants]

I never liked the IMDB boards, too nasty! I enjoy reading your post so I hope you'll stick around.

They were what I knew. This place seems better. I'll try to stay here. It also helps that I lost my Facebook account to a hacker and can't recover it, so I don't have that eating my time. This seems better than that too.

[Citizen Rules]

So how's everybody doing?

[I_Wear_Pants]

You mean like with watching Big Clock? I meant to watch another noir, Confidential Report, last night, but I played for a bit and then was so tired I just went to sleep.

[Citizen Rules]

You mean like with watching Big Clock? I meant to watch another noir, Confidential Report, last night, but I played for a bit and then was so tired I just went to sleep.Yeah I meant how were the other members doing with The Big Clock.

[PHOENIX74]

https://i.postimg.cc/xC1xXDWk/big-clock.jpg

The Big Clock - 1948

Directed by John Farrow

Written by Jonathan Latimer
Based on a novel by Kenneth Fearing

Starring Ray Milland, Charles Laughton, Maureen O'Sullivan, George Macready, Rita Johnson
Elsa Lanchester & Harry Morgan


The poster promises "the strangest and most savage manhunt in history", and The Big Clock is indeed a heady mix of off-beat black comedy and rigorous, sweat-drenched noir - a concoction that's sly and constantly shifts from winks and gags to suspense and action. Comedy doesn't seem a natural fit for Kenneth Fearing's story, but once inserted it found a foothold and flourished in off-the-cuff remarks, double-takes, references, punchlines and a grandly grotesque performance from Charles Laughton as the snide, sniveling magazine publisher Earl Janoth. At one stage he even makes reference to his Quasimodo role in The Hunchback of Notre Dame by speaking a certain line in laboured Quasi-speak - anything goes it seems as all must have been having one hell of a time, because nothing seems forced and instead every actor is on their toes and brimming full of energy. It's a vibe you rarely get from an out-and-out film noir thriller - something more akin to The Thin Man films - but it also manages to not lose itself and in the end stays the course as far as the seriousness of it's narrative and murderous intrigue goes.

The Big Clock demands your attention, and the biggest problem I had with it was remembering what each character knows and doesn't know. George Stroud (Ray Milland) works for Earl Janoth at Crimeways magazine, chasing down leads on missing suspects. When Janoth murders a woman, Pauline York (Rita Johnson), who Stroud had spent the night with, his assistant Steve Hagen (George Macready) jumps into the fray, ready to frame the man who was with York before Janoth was. What neither man knows is that this man was Stroud, and when they contact Stroud to ask for his assistance catching the man, he immediately catches on that it's him they're looking for. What Stroud doesn't know is that this is about York's murder, because the two schemers pretend that this is about a scandal, and not a killing. In the meantime, Stroud's wife, Georgette (Maureen O'Sullivan), has to contend with her husband not arriving for the train which was set to depart on their belated honeymoon while he's with York, and then his enforced absence when he's tasked with finding Janoth's patsy - himself. Stroud has to keep covering his tracks while putting all of his underlings on the wrong scent, find out this is about a murder and then work out what's really happened and how he can prove it. Quite a busy, complex set of circumstances.

I have to make a confession - I watched this twice, simply because I became confused the first time around. It's not a hard film to understand, but it is one with a whole variety of details and a whole sack full of callbacks to previous moments and events. Chekhov's Gun moments are what they're called - the definition of which states that "any seemingly unimportant element introduced into a story should later have relevance," and there's plenty of that here. There's also an interesting correlation thematically about clocks and the inevitable countdown to our death or own destruction - at least in relation to some of the characters in the film. I'm assuming "The Big Clock" alludes, in one sense or definition, to the 'tick-tock' passage of our lives and the fact we inexorably head towards our dates with destiny. Earl Janoth is obsessed with the subject of time - especially with not wasting it - and I liked the way Hagen and Stroud both change the time on a broken clock at the murder scene to either tamper with or correct the evidence related to when the murder was committed. References to clocks (a sundial is actually the weapon used to murder York) are scattered throughout the whole film, and come up often.

So, other than all of that this was a relatively straightforward film in many ways - one that I enjoyed for it's flat-out, sweat-drenched careening pace that ups the tempo of everything in it's final act. I hear Earl Janoth is based on magazine magnate Henry Luce (author Kenneth Fearing had previously worked at Time magazine), and Charles Laughton imbues the character with pompous, mincing, upper-class toad-like characteristics that makes every moment he's onscreen particularly enjoyable and amusing. I loved that performance. Also featuring is Harry Morgan as Janoth's mute assistant/henchman - mostly recognizable to me from his role in M*A*S*H. I'm starting to really appreciate Ray Milland in everything I see him in as well. There are myriad other small parts that give the lesser actors moments to shine also - especially Elsa Lanchester as artist Louise Patterson, whose loud voracious laughter hit me in the right place comedy-wise. Loved that laugh. She has the opportunity to point the finger at Stroud, and becomes an integral part of his attempts to avoid detection. George Macready, meanwhile, I'll never forget from his great role as villain Ballin Mundson in Gilda. All-in-all, a great cast.

I hold this film in very high regard now that I've fully digested it, and I think it successfully achieves everything it sets out to do. Screenwriter Jonathan Latimer has expertly given all of the dialogue real punch in adapting Fearing's novel. Interesting to note that in the novel Janoth and his 'ready-to-absolve-his-boss' assistant Hagan were gay lovers - obviously not something they were going to faithfully portray onscreen in 1948, although there was a sense that there might be something going on with Janoth and masseuse/heavy Bill Womack (the Harry Morgan role.) Also interesting to note is the fact that director John Farrow and actress Maureen O’Sullivan had a daughter together a couple of years before making this, and she was Mia Farrow - someone with a big future in front of her. Laughton's performance is my favourite thing in this movie - which would be remade a few times in the future as Police Python 357 (1976) and No Way Out (1987) - I've heard both films are quite good, but I've seen neither of them. I think it's excellent, and straddles the line between suspense and comedy extremely well, wisely giving the suspense angle the most emphasis. I'd never heard of it before.

Rating : 4

[Citizen Rules]

Enjoy your reading your review Phoenix and I do believe you've increased my appreciation of The Big Clock to a higher level. Like you I also enjoy seeing Ray Milland in his movies. I wonder if he made more noir?

[PHOENIX74]

Enjoy your reading your review Phoenix and I do believe you've increased my appreciation of The Big Clock to a higher level. Like you I also enjoy seeing Ray Milland in his movies. I wonder if he made more noir?

I originally knew him when he was much older, in a horror movie I used to watch quite a bit as a kid (I only had access to so many - the very early days of video) called The Uncanny (1977) - one of those portmanteau movies, except in this all the stories were based on cats doing the murdering and Peter Cushing running around trying to prove the cats had done it and everyone thinking he's crazy. It wasn't a great movie, but I liked it back then (haven't seen it for such a long time.) Anyway, Ray Milland was in that.

I think playing Don Birnam The Lost Weekend (1945) was his biggest film noir signature role. I've already seen him in The Uninvited ('44) and Dial M For Murder ('54) Hall of Fame-wise.

[Citizen Rules]

I looked at Ray Milland's filmography and these are the noirs that he starred in:

The River's Edge (1957) (https://www.imdb.com/title/tt0050903/?ref_=nm_flmg_job_1_cred_t_74)
Lisbon (1956) (https://www.imdb.com/title/tt0049446/?ref_=nm_flmg_job_1_cred_t_78)
The Thief (1952) (https://www.imdb.com/title/tt0045230/?ref_=nm_flmg_job_1_cred_t_86)
Alias Nick Beal (1949) (https://www.imdb.com/title/tt0041107/?ref_=nm_flmg_job_1_cred_t_97)
The Big Clock (1948) (https://www.imdb.com/title/tt0040160/?ref_=nm_flmg_job_1_cred_t_100)
Ministry of Fear (1944) (https://www.imdb.com/title/tt0037075/?ref_=nm_flmg_job_1_cred_t_111)

I've seen Lisbon which was OK but not really noir-ish, Ministry of Fear which was pretty good and of course The Big Clock.

[PHOENIX74]

I've seen The River's Edge, and gave it 3 with the following review :

"Just your average studio production about farmhand Ben Cameron (Anthony Quinn), who married Meg (Debra Paget) to help her get out of her 10 year prison sentence early (she's done something unspecified.) Unfortunately, life on a farm doesn't go well with Meg, and when her former partner, Nardo Denning (Ray Milland) shows up she leaves with him. Denning has a pretty hot suitcase with one million dollars in it, and it isn't long before he's forced to kill a cop - wrecking his car in the process. Meg and Denning have to call on Ben for help to get across the border into Mexico - and Ben will help them, for a price. Their adventure in the wilds has many twists and turns. This wasn't bad - everyone puts their all into it, and the story grips you like only pulp can - unabashedly throwing much melodrama and action into the mix. With looks and money, it seems that Denning has it all over Ben, but Ben's moral compass, decency and honour shine through as attractive as handsome looks."

Yeah, Ray Milland is pretty good looking - especially when matched in comparison with Anthony Quinn, who isn't ugly, but has rougher features.

[Citizen Rules]

@Wyldesyde19 (http://www.movieforums.com/community/member.php?u=104656) @beelzebubble (http://www.movieforums.com/community/member.php?u=109178)

Rounding up the suspects in the, 'Didn't watch The Big Clock by the deadline caper'
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.aD7jhWljtDu7HB7ITFHajQAAAA%26pid%3DApi&f=1&ipt=f2cb9e85ef5e4255ac3a46e9b2c57af0c12ec38466fc5c898811cb3d2ecf84be&ipo=images
'alright ya mugs, I'm hauling down to the clink as Friday is the deadline to watch the first film noir, The Big Clock'


Oh, who am I trying to kid:D, I'm a sweetheart:p and I know beelzebubble and wyldesyde joined late, so no worries this time around...
So the DEADLINE for the 1st Week/The Big Clock will now be Monday midnight. That gives you the entire weekend to watch it. On Monday evening I will post the next noir for the second week, giving that movie a week.

[Wyldesyde19]

@beelzebubble @Wyldesyde19 (http://www.movieforums.com/community/member.php?u=104656)

Rounding up the suspects in the, 'Didn't watch The Big Clock by the deadline caper':p
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.aD7jhWljtDu7HB7ITFHajQAAAA%26pid%3DApi&f=1&ipt=f2cb9e85ef5e4255ac3a46e9b2c57af0c12ec38466fc5c898811cb3d2ecf84be&ipo=images
'alright ya mugs, I'm hauling down to the clink as Friday is the deadline to watch the first film noir, The Big Clock'


Oh, who am I trying to kid:D, I'm a sweetheart:p and I know beelzebubble and wyldesyde joined late, so no worries this time around...
So the DEADLINE for the 1st Week/The Big Clock will now be Monday midnight. That gives you the entire weekend to watch it. On Monday evening I will post the next noir for the second week, giving that movie a week.



I’m getting to it tonight.

[Citizen Rules]

I’m getting to it tonight.Just like the noir I seen last night, 'ya free to leave the station, but don't leave town!':p

[beelzebubble]

The Big Clock

I enjoy Ray Milland. He has such a light touch and a lot of charm though as a husband he stinks. Sorry honey, I was drinking with some blonde so I missed the departure for our family trip/honeymoon that has been postponed indefinitely since we married. What a jerk. Laughton steps back in his role as the jealous lover. Maybe he is just giving Ray Milland room to maneuver since he is usually a force to be reckoned with. Laughton's wife, Elsa Lanchester is wonderfully quirky, as always. It is full of other appealing character actors. One of whom is Col. Potter from MASH, Henry Morgan, who plays a glowering thug and then there is Gilda's husband, that perennial villain with his shark eyes and facial scar.
Its a satisfying film. Well written and well directed. A pleasant way to spend an evening.

[Citizen Rules]

The Big Clock

I enjoy Ray Milland. He has such a light touch and a lot of charm though as a husband he stinks. Sorry honey, I was drinking with some blonde so I missed the departure for our family trip/honeymoon that has been postponed indefinitely since we married. What a jerk. Ha! I love that! It's true too. Milland is perfect for that type of character.

His wife, Elsa Lanchester is wonderfully quirky, as always. It is full of other appealing character actors. Milland's wife was 'Jane' from the early Tarzan movies Maureen O'Sullivan. But heck yes! Elsa Lanchester was a riot. I always like her in movies.


Well written and well directed. A pleasant way to spend an evening.:) Glad to hear you liked it.

[beelzebubble]

Milland's wife was 'Jane' from the early Tarzan movies Maureen O'Sullivan. But heck yes! Elsa Lanchester was a riot. I always like her in movies.


Oh sorry, by his wife, I meant Laughton's real life wife, Elsa Lanchester. I changed it to make it clearer.

[Citizen Rules]

Oh sorry, by his wife, I meant Laughton's real life wife, Elsa Lanchester. I changed it to make it clearer.Good call, you're right, Lanchester was his real wife what an interesting couple they made!

[gbgoodies]

It's been a while since I've seen The Big Clock, but it's a great suspense thriller movie. The way Ray Milland's character gets pulled back in to work just to try to solve the case, while trying to hide the fact that he's the guy they're looking for, keeps you on the edge of your seat.

It has a great story and a top notch cast. This is a must-see movie.

[John W Constantine]

The Big Clock (1948, Farrow)

I had seen this previously a while back so as always with me when I get a chance to revisit something I do get to digest more of it. Ray Milland has appeared in a few films from this time period that he brings his witty charm to including Ministry of Fear which is another of his I highly enjoyed. This kind of started a little stagnant in the early stages while it's setting all the pieces together for the back end. Once it gets there though is when the movie becomes a great cat and mouse game for the players involved. The assumed identity of the killer and the events that follow with that was fun to watch play out. Definitely enjoyed this more this time around compared to the first time. Good way to start us off.

[Citizen Rules]

The Big Clock (1948, Farrow)

I had seen this previously a while back so as always with me when I get a chance to revisit something I do get to digest more of it. Ray Milland has a appeared in a few films from this time period that he brings his witty charm to including Ministry of Fear which is another of his I highly enjoyed. This kind of started a little stagnant in the early stages while it's setting all the pieces together for the back end. Once it gets there though is when the movie becomes a great cat and mouse game for the players involved. The assumed identity of the killer and the events that follow with that was fun to watch play out. Definitely enjoyed this more this time around compared to the first time. Good way to start us off.That sounds like my experience watching The Big Clock. On my 1st watch I must've had too high of expectations or expected the 'big clock' to be some type of super bomb or something grandiose like that...hence I rated the film only a 3/5. But on my second watch for this HoF I really enjoyed the craft of the film maker and how they wove the story elements together without going all cliche. And of course Milland, Laughton and Lanchester are all kinds of good fun, now I'd give it a 4/5. Glad to hear you liked the movie!

[I_Wear_Pants]

@Wyldesyde19 (http://www.movieforums.com/community/member.php?u=104656) @beelzebubble (http://www.movieforums.com/community/member.php?u=109178)

Rounding up the suspects in the, 'Didn't watch The Big Clock by the deadline caper'
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.aD7jhWljtDu7HB7ITFHajQAAAA%26pid%3DApi&f=1&ipt=f2cb9e85ef5e4255ac3a46e9b2c57af0c12ec38466fc5c898811cb3d2ecf84be&ipo=images
'alright ya mugs, I'm hauling down to the clink as Friday is the deadline to watch the first film noir, The Big Clock'


Oh, who am I trying to kid:D, I'm a sweetheart:p and I know beelzebubble and wyldesyde joined late, so no worries this time around...
So the DEADLINE for the 1st Week/The Big Clock will now be Monday midnight. That gives you the entire weekend to watch it. On Monday evening I will post the next noir for the second week, giving that movie a week.



I eagerly await our next film noir to watch! To stay in the mood I've watched three since watching Big Clock. Is that bad? I mean it is Noirvember and I love a good noir, so it seemed fitting. I have to get extra credit in my first year.

[Citizen Rules]

It's Monday and the noir for the second week is:
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse2.mm.bing.net%2Fth%3Fid%3DOIP.CJIafd86tq2yWE_U26rSKQHaF2%26pid%3DApi&f=1&ipt=b807e0c8ff0805305b1d86d9b81a95968c5d00eeeb7f78ec2beba90a7f16de12&ipo=images
Night and the City (Jules Dassin 1950)
1h 36m

Due date by next Monday, Nov 18th

@John-Connor (http://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (http://www.movieforums.com/community/member.php?u=112080) @iluv2viddyfilms (http://www.movieforums.com/community/member.php?u=1628) @beelzebubble (http://www.movieforums.com/community/member.php?u=109178) @Wyldesyde19 (http://www.movieforums.com/community/member.php?u=104656) @I_Wear_Pants (http://www.movieforums.com/community/member.php?u=96027) @John W Constantine (http://www.movieforums.com/community/member.php?u=109412)

[iluv2viddyfilms]

The Big Clock (1947, John Farrow)

https://i1.sndcdn.com/artworks-KeIPS4KRnV7KGbob-MNLX3A-t500x500.jpg

I forgot to do a quick write up of The Big Clock, so I will say that I enjoyed it quite a bit. It wasn't a flawless film, but once I was able to get behind the premise and drop my suspension of disbelief it was fine. Ray Milland and Charles Laughton are two actors who are so magnetic and great on film and seeing them play off one another is a rare treat. I've always thought Milland was under appreciated and one of those actors who might have been known in his time, but unless you're a dedicated film buff, he's likely an unknown name today. He will always be known among us film nerds for The Lost Weekend, rightfully so, but my introduction to him was in X The Man With X-Ray Eyes and then more recently I've seen Panic in the Year Zero! which surprisingly is one of the best post apocalyptic films.

The only real issue I had with The Big Clock are how easily all the pieces just fall into place to help Milland along the way with his horrible situation of being framed for murder... or his attempt at being framed for murder. Actually how that transpired is such a new take on the old trope too with those framing him not even realizing he's right there under their nose, which gives him the inside knowledge to basically know what the audience knows as he attempts to clear his name and find the real killer all in one go. But yeah, my issue is how too many people fall into place with the schemes... the painter lady and the radio actor and even in the last several moments of tension the wife... they all just seem to be willing participants and know exactly the play Milland is aiming for in his battle of wits and 3D chess vs the evil murderous boss in Charles Laughton's character. Also, I had a couple issues just getting past the fact that we have a dead corpse there, but we're OK with the real crime stories publication investigating the murder internally before letting the police in on it... OK. I guess it can work and does work, but it takes a bit of a stretch.

Beyond that there's really no complaints. A solid film with great performances and a clever and creative idea with great direction, editing, camerawork, and so. It's just the premise is a bit of a stretch... even for film noir standards which is saying something.

GRADE: A-

[I_Wear_Pants]

I saw Night and the City many years ago. Unfortunately I remember exactly none of it. I will rewatch it sometime this week. I have the opportunity to do so, and I think a rewatch is overdue.

[Citizen Rules]

I saw Night and the City many years ago. Unfortunately I remember exactly none of it. I will rewatch it sometime this week. I have the opportunity to do so, and I think a rewatch is overdue.I seen Night and the City last year during Noirvember and was impressed. One of Richard Widmark's best performances and he had a lot of them. I'll watch it hopefully tomorrow.

[John W Constantine]

Night and the City (1950, Dassin)

So I believe many years ago (having checked...in 2015) this may have been (outside of Bogart) one of the original film noir I remember watching. It was a positive enough experience that I included it on past favorite films lists but wondered recently if memory enough was able to keep it's high reputation. Like our previous entry the beginning is a little stale for me to get going, but once everything is in place the rest of the film cruises along in rather top form. Richard Widmark for me has become sort of scatter shot in terms of his performances. On one hand his frantic/panic induced moments mostly produce eye rolling reactions from me as it often doesn't fit the moment he's reaching for. Other times, as often in this he plays the in over his head / mouse trying to escape from a trap which tends to be just what the film needs. The film is full of seedy characters each with their own angle to get what they want, not just the main man. It's also fun to see a film centered around professional wrestling which itself we learned is also a instrument in a hustle. Again, for me starts kind of slow but once it gets going pretty engaging. Another great selection.

[Citizen Rules]

Night and the City (1950, Dassin)

...It's also fun to see a film centered around professional wrestling which itself we learned is also a instrument in a hustle...The wresting angle gave it something extra. I've seen at least one other noir about wrestling but I can't remember the title right now. Maybe it will come to me.

[Wyldesyde19]

The Big Clock


I’m not terribly familiar with Farrow’s filmography. He’s a director I know of, but apparently haven’t seen most of his films. Only Hondo, which I didn’t care for. So when I watched this, it was unfamiliar territory.

It’s actually better than Hondo.

For one, it has better actors, such as Milland as the man in the wrong place at the wrong time, and Laughton, as his demanding and imperious boss. Tyrannical really. Laughton runs a magazine publishing company. Milland is an editor who specializes in finding missing people, following clues that the police often overlook. All Milland (as Stroud) wants to do is take a long overdue honeymoon with his wife, but his job is threatened, along with his career, by Laughton (as Janoth). This film works because of the two of them. Old professionals, each one doing their part to his down a film that doesn’t really have much to do with a clock to begin with (except as maybe a metaphor or something. I didn’t care enough to dig too deep). Perhaps his fascination with clocks comes from his need that everything runs as efficiently or dependably as his clock.

Whatever the case, there’s a murder, and Stroud was the last person seen with her. Of course, no one knows this. So he’s tasked by Janoth to find this missing person of interest, so Stroud must use his knowledge of how the system used by his magazine works to stay one step ahead of them. It helps that it was he that created it.

It’s decent enough, but not terribly engrossing. Just enough to have kept me interested until the end.

[hownos]

I saw Night and the City many years ago. Unfortunately I remember exactly none of it. I will rewatch it sometime this week. I have the opportunity to do so, and I think a rewatch is overdue.

Richard Widmark was great in this

[I_Wear_Pants]

Richard Widmark was great in this

I do not doubt your statement. I look forward to forming my opinion on this. I hope it coincides with yours. I have the movie saved on my computer. I found it on Internet Archive.

[SpelingError]

Stanislaus Zbyszko in Night and the City gives one of the best non-actor performances I can think of. Anyways, I'm pretty sure the film made my top 5 for the film noir countdown. I hope you all enjoy it!

I didn't join this thread only because I'm not the best at reviewing film noir for some reason.

[Citizen Rules]

I do not doubt your statement. I look forward to forming my opinion on this. I hope it coincides with yours. I have the movie saved on my computer. I found it on Internet Archive.Internet Archive is a great place for legit legal to watch noirs and lots of other movies, books, etc. Such a valuable resource.

Stanislaus Zbyszko in Night and the City gives one of the best non-actor performances I can think of. Anyways, I'm pretty sure the film made my top 5 for the film noir countdown. I hope you all enjoy it!

I didn't join this thread only because I'm not the best at reviewing film noir for some reason.I just rewatched Night and the City and yes you're right Stanislaus Zbyszko was very memorable in his role. He gave a lot of pathos to the film and like you said he was non actor and that was his one and only film.

[I_Wear_Pants]

Internet Archive is a great place for legit legal to watch noirs and lots of other movies, books, etc. Such a valuable resource.



Oh indeed. I haven't gotten around to the movie yet unfortunately. I get busy with things and don't always do some stuff in a timely manner. I'll get to Night and the City this weekend. I might watch Harder They Fall first just because I've been meaning to get it to longer. I hope I don't lag on the Hall of Fame stuff. You say our deadline is Monday to watch the film?

[Citizen Rules]

Oh indeed. I haven't gotten around to the movie yet unfortunately. I get busy with things and don't always do some stuff in a timely manner. I'll get to Night and the City this weekend. I might watch Harder They Fall first just because I've been meaning to get it to longer. I hope I don't lag on the Hall of Fame stuff. You say our deadline is Monday to watch the film?Yup this coming Monday is the deadline for Night and the City. The idea is one film per week. The good thing is old film noirs are usually much shorter than modern films so easy to watch.

[I_Wear_Pants]

Yup this coming Monday is the deadline for Night and the City. The idea is one film per week. The good thing is old film noirs are usually much shorter than modern films so easy to watch.

It should be no problem then. The kiddos are in school tomorrow and Monday so I have plenty of time. I wanted to make sure. Night and the City is about 90 minutes so it should be easy enough to find the time.

[Citizen Rules]

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwfEhpHtYf1K7NpioavQNYc5YiTL1UMRnelODv_M5bb4AN8KvXyA7jtq9Uf4_KogH8ycMo4HBUzkuv6Kpm8xPHGba22nSG wVmv6YmbR5GqOHdD0biX0mR7QaVQReogcWbd_IdIAJMP0cFh_2v1B5QUiunUmwJKOhULT1J5ciq5CjgX3OwZKjOnSCuC4Q/w400-h309/Night%20and%20the%20City%20(1950)%205.jpg
Night and the City
(Jules Dassin 1950)

Visually Night and the City is one of the most stunningly impressive noirs ever shot on celluloid. I was aware of that fact during my second viewing of this noir but it really hit me when just now I went looking for screenshots for my write up. So many great shots, lots of low angles and compositions with attitude, that say so much, even though they're just screen shots.

Night and the City is one noir where I really felt for the lead character played with palatable desperation by Richard Widmark (Harry Fabian). Fabian is a dreamer and a schemer but I got this sense that deep inside he was a nice guy even though he's involved in shading doings. He's like a child with an unbridled dream to get rich quick. It was the relationship between him and Gene Tierney's character (Mary Bristol), that gave Fabian's actions weight, as all the things that he did to better himself ended up hurting the woman who loved him. He has love, he has her, he has everything, but he doesn't know it...so in true noir fashion he destroys himself with his own Achilles heal in his quest to be a 'big shot'. Great noir.




(https://en.wikipedia.org/wiki/Hermione_Gingold)

[gbgoodies]

Night and the City is one noir where I really felt for the lead character played with palatable desperation by Richard Widmark (Harry Fabian). Fabian is a dreamer and a schemer but I got this sense that deep inside he was a nice guy even though he's involved in shading doings. He's like a child with an unbridled dream to get rich quick. It was the relationship between him and Gene Tierney's character (Mary Bristol), that gave Fabian's actions weight, as all the things that he did to better himself ended up hurting the woman who loved him. He has love, he has her, he has everything, but he doesn't know it...so in true noir fashion he destroys himself with his own Achilles heal in his quest to be a 'big shot'. Great noir.



I watched Night and the City, but I felt the opposite about Richard Widmark's character, Harry Fabian. To me, he just seemed like a loser who was looking for a "get rich quick" scheme. He didn't deserve to be with Mary (Gene Tierney). She deserved better than him.

I agree with what you're saying about him having everything but not knowing it, but his constantly asking her for money, made him almost as unlikable as the criminals in the movie.

I felt nothing when he was killed at the end, and I was glad to see that she ended up with her friend Adam (Hugh Marlowe).

[John-Connor]

98478
Love Night and the City, had it as 18th favorite Film Noir of all time on my ballot for the Film Noir countdown. It has very few weak spots and many strong points. Like the cinematography and atmosphere of the sleazier parts of London city. Widmarks’ compelling portrayal of a doomed man. I agree not a super likable character but that makes it harder to portray. So, even more props to Widmark. The talented Gene Tierney has crept up on my favorite actress list over the last couple of years. Surpassing the likes of Joan Fontaine and Grace Kelly to name a few.

The story is a familiar classic one, big city hopes and dreams crushed. With great inclusion of the shady wrestling world. All concluded in perfect Film Noir fashion. Blacklisted director Jules Dassin himself was also struggling a bit at the time. Giving him extra motivation to turn this project into a success which is evident in the end result. It will probably end up pretty high during this HoF. Good nomination.👍

[Citizen Rules]

...The talented Gene Tierney has crept up on my favorite actress list over the last couple of years. Surpassing the likes of Joan Fontaine and Grace Kelly to name a few...Gene Tierney is one of my favorites and she was in some of the best noirs made. These are all the noirs that she was in:
Where the Sidewalk Ends (1950)
Night and the City (1950)
Whirlpool (1950)
Leave Her to Heaven (1945)
Laura (1944)
The Shanghai Gesture (1941)...she looks amazing in this one.

[Citizen Rules]

I watched Night and the City...I felt nothing when he was killed at the end, and I was glad to see that she ended up with her friend Adam (Hugh Marlowe).I had originally wrote another paragraph in my review of Night and the City about Hugh Marlowe, but I deleted it before posting. Basically I said I thought the Hugh Marlowe character was the one flaw to the movie as he's unneeded and doesn't do anything except
give Gene Tierney's character a happy ending after Widmark's character is killed. I wish Hugh Marlowe had been replaced with an older British widow or spinster like Hermione Gingold so that she might have gave Gene Tierney some pearls of wisdom about the dangers of living life in the underworld of London.

[John-Connor]

Gene Tierney is one of my favorites and she was in some of the best noirs made. These are all the noirs that she was in:
Where the Sidewalk Ends (1950)
Night and the City (1950)
Whirlpool (1950)
Leave Her to Heaven (1945)
Laura (1944)
The Shanghai Gesture (1941)...she looks amazing in this one.
Seen them all expect Whirpool and The Shanghai Gesture. Next Tierney I'll be watching: Dragonwyck 1946 by Mankiewicz.

[Citizen Rules]

Seen them all expect Whirpool and The Shanghai Gesture. Next Tierney I'll be watching: Dragonwyck 1946 by Mankiewicz.Dragonwyck is well worth watching, MovieGal loves that movie and told me about it and so I watched it.

[MovieGal]

Dragonwyck is well worth watching, MovieGal loves that movie and told me about it and so I watched it.

You forgot to mention a film I enjoy with Ray Milland. I'm not even sure you have seen it.

The Uninvited (1944)

[Citizen Rules]

You forgot to mention a film I enjoy with Ray Milland. I'm not even sure you have seen it.

The Uninvited (1944)Oh yeah I love that one, I've seen it a couple of times.

[MovieGal]

Oh yeah I love that one, I've seen it a couple of times.

As have I. I have it on Criterion dvd.

Thanks Citizen Rules and John-Connor, I'm watching Dragonwyck. It's on YouTube, full movie. To lazy to search my dvds for it.

[Wyldesyde19]

You forgot to mention a film I enjoy with Ray Milland. I'm not even sure you have seen it.

The Uninvited (1944)
I need to see this one yet.

[MovieGal]

I need to see this one yet.

Did you get the name of that one you asked me about?

[Wyldesyde19]

Did you get the name of that one you asked me about?
I did yes, thank you.

[John W Constantine]

Are we still running a HoF here?

[Citizen Rules]

Are we still running a HoF here?Oh me? Why yes of course I'm still hosting:p

I was going to ask how everyone was doing as today at midnight is the deadline for Night and the City. But I thought that wouldn't be good form as there's still some hours left before the deadline. Though I'm a bit worried to be honest, as only You, me and John-Connor have watched it. I guess we'll see if the other's are still in or out.

I will go ahead and post the third week's noir in a minute.

[Citizen Rules]

The noir for the 3rd week is:


https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.chisholm-poster.com%2Flarge%2FCL79103.jpg&f=1&nofb=1&ipt=f6dcf7503864e6353b983a2a2fba4d2ba94797352d57c2f81a2cd38265512d3e&ipo=images
I Want to Live! (1958)
Dir: Robert Wise

Due Date: Monday 25th

@John-Connor (https://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080) @iluv2viddyfilms (https://www.movieforums.com/community/member.php?u=1628) @beelzebubble (https://www.movieforums.com/community/member.php?u=109178) @Wyldesyde19 (https://www.movieforums.com/community/member.php?u=104656) @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) @John W Constantine (https://www.movieforums.com/community/member.php?u=109412)

[I_Wear_Pants]

Things got away from me today so I couldn't get to Night and the City yet. I'm going to try before I sleep tonight. I can't guarantee success. Sorry my friends. My Mondays don't normally go like this.

[I_Wear_Pants]

The noir for the 3rd week is:


https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.chisholm-poster.com%2Flarge%2FCL79103.jpg&f=1&nofb=1&ipt=f6dcf7503864e6353b983a2a2fba4d2ba94797352d57c2f81a2cd38265512d3e&ipo=images
I Want to Live! (1958)
Dir: Robert Wise

Due Date: Monday 25th

@John-Connor (https://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080) @iluv2viddyfilms (https://www.movieforums.com/community/member.php?u=1628) @beelzebubble (https://www.movieforums.com/community/member.php?u=109178) @Wyldesyde19 (https://www.movieforums.com/community/member.php?u=104656) @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) @John W Constantine (https://www.movieforums.com/community/member.php?u=109412)


Is this also on Archive?

[Citizen Rules]

Is this also on Archive?No it's not but I have a good link for anyone who needs it.

[I_Wear_Pants]

I forgot to post here when I did it that I watched Night and the City (although the important bits don't take place at night). It's pretty good. Widmark played a good wishy-washy overly-ambitious bad-at-everything guy although it got annoying after a while. His boss was dense and his boss' girl was more-so. Ah overall it's fairly good. I liked Night and the City. Sorry it took me so long to watch it.

[PHOENIX74]

I've caught up with Night and the City again and my review should appear here any day now - I apologize for any tardiness and promise there's a pretty good reason I'm late with this one.

[John-Connor]

I Want to Live! (1958)
https://image.tmdb.org/t/p/original/4VTRst9n0ewbfjUUNBGOf2iLTGX.jpg
Nightlife scenery, cool Jazz tunes playing combined with poor decision making and bad luck. Starts off like a typical Film Noir, but turns into a heavy and compelling true crime drama. Excellent filmmaking, good job making the objects in the death chamber look horrifying. Powerful award winning performance by Susan Hayward. (Tough year Elizabeth Taylor was also in the running for Cat on a Hot Tin Roof.) Overall a very memorable and intense viewing experience. Robert Wise does it again for me. I have yet to be disappointed by this director.

4+

[Citizen Rules]

I Want to Live! (1958)
Nightlife scenery, cool Jazz tunes playing combined with poor decision making and bad luck. Starts off like a typical Film Noir, but turns into a heavy and compelling true crime drama. Excellent filmmaking, good job making the objects in the death chamber look horrifying. Powerful award winning performance by Susan Hayward. (Tough year Elizabeth Taylor was also in the running for Cat on a Hot Tin Roof.) Overall a very memorable and intense viewing experience. Robert Wise does it again for me. I have yet to be disappointed by this director.



Nice review JC. Robert Wise made so many great films. He's a director who I hope to watch all of his filmography. I see he also made other noirs:
Odds Against Tomorrow 1959
I Want to Live! 1958
The Captive City 1952
The House on Telegraph Hill 1951
Born to Kill 1947

[PHOENIX74]

https://i.postimg.cc/3NP9RYgh/night-and-city.jpg

Night and the City - 1950

Directed by Jules Dassin

Written by Jo Eisinger
Based on a novel by Gerald Kersh

Starring Richard Widmark, Gene Tierney, Googie Withers & Herbert Lom

Harry Fabian (Richard Widmark) is a crook. He's not a good man by any measure the word "good" could possibly be twisted, and even his rivals laugh with glee in the knowledge that Harry's new business partners, marks, friends and fellow travellers all soon find out he's a con and is using them. He works as a club tout for a London spot called the Silver Fox Club, owned by Phil Nosseross (Francis L. Sullivan), duping unsuspecting tourists and locals into going there using various confidence tricks. His hairbrained "get rich quick" schemes are always crooked, and he usually ends up stiffing those he's in business with. So why is it I feel so sorry for Harry? Why do I pull for him so hard while watching Jules Dassin's Night and the City? Perhaps it's because Widmark gives him the countenance and behavioral attributes of a child. He gets overexcited about future plans, his whole body exploding with absurd energy as he dances, fiddles, bangs and stomps. His expectations are so unrealistic, and he completely lacks self-awareness. Behind all the grafting and hucksterish insincerity there's a weird kind of innocence that part-time girlfriend Mary Bristol (Gene Tierney) can see clearly - and it's obvious why she finds this man-child adorable, despite the fact that he lacks maturity and manliness. I really don't want to see Harry undone - or worse, dead.

This is all thanks to an arguably career-best turn from Widmark - an actor who should by all rights be considered a legend. One of the things he was famous for is his laugh, but in my opinion he had a million different laughs, and each character he played with the range he was blessed with had his own distinctive one. In Night and the City it's a weapon that almost seems to keep the truth at bay. Widmark's facial features can also contort into ghoulish, contorted grins and painful grimaces, which we see a lot of. I can't think of one single moment in the film when Harry's isn't racing around, celebrating victory, being cornered like a rat, arguing, gloating or desperately trying to convince people to give him a break. It all requires so much from the actor - he must have been exhausted at times, especially during periods when multiple takes were needed. The only other performance in this film that comes close is Stanislaus Zbyszko's, who funnily enough wasn't an actor. He plays famed ex-wrestler Gregorius the Great, who is part of Harry's plan to become a big-name wrestling promotor and host big matches in London. His scheme is labyrinthine and brings him into direct competition with Kristo (Herbert Lom), who just happens to be the son of Gregorius.

Harry is always the outcast, and you have to wonder how director Jules Dassin perceived what he was making, being an outcast himself after being outed during the McCarthy witch hunts during the late 1940s and early 1950s. Dassin was blacklisted, and this was why he was making one of his final Hollywood-backed films during this period in London. The city proved an ideal location for film noir, with it's many dark and foreboding spaces, dead-ends and grim, bomb-scarred streets featuring dour buildings. Many a nightclub exists down a dark alleyway, and Phil Nosseross sits in an office tucked away in his club where the shadows play tricks and make it seem he's an awfully large spider sat at the center of some macabre web. In many ways Night and the City is an atypical film noir classic, but as far as shadow and darkness are concerned they're used strikingly well. Max Greene's cinematography manages to frame characters in ways that were progressive for their day, and often miraculously maintains focus in the dark with Harry on the run - a trick that would have been particularly stressful for any camera operator to pull off. This film really mattered to those who were making it.

What's amazing about the movie is how many other distinct personalities inhabit it. Helen Nosseross (Googie Withers) is Phil's wife, and desperately wants to become financially independent so she can leave her husband. She helps Harry front the money for his wrestling venture, but might come to regret that later. Adam Dunne (Hugh Marlowe) is Mary Bristol's neighbour, and serves as a counterpoint to Harry in that he's clean, and is a morally upright, decent man. The kind of guy who is kind to everyone and tells the truth. Figler (James Hayter) is Harry's buddy - the kind of buddy who wouldn't hesitate to turn Harry in for a price. The Strangler (Mike Mazurki) is an unhinged, dangerous wrestler who Harry turns to when in need of a big attraction that'll keep investors in his business hanging in there. Anna (Maureen Delany) has a scow anchored on the Thames and cares about Harry in a motherly way - despite the fact she can't help him. All of these characters have important parts to play in this film, and I love the fact that the story has room for so many interesting, varied and memorable personalities - introducing most of them early in Jo Eisinger's very pointed, flowing screenplay.

I have to admit to having seen both the American and British versions of this movie - there are some interesting differences, and they have completely unique scores composed by different musicians (Franz Waxman the American version and Benjamin Frankel the British.) Obviously they aren't completely different films, but the British version includes a number of scenes that aren't in the American and the opening scene when we're introduced to the relationship Harry has with Mary is completely different - it has him trying to convince her to put an absurd amount of money into a "fuel efficiency" scheme. Jules Dassin has always maintained that the American version is "his" version, and thus I guess the more official version if you look at movies through that prism. I really like the British version because there are moments in it that help clarify a few things, such as why Phil is so set on wrecking Harry (he spies Helen kissing him) and why Helen is desperate to leave Phil. It also helps to expand Gene Tierney's role, which seems a little too small in the American version. It doesn't make for a huge difference however, with both films excellent and worth the utmost in praise.

The character of Harry lives on in the likes of Howard Ratner, played by Adam Sandler in Uncut Gems (2019) - the hopeless dreamer who will continually take monumentally stupid risks in the hopes of unrealistic financial gains, somehow impervious to any thoughts to what hot water failure will land him in. Not only that, but these characters are blind to what they have, because they're constantly dreaming of the day they get their hands on near-infinite riches by playing their cards right. These characters are ultimately frustrating and deluded, but never seem bad enough to be worthy of outright hatred. They're not malevolent, cruel, capricious or evil - just misguided and, admittedly, immoral. I don't love Harry Fabian, but I do feel sympathy for him and what seems to be his inevitable destiny. It's the destiny of a gambling addict with the added weight of what being part of the underworld brings, and for such a child-like man this seems almost cruel. Night and the City is a damned good movie though, and has become one of my favourite film noir classics from this period of moviemaking. Made by a talented filmmaker at his peak - blacklisted for no good reason, but on the verge of making the classic Rififi and winning Best Director at Cannes.

Rating : 4.5

[John W Constantine]

I Want to Live! (1958, Wise)

I don't know if you would classify this noir or crime drama. For me it definitely devolves into a clinic of how to make a viewer suffer as the main character does in the film. Susan Heyward is full of sass and even has some seemingly to spare here. Something akin to a classic wisecracking gumshoe. The story of the criminal pulling off one last job and going straight is common for these flicks but the real drama takes over after our main character is convicted of a murder that she didn't commit and sent to the gas chamber. Here Robert Wise puts on a clinic of escalating dread only to offer a slight ray of false hope in the closing minutes before it is ripped away. Precision is always key with him, everything in his films always have a crisp and confident way of telling the story. I watched this first for the noir countdown earlier this year and this revisit improved my opinion on it.

[Citizen Rules]

Night and the City - 1950

...So why is it I feel so sorry for Harry? Why do I pull for him so hard while watching Jules Dassin's Night and the City? Perhaps it's because Widmark gives him the countenance and behavioral attributes of a child. He gets overexcited about future plans, his whole body exploding with absurd energy as he dances, fiddles, bangs and stomps. His expectations are so unrealistic, and he completely lacks self-awareness. Behind all the grafting and hucksterish insincerity there's a weird kind of innocence that part-time girlfriend Mary Bristol (Gene Tierney) can see clearly - and it's obvious why she finds this man-child adorable, despite the fact that he lacks maturity and manliness. I really don't want to see Harry undone - or worse, dead.

This is all thanks to an arguably career-best turn from Widmark...Excellent review Phoenix. You nailed what I was trying to say about Harry (Richard Widmark). For me if Widmark hadn't been able to play his role like an over excited child then I might not have cared what happened to him. But I did and like you say that's thanks to Widmark.

[Citizen Rules]

I Want to Live! (1958, Wise)

I don't know if you would classify this noir or crime drama. For me it definitely devolves into a clinic of how to make a viewer suffer as the main character does in the film. Susan Heyward is full of sass and even has some seemingly to spare here. Something akin to a classic wisecracking gumshoe. The story of the criminal pulling off one last job and going straight is common for these flicks but the real drama takes over after our main character is convicted of a murder that she didn't commit and sent to the gas chamber. Here Robert Wise puts on a clinic of escalating dread only to offer a slight ray of false hope in the closing minutes before it is ripped away. Precision is always key with him, everything in his films always have a crisp and confident way of telling the story. I watched this first for the noir countdown earlier this year and this revisit improved my opinion on it.Nicely done! I said this recently that I'm a fan of Robert Wise's work. You mentioned the noir countdown did you include I Want To Live on your ballot? I wonder if I did? I can't remember that far back.

[John W Constantine]

Nicely done! I said this recently that I'm a fan of Robert Wise's work. You mentioned the noir countdown did you include I Want To Live on your ballot? I wonder if I did? I can't remember that far back.
I did not. Didn't watch it until it was revealed on the countdown. More than likely would have made spot towards the bottom. Harsh but those countdowns were loaded with great films.

[Citizen Rules]

I did not. Didn't watch it until it was revealed on the countdown. More than likely would have made spot towards the bottom. Harsh but those countdowns were loaded with great films.I didn't remember it was on the countdown until you just mentioned it. I looked for my noir ballot but I must not have save it, rats. Maybe I posted it on the noir countdown, I'll go take a look see.

[PHOENIX74]

https://i.postimg.cc/43NyzykK/I-Want-to-Live-1958-master-poster-art.jpg

I Want to Live! - 1958

Directed by Robert Wise

Written by Nelson Gidding & Don Mankiewicz
Based on a articles and letters written by Edward Montgomery & Barbara Graham

Starring Susan Hayward, Simon Oakland, Virginia Vincent, Theodore Bikel & Wesley Lau

Depending on which way you look at it, this dramatic '58 film is either a stinging condemnation of capital punishment or hysterical propaganda - but more curious minds might want to put aside whether Barbara Graham (Susan Hayward) was guilty of the murder of Mabel Monohan, and focus on the way the justice system functioned in this instance. Murderers are encouraged to be the first to confess and pin the blame on co-conspirators - thus attaining for themselves immunity. Fellow inmates entrap the accused and undercover cops encourage or demand they confess in return for false alibis. For that prison sentences are reduced to 'time served'. Criminals are promised favours for their testimony. If the suspect in the hot seat is actually guilty, it often feels there's justification for no-holds-barred battle when it comes to law and order - but when that suspect is actually innocent, these battle tactics will produce guilty verdicts regardless, and as such are obviously not serving the interests of justice. From what I read, Barbara Graham was probably involved with the murder, and thus could be prosecuted for murder, but at the same time the way she was found guilty really stinks - and the fact that she was sentenced to death rubs one the wrong way. Life imprisonment when there's a shred of doubt concerning her involvement seems a more decent way to have handled this case.

So what kind of Barbara Graham does Susan Hayward give us with her Oscar-winning portrayal - one that swept aside the likes of Elizabeth Taylor for her star turn in Cat on a Hot Tin Roof? She brings forth a Barbara who is defiant and one who lusts for life - and also a Barbara who is perhaps a little unrealistically principled - trying to live a straight life after her first stint in prison, but being let down by husband Hank (Wesley Lau) and his drug addiction. We don't dwell too much on the fact that the real Barbara Graham was a prostitute - first working naval bases before graduating to a high class brothel in San Francisco. This was 1958 (at one famous moment late in the film, she's denied Barbara's famous last words "How the hell would you know?" when executioners try to advise her on the most painless way to take in the poisonous gas - instead she's restricted to "How do you know?") and as such Barbara's life is cleaned up a little so as to be suitable enough for audiences to see. The parties she attends seem remarkably clean by today's standards - even the reefers have an element of plausible deniability to them, for they might just be cigarettes. Nobody swears, does anything lude or gets into any trouble. You'd be fine with your 14-year-old attending, except he'd complain about the jazz being "so old fashioned". This all feeds into how it feels Barbara is unfairly persecuted - it only seems even more so now.

In this Robert Wise, Gidding & Mankiewicz version of the story, it's the cops who prey on Barbara. They try to entrap her in bars by tempting her. They follow her and track her. They nab her for perjury when she tries to help a friend. The jail staff poke, probe and humiliate her - they take away her humanity and rip apart what has sentimental value to her. The press make a mockery of her and her story - and turn her misfortune into a sideshow attraction. Because we never really see Barbara in a bad light, it all seems like a tragic miscarriage of justice. Her moments of defiance are tinged with righteous anger because she only demands what every person deserves - her dignity and her human rights. Her involvement with criminals always seem somewhat incidental and harmless. She delivers things. She tells a few lies. She hangs out in dens with the men who offscreen pull off the real crimes and hurt people. She shouldn't be doing it, but having a murder pinned on her and being sentenced to death? Is it because she's outspoken? Is it because she's desperate? The world never gave her and her kids a fair chance, and now they're punishing her after setting her up to fail. This is definitely Barbara Graham's side of the story.

At the corners of the screenplay, fighting to be heard, are the good guys. Psychiatrist Carl G. G. Palmberg (Theodore Bikel) sees her as a rebel with some questionable values, but contends that she's completely non-violent and innocent. He tries to convince her lawyers to fight for her obvious guiltlessness. Pulitzer-prize winning journalist Edward S. "Ed" Montgomery (Simon Oakland) is the only one who manages to break through and fight his way to a place in the middle of the movie, writing Barbara's story and sharing correspondence with her. Obviously he comes to understand the injustice that dogs his pen-friend, but is powerless to do any more but make a few bucks from her tragic destiny. As luck would have it, injustice is just as good an angle as any other when it comes to selling papers. When horns start honking in what must be a celebratory gesture at Barbara's execution, he manages to blot the ugliness of it out be silencing his hearing aide. He's heard enough. To be fair, I'm against the death penalty in all but the most extreme of cases - and Barbara's does fall well short of that no matter her culpability.

What the film does do resoundingly well is give us all a clear picture of just how ugly and horrific the whole execution process is. You could hardly fashion a more terrifying method of doing away with someone than the gas chamber. You'd think humanity would be well aware of that by now! San Quentin's gas chamber is faithfully reproduced in a studio - you can look up the real one to see just how exactly it's copied. For once those making movies needed to do no exaggerating - it's scary enough, and Lionel Lindon's camera angles and careful framing turn it into an object of claustrophobic horror. We carefully watch the preparation of sulfuric acid and other elements which will combine to produce a deadly cyanide mixture and do anything but immediately render poor Barbara deceased. This final stretch is what makes even today's audience walk away from the film a little less steady than they were a few hours earlier, as you can't but imagine what your internal response would be if forced to endure this unendurable fate. Barbara steps forth with great dignity, pride and defiance and it's those carrying out the procedure that have guilt written all over their faces. Surely this should be the other way around? Spare a moment to think of how you'd fare as executioner.

I think I Want to Live! is a great anti-death penalty film - it's only fault perhaps lionizing somebody who those in the know tell us most probably was involved with the murder of a defenseless old lady just because she/they thought she had a large amount of money stashed away in her house. It does keep a few of the more suspect elements of the American criminal justice system in our minds though. All of the wheeling and dealing that often ends up gifting the odd murderer/criminal the benefits of getting in early and ratting on their partners in crime. All of the arm-twisting and entrapment which do absolutely nothing to uncover the truth, but simply close cases and get judges to bang that gavel in quick order. At the center of it all is Susan Hayward and the sassy character we all immediately identify with simply because she demands a minimum of respect and won't be defeated by a heartless, relentless system. She gave this performance all the zest and living presence the title "I Want to Live!" absolutely demands. She's not really Barbara Graham - she's simply every American who has become an unwitting victim of a system that punishes the qualities Hayward's version of her has in spades.

4

[beelzebubble]

Night and the City (1950)

Googie Withers has the best RBF in the biz! No one can look as disdainful as she. Gene Tierney is, of course, luminous. Fabulous character actors abound. I had not seen this movie beforehand, but I had seen the moment that Widmark meets Gregorius and his protegee on the street many years ago. It is a visual that has stuck with me for years. So much so, that I thought I had already seen the movie.
Finally Richard Widmark gives, what I believe to be the performance of his career. He can chew the scenery all he wants but Dassin manages to keep it appropriate to the tone of the scene at hand.
It is so beautifully photographed and the scenes are so compellingly staged that you can’t look away. This is an absolutely gorgeous movie full of incident and the horror of mediocrity.

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.discdish.com%2Fwp-content%2Fuploads%2F2016%2F11%2Fi-want-to-live-1.jpg&f=1&nofb=1&ipt=a502242fd64110e2a8e00052afcc7b81ece716977bbaee998faab32eac7f1892&ipo=images
I Want to Live! (1958)
*Spoilers*



For me the importance and impact of the entire movie builds until the final scenes where Susan Hayward is strapped into a gas chamber chair and we watch her die as she inhales cyanide gas. That one scene has staid with me as one of the most powerful and personal scenes I've experienced in cinema. Knowing that this execution really happened while imaging what it would be like to face that chamber of poison gas is what makes the movie so potent.

[I_Wear_Pants]

I just finished I Want to Live! and I must say it's quite the film. I found it awesome. The ending is so nerve-wracking in spite of what felt like an obvious outcome. I could feel my heart racing. It's great. I am more than glad I took the two hours to watch it. I look forward to the next one. The parenting stuff was pretty emotional too because I have a close bond with my kids, although they aren't infants anymore, so it isn't quite identical although it is similar to her relationship with her offspring. Leaving them will be hard when the time comes. I just hope it doesn't involve me being executed for murder.

[Citizen Rules]

The noir for the 4th week is:


https://4.bp.blogspot.com/-HEycNmHUdSU/TgA-CDdl15I/AAAAAAAAGqc/CbIgh5ndUH8/s1600/Naked_City.jpg
The Naked City (1948)
Dir: Jules Dassin

Due Date: December 2nd

@John-Connor (https://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080) @iluv2viddyfilms (https://www.movieforums.com/community/member.php?u=1628) @beelzebubble (https://www.movieforums.com/community/member.php?u=109178) @Wyldesyde19 (https://www.movieforums.com/community/member.php?u=104656) @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) @John W Constantine (https://www.movieforums.com/community/member.php?u=109412)

[John W Constantine]

Happy to rewatch this from the noir countdown.

[I_Wear_Pants]

I found a page for Naked City on Archive except the page didn't work. Is there another way to watch it?

[Citizen Rules]

I found a page for Naked City on Archive except the page didn't work. Is there another way to watch it?Lot of copies on YouTube, some are even HD. I'll message you a link.

[Citizen Rules]

Avoid the cheesy colorized version of The Naked City that's also on YouTube. Or check it out to see just how bad AI colorizes b&w movies.

[I_Wear_Pants]

Avoid the cheesy colorized version of The Naked City that's also on YouTube. Or check it out to see just how bad AI colorizes b&w movies.

As a rule of thumb, I don't watch colorized versions of films if I can avoid it. If the film was released black and white, that's how I watch it. This is not meant to be snooty. I want it to be an authentic presentation of the film.

[Citizen Rules]

I watched this last night for what I believe is the second time and my thoughts are unchanged about this interesting procedural noir.


https://www.movieforums.com/community/attachment.php?attachmentid=36459&stc=1&d=1507945992
The Naked City (Jules Dassin 1948)


The Naked City is a film that almost never was, Universal Pictures executives didn't know what to do with this hybrid film and wanted to scrap it but thanks to the family members of producer Mark Hellinger, they made Universal release this movie. Mark Hellinger is also the voice of the narration that dominates the parts of the film.

https://www.movieforums.com/community/attachment.php?attachmentid=36457&stc=1&d=1507945964


What's amazing about this Academy Award winning film (Best B&W Cinematography & Best Editing) is that it was shot in only 84 days, and exclusive shot in the streets and buildings of New York City. No studio shots at all. This give us a window back to NYC circa 1948 as we see sights and sounds that are absolutely authentic.

While the voice over narration is kind of odd and gets in the way at times, its also necessary as it was impossible to record sound on many of the street shots, thus a voice over narrator was used to fill in the missing sound blanks. Once we settle into the film the narration is infrequent and the actors take over and deliver up a fine little docudrama noir.

Especially good to see was Barry Fitzgerald as an experienced Homicide detective on the trail of an elusive murderer. Barry is wise, patient and while he uses his years of experience in police work, he's also teaching his young and green assistant. The film takes a low key approach and shows us the leg work that goes into tracking down 1000s of leads in a criminal case. I found the story interesting and exciting especially the police procedural parts.

[John-Connor]

THE NAKED CITY (1948) Jules Dassin
96683

Brilliant police procedural investigation Film Noir. It lacks ‘starpower’ in the acting department. However, it makes up for it with the real star of this film which is in my opinion ‘The Naked City’ itself. The city lives, sleeps and wakes up through the impressive shots of the infrastructure, architecture and apartments. It has one of my favorite Film Noir opening scenes. The aerial views or bird's eye view of New York City’s Manhattan look absolutely amazing. One of the ‘highest’ views from that era, maybe even the highest? Loved it.

The cast, although lacking in starpower, still did a great job and allow you to focus more on the interesting mystery story they're telling and the police procedurals used to solve it. A very good re-watch for me that stands out more for technical filmmaking reasons than dialogue or performance reasons.

[John W Constantine]

The Naked City (1948, Dassin)

The world is a canvas. Or so it seems in this noir caper. Supplied with a voice over narration and plenty of wide open shots of the city, New York itself becomes the main character in this story. The characters involved here in this simple run of the mill story (murder mystery/jewelry theft) are adequate enough to help move things along with its breakdown of the investigation process. It also helps putting a visually stimulating landscape in the background during the big chase scene towards the end. I assume there is a discussion to be had in regards to building worlds instead of supplying enough material to help building your main characters. For here, I can say it does a pretty good job at both.

[I_Wear_Pants]

My goal is to watch Naked City either Saturday or Sunday of this weekend. Right now I'm in the middle of The Russians Are Coming the Russians Are Coming and putting the kiddos to bed and then maybe gaming and/or reading and then sleep so it'll be a day or two. I promise I'll get to it before Monday.

[PHOENIX74]

https://i.ibb.co/r6mmGSK/The-naked-city.jpg

The Naked City - 1948

Directed by Jules Dassin

Written by Albert Maltz & Malvin Wald

Starring Barry Fitzgerald, Howard Duff, Dorothy Hart & Don Taylor

The Naked City really makes you ponder how original it must have seemed on release in 1948, being one of the first police procedural movies (I can dredge up only two that come before it, 1947 Henri-Georges Clouzot film Jenny Lamour and Fritz Lang's 1931 classic M) - one that would go on to inspire the likes of Akira Kurosawa's Stray Dog, released in 1949. What sticks out even more to me however is the famous location work in New York City. In fact, the structure of the film - which includes components filmed all over New York - makes this more a film about the Big Apple than a murder. I think one of the primary influences which led Jules Dassin and his crew out into the streets during the hot summer this was made were the Italian neorealist films being made overseas - and indeed in look this movie does come close to one of my all-time favourite films, Bicycle Thieves, which came out the same year. There isn't much staging done with extras, and at times shots were filmed using hidden cameras so that people on the street acted as they normally would - unaware they were being filmed.

This film isn't just a tour of New York though - there's a murder to be solved. Two detectives - the experienced (and very Irish) Lt. Dan Muldoon (Barry Fitzgerald), and the much more inexperienced Detective Jimmy Halloran (Don Taylor) are assigned to investigate the murder of ex-model Jean Dexter - drowned in her own bathtub. They find a pair of men's pajamas at the scene (imagine being a murderer and leaving your pajamas at the scene) which yields the name "Philip Henderson", they discover the fact that all of Jean's jewelry has been stolen and there is a bottle of sleeping pills nearby which have been prescribed by a doctor by the name of Lawrence Stoneman (House Jameson). The police go on to interview Jean's best friend, Ruth Morrison (Dorothy Hart), and Jean's previous boyfriend - a man who goes by the name Frank Niles (Howard Duff). Niles happens to tell the detectives a whole load of lies - he fails to tell the truth with just about every answer he gives. Are there nefarious reasons for this dishonesty, or is Niles simply a compulsive liar? All of the detectives on the case do a lot of leg-work, follow up lead after lead, and close in on the true facts surrounding the case.

Lurking in the background of The Naked City is a humble narrator - Mark Hellinger, who gives his impressions as to the work the detectives do, and the city of New York, which has it's own charms and idiosyncrasies. Hellinger happened to be the producer of The Naked City - he was a journalist, writer, theatre columnist and of course film producer. Sadly, he died of a heart attack on 21st December 1947 (some sources give his date of death as Christmas Eve) at just 44 years of age, only just squeezing in an early look at this film of his. Every time I hear that laconic narration, I can't help think of him. He'd produced some pretty good films in his day - the likes of noir classic The Killers and others featuring Humphrey Bogart and James Cagney. Hellinger also fought a tenacious battle over the score of The Naked City - the last artistic choice he'd ever fight so hard over. Dassin had assigned MGM colleague George Bassman, but Hellinger was so determined for Miklós Rózsa to give the film his musical accompaniment that he begged right up until the day before he died for his choice. Rózsa ended up scoring the action, and Frank Skinner the earlier, jazzier sections of the movie. 40s film scores always sound so bombastic to me, but there's an interesting mix to Naked City's.

The cinematography, handled by William H. Daniels, won him and the film an Oscar for what was then the black-and-white category. It all starts with a wonderful fly-over of what was already a skyscraper-festooned Manhattan Island - fascinating for it's look back in time. There's so much that's inventive here because of the newness of this kind of location shooting in a city, especially for an American production. There are a lot of long shots - for example, during a climactic chase near the end of the film - which ends up giving us a sense of perspective and scale. We get a sense of how close the person being chased is to disappearing into the throng of millions of New Yorkers - which would mean he'd certainly escape. There seems to be a lot of deep focus work as well, with a lot of action in the foreground and background that Dassin wants us to be able to clearly see. It gives the narrative a sense of gritty realness which is often lost on bare, empty sets in which there's a very specific focus and not much going on in the background. We get to really feel the fact that there are millions of stories playing out around this crime drama - and a hive of activity. The movie has such a strong heartbeat in that way, much like the neorealist films in Europe had at the time.

Malvin Wald earned an Oscar nomination for his part in writing this story, and editor Paul Weatherwax won this film it's other Oscar - no doubt a challenging and very novel project for him, with so many shots recorded on busy streets with real people on them. The chase scene itself would have earned him enough praise for this to be one of his most memorable efforts (he ended up winning another Academy Award - this one for his work on Around the World in 80 Days nearly a decade later.) All of this technical effort, from camera to editing suite, brought us well-realised visual enjoyment, but where did the inspiration originate? Funnily enough, notorious photographer Arthur Fellig - much more well known as Weegee - published a book of photographs called "Naked City", and it was Weegee who ended up being hired as a visual consultant for the film. It's debated as to how much of it's look he influenced however, and how much was really influenced by neorealism as a cinematic language the photographer couldn't come close to replicating himself. Still, it's such an interesting connection - the photographer, that title and his view of this big city.

So, this was quite a combination of intricate procedural plot detail and magnificent, bright and large-scale location photography. That really made The Naked City something new and for a film from the '40s stunningly original. Very fortunate that it fell to a filmmaker of Jules Dassin's particular talent to direct this movie - a very adaptable, inventive filmmaker with an eye for what helps a film visually on both a large and small scale. I enjoyed the detective story as well, for what it was - and it's sturdiness is probably why it's been replicated so often (most recently for the game L.A. Noire - eschewing it's original New York location of course.) I particularly enjoyed the chase at the end, which was genuinely exciting - still tense after so many decades and so many other films having had a chance to bring whatever they can to what The Naked City could only invent fresh with little that already existed to fall back on. During quieter moments, my mind would veer with fascination into sneaking peeks at 1940s society going about it's business without knowing that particular moment in these people's day would be immortalized in this film forever. Anyway, all up a worthwhile investment of time, enjoying this movie - my second Jules Dassin deep dive in a row.

Rating : 4

[I_Wear_Pants]

Sorry I kept getting to these late. I'm in the middle of Naked City now. Well not really the middle vis I'm ten minutes into it. I paused it to answer a text and dinner is nearly ready. Once dinner is done I'll get back to it. Phoenix mentioned that the film must have felt really fresh back in 1948 which I can't imagine it wouldn't have.

It reminds me of how Lost Weekend probably felt extreme by 1945's standards vis it's about an alcoholic delving deep into his addiction and ruining himself, and when I watched it in 2012 or so it felt relatively tame because I had seen other films delve into such a subject. My context and perception are different than theirs back then.

Back to Naked City, the narration is kind of gratuitous, which I think is a personal bias given my disliking of writing it, although it can work if done well. I like letting visuals and dialogue tell the story and not have narration explain it all. It's because I used to write with narration because I couldn't figure out another way, and someone coached me on how to avoid it, and now I always look for a way to tell a story without words, or make the words be a compliment to the visuals. Narration is too simple. Overall though the film is fine. The narration isn't terrible, and actually the guy saying the stuff about the city and the people is okay. It's the stuff like, "Some babies are 8:00 babies. Some are..." et cetera. Did we really need that as narration? There are so many other, exciting ways to show that tidbit.

[Citizen Rules]

The noir for the 5th week is:

https://m.media-amazon.com/images/M/MV5BNDVlMTFkYWUtYTU1NC00ZmMzLThkMGItODhlYjJhZWExYjE3XkEyXkFqcGdeQXVyMzAxNjg3MjQ@._V1_.jpg
Stray Dog (1949)
Dir: Akira Kurosawa

Due Date: December 9th

@John-Connor (https://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080) @iluv2viddyfilms (https://www.movieforums.com/community/member.php?u=1628) @beelzebubble (https://www.movieforums.com/community/member.php?u=109178) @Wyldesyde19 (https://www.movieforums.com/community/member.php?u=104656) @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) @John W Constantine (https://www.movieforums.com/community/member.php?u=109412)

[PHOENIX74]

That's pretty amazing The Naked City is kind of related to Night and the City and Stray Dog is kind of related to The Naked City, but we all nominated films separately without knowing what the other noms were.

[I_Wear_Pants]

Naked City is really good. I just finished it. It's done really well and really has no glaring weakness. I don't think it was spectacular though. Overall it's quite good. I liked it a lot.

Stray Dog I own. I'll need to find my copy. It shouldn't be a hard task vis I know about where to look. This week it should be easier for me to find time to watch the noir hall movie.

[Citizen Rules]

That's pretty amazing The Naked City is kind of related to Night and the City and Stray Dog is kind of related to The Naked City, but we all nominated films separately without knowing what the other noms were.Synchronicity.

[John W Constantine]

Stray Dog (1949, Kurosawa)

As I have grown older I have come to appreciate simple storytelling. Stray Dog is a story simply about a rookie cop that loses his gun. It becomes almost a story of obsessive guilt as Mifune ruminates over losing his piece and all that bad things that come from it. I did enjoy Kurosawa mixing in a few sequences of almost silent cinema as our young rookie goes out in the seedy places looking to find shady characters that can offer him a new piece for a price. The older detective Mifune is paired off with also helps things move along. I also like the advice that is given to our rookie detective during the closing moments.

[Wyldesyde19]

Holiday rush is over. I’ll be catching up on reviews

[beelzebubble]

Sorry this is so late. :(

I Want to Live! (1958)

Well if you don't like Susan Hayward, you won't like this movie; because it is all Susan Hayward, all the time. Luckily I love Susan Hayward. The only problem is I find Hayward to be very solid personality. I never believe in her vulnerability. She seems indomitable. I feel this character could use some vulnerability, if only to believe in her as a victim of circumstance.
The other star of this picture is the editing, which is mostly successful in keeping us on tenterhooks while we wait for that all important call from the governor that never comes. Any lack is probably my own impatience.
In answer to john Constantine about the writers not being explicit about her profession. Believe me the audience knew. They were hip as Babs would say. Things didn't have to be spelled out back then. She was a reform school girl, living an itinerant lifestyle and hanging out with sailors and petty crooks. They knew.
It reminds me of the scene in Anatomy of a Murder when we find out Lee Remick's character was "barelegged" when she was out a the roadhouse. There were rules back then and everybody knew them. Nice girls didn't go out "barelegged." You had to have hose and a girdle on. Otherwise you were a slut. Those were the rules! So believe me the audience knew Babs' situation.

[beelzebubble]

The Naked City (1948)

As the movie starts out, my initial reaction is that this voice over is corny and unnecessary. But at the end, the producer does deliver the iconic line,"There are eight million stories in the naked city. This has been one of them."
The script itself is a standard police procedural. It is a movie with no stars and is all the better for it. Excellent character actors abound. I like the tiny but hilarious touches of the older female character actors especially the lady who played Ruth's mother.
The shame and shock of Dr. Stoneman is made palpable by the actor playing him. I thought the man was going to have a heart attack and knew he was going to try something desperate. Great scene by that actor
The real star of the movie is New York City. Jules Dassin's camera goes everywhere. He sets up fascinating tableaux. Even when Halloran makes a call from a phone booth half the screen is filled with the bustle of a street scene over the detectives shoulder. My favorite was the fat kid eating ice cream, with two fists. Garza, the murderer reminded me of the assassin that is evading the New York right now if only for his ability to fade into the woodwork.
But the movie doesn't have a center. The murdered girl is a cypher. We don't concentrate on one detective or the story of one criminal. This is its biggest flaw. Entertaining visually, contains some lovely acting but this is not the best of the movies we have seen so far. It is not even the best of Dassin's films that we have seen.

[Citizen Rules]

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Stray Dog (1949)


I haven't seen a lot of Kurosawa's films but of the one's I've seen this is my favorite by far. What I like is the first hand view of the underbelly of post war Tokyo...that's an interesting time frame and place in history. I liked how this young cop lost his gun to a pick pocket and his attempts to recover it expands the story and shows us this world of crime and corruption that has grown out of the poverty and desperation of a defeated, bombed out Tokyo. It's also interesting as it's very much focused on police procedure and the difficulties they face while trying to crack a criminal ring that deals in stolen guns. It also has a deeper emotional tone as the young cop's stolen gun is used in a murder which causes him even more emotional stress.

Really strong, well made film.

[I_Wear_Pants]

I keep cutting it close. I just watched Stray Dog. It is still my favorite Noir. Admittedly it is a mite slow about minute twenty to minute forty. Otherwise it has zero negatives. The narration works here because it's used minimally and effectively. I think its minimal use is what makes it so effective. I've owned a copy for two or three years and I enjoy watching it every so often. I love how, in the climactic struggle, not a single word is spoken. I liked that nuance. It's an excellent film.

[I_Wear_Pants]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F2.bp.blogspot.com%2F-MoJ-EidHeAM%2FVn5wB5-K3aI%2FAAAAAAAAA4Y%2FW3GwFidvNYk%2Fs1600%2Fstray_dog_01.jpg&f=1&nofb=1&ipt=05745b2636224ee1830a45b2d0a9d4eb2776cb1d012198b3c1cf9b704ecb8ecc&ipo=images
Stray Dog (1949)


I haven't seen a lot of Kurosawa's films but of the one's I've seen this is my favorite by far. What I like is the first hand view of the underbelly of post war Tokyo...that's an interesting time frame and place in history. I liked how this young cop lost his gun to a pick pocket and his attempts to recover it expands the story and shows us this world of crime and corruption that has grown out of the poverty and desperation of a defeated, bombed out Tokyo. It's also interesting as it's very much focused on police procedure and the difficulties they face while trying to crack a criminal ring that deals in stolen guns. It also has a deeper emotional tone as the young cop's stolen gun is used in a murder which causes him even more emotional stress.

Really strong, well made film.

Yeah seeing a desperate group of people in war-torn Tokyo is exciting. I like how Murakami and Yusa both had their knapsacks stolen, and then chose different paths, and both paths shape the story. I don't mean, "Hooray theft!" I mean "like how" in a plot-device way.

I've always liked how Ogin, I think is her name (I'm not good at remembering Oriental names), is supposedly a Kimono-wearing money pickpocket, according to the one officer, and now she's wearing a dress and stealing a gun. The war shaped the story even though the story has nothing to do with the war because it changed society. Everyone has to adapt.

The movie, to me, is about the characters and how each event influences his or her development throughout the film. I believe Murakami becomes a hardier officer through this one case because he saw more, and then Sato shows him he has more to learn. This is a good starting point for Murakami though, and he showed he can do the job. He just needs more experience.

[beelzebubble]

I am half way through Stray Dog. I didn't even recognize Mifune until he was dressed like an ex-soldier and looking very shifty. I was surprised that he was the young cop we had previously met getting his pocket-picked. I had never seen him as a young heartthrob.
I am having trouble finding a version with good captions. The one on YouTube is a beautiful transfer but the translation is terrible. The one I fond on Fawesome had a good translation but Fawesome was acting strange . When it went to commercial it wouldn't go back to the film. I will try Tubi tonight.

[Citizen Rules]

I am half way through Stray Dog. I didn't even recognize Mifune until he was dressed like an ex-soldier and looking very shifty. I was surprised that he was the young cop we had previously met getting his pocket-picked. I had never seen him as a young heartthrob.
I am having trouble finding a version with good captions. The one on YouTube is a beautiful transfer but the translation is terrible. The one I fond on Fawesome had a good translation but Fawesome was acting strange . When it went to commercial it wouldn't go back to the film. I will try Tubi tonight.Don't worry or stress:) as long as you're going to watch it soon, that's cool. BTW what is Fawesome? I've never heard of it. And do you still need a link I might be able to find one if you do, let me know.

[beelzebubble]

Don't worry or stress:) as long as you're going to watch it soon, that's cool. BTW what is Fawesome? I've never heard of it. And do you still need a link I might be able to find one if you do, let me know.


Fawesome is a free streaming service like Tubi.

[PHOENIX74]

https://i.postimg.cc/Y0phGZYx/stray-dog.jpg

Stray Dog - 1949

Directed by Akira Kurosawa

Written by Akira Kurosawa & Ryūzō Kikushima

Starring Toshiro Mifune, Takashi Shimura, Keiko Awaji, Noriko Sengoku & Noriko Honma

You get to a certain point in a movie sometimes, while watching it, when it dawns on you that it's something special. Something that stands apart. That happened to me while watching Akira Kurosawa's Stray Dog. The scene I was watching involved an undercover detective, Murakami (Toshiro Mifune), pacing Tokyo's backstreets and slum areas. He's dressed himself in an old army conscript's uniform, and as advised to (by a woman he's wrung information from) he's putting on the look of a desperate man. He's waiting for an underworld foot soldier to approach him with an offer. In the meantime Murakami has to pace, look agitated, enquire and generally hang out during a hot summer's day, and night, and day. He has to be patient, and have stamina. What's to love about this scene? The cinematography and direction (at times by 2nd unit director Ishirô Honda, whose feet and lower half depicting Murakami are actually his own, and not Toshiro Mifune's) are of course superb and wonderful - but what I was so in love with was the time Kurosawa invests in this portion of the film. He extends this montage sequence to the absolute limits and in doing so injects a little of what Murakami would be feeling. I thought that it was such an astute choice, and as such I was beginning to appreciate Stray Dog quite a lot.

It all starts with a gun - a gun that will be central to the film's plot throughout it's entire length. A .25 caliber Colt automatic which is stolen from a young man new to the force - the same Detective Murakami who walks the streets of Tokyo as mentioned above. Every person that gun hurts from that moment forward, Murakami blames himself - despite the fact that the person who does the hurting would have simply got himself a different gun, and still have shot those he ends up shooting. Still - you can understand his feeling. If it were yours, you'd feel the uncomfortable implication. Now this young cop has his own, special, personal reason to find the person causing havoc with his gun - and the senior detective he joins is Chief Detective Satō, played by another of Kurosawa's regulars - Takashi Shimura. Shimura featured in 21 of Akira Kurosawa's films (more than Mifune), starting off by appearing in the famous director's first ever feature - 1943 film Sanshiro Sugata. Mifune appeared in 16 Kurosawa films, starting with Drunken Angel in 1948 (alongside Shimura.) The two actors appeared together in 53 films over the years, including 15 Akira Kurosawa films.

I watched Stray Dog on a hot day, and as such felt the heat the characters were feeling - drenched in sweat at times and on edge. It's a police procedural that takes to location shooting in Tokyo just as much as Jules Dassin's The Naked City took to New York - with the differences in style, culture and mode of living still not able to completely erase the comparative inspiration you can see. It's a film that luxuriates in it's scenes, giving characters plenty of time to reveal themselves. Setting, climate and character fuse together with all three conspicuously making their presences felt through the length of these scenes - not stretched inordinately, but certainly not hurried. The plot has intricacies, but is straightforward enough that I needn't really reveal anything more about it for the sakes of a review. Information and leads are gleaned and used - and it leads to another absolute stand-out section of the film which takes place at a packed baseball game in a large stadium (Korakuen Stadium). I recognized it immediately from other films - but all of them were made after Stray Dog. Tracking one criminal amongst maybe 35-40 thousand people is the ultimate challenge, but it's as cinematic as hell and calls for both cunning and fevered action once the chase is on.

So, I find myself admiring Stray Dog as a particularly brilliant film, but I feel a little bit as if words are wasted in trying to describe it's greatness. You just have to see it for yourself. It takes it's time in involving us with ordinary police work. Shadowing someone. Chasing someone. Developing leads. Watching and observing. Searching. Waiting. Kurosawa always knows exactly where to place the camera in the real world, and it often feels like we're the detectives - keeping watch, being patient and taking note of everything. Mifune and Shimura look so young - they haven't quite evolved into the duo I know them as, but that makes it all the more easy to see them as their characters and not themselves. Sometimes watching ultra-famous actors takes you away from the character they're portraying a little bit. The filmmaker provided as much reality as he could to present to his audience - people and situations that feel genuine, and he sent his co-writer, Ryūzō Kikushima, to the Tokyo Metropolitan Police Department to find and bring him a case he could base his movie on. There's not too much artifice here, and although you can feel the smoothness of the production, there has obviously been a lot of hard work put into it.

This film features a great performance from Shimura as the old, seasoned detective and a great score from Fumio Hayasaka - one that borrows particularly heavily from Hollywood Film Noir, but injects subtle Japanese influences into it. It also features top-rate cinematography from Asakazu Nakai, who would stick with Kurosawa right up to his masterpiece, Ran, which came out nearly 4 decades after this. The art direction (from another Kurosawa regular, Takashi Matsuyama) is also worthy of mention. All four of these factors - Shimura's performance, the score, cinematography and art direction made Stray Dog a stand-out by winning 4 awards at the prestigious Mainichi Film Concours. Kurosawa couldn't repeat his 1948 feat of being awarded best film (for Drunken Angel), but Stray Dog still represents a filmmaker already creating films of an everlasting standard - and it's hard to believe that he'd get even better as time went on, becoming one of the all-time greats on the international scene. I'm very happy to have become acquainted with it, and despite knowing it would be great because of who made it, the film still exceeded my expectations. There's nothing better than watching Shimura and Mifune do their stuff as directed by the master himself, Kurosawa.


Rating : 4.5

[John-Connor]

103295

This was my second viewing of Kurosawa's Stray Dog. I currently have it as my 37th favorite Film Noir of all time and my 11th favorite Kurosawa film. I only slightly prefer Stray Dog over Drunken Angel. Great, simple but effective undercover detective story and setting in the city's shady backstreets / illegal arms market. Kurosawa proves not only that he understands the genre and the technical and atmospheric requirements to make one. But also proves himself capable of putting his signature Japanese style on it. Loved the scenes in the stadium, the scene where they look up at the stars and the scene with the muddy pants. Essential international Film Noir viewing. Good nomination.

[beelzebubble]

Stray Dog (1949)
I didn’t realize Toshiro Mifune was in this movie until I saw the scruffy ex-soldier with the shifty eyes skulking through the streets of Tokyo. Imagine my surprise when I find out that this is the clean-cut cop.
I enjoyed the first forty minutes when we are in Hollywood 1940’s movie making territory. That is my favorite time period and style. Then things leave that style as the two cops walk down the street with the sky dominating the screen. What style of film-making is that? I don’t know but Kurasawa is playing with different styles in this film. It would be cool if some knowledgeable person wrote a short essay on the different styles in this film. Hint, hint.
I loved the journey through the seedier parts of post-war Tokyo. I was wondering when the westernization began in clothing and when baseball was adopted.
The histrionics by the girl and the murderer where wild. I imagine it was supposed to be years of trauma bursting through their defenses.

[John W Constantine]

Are we there yet?

[WHITBISSELL!]

I am half way through Stray Dog. I didn't even recognize Mifune until he was dressed like an ex-soldier and looking very shifty. I was surprised that he was the young cop we had previously met getting his pocket-picked. I had never seen him as a young heartthrob ...You should watch him in Kurosawa's Scandal.

https://64.media.tumblr.com/tumblr_mbebtjlYnP1r9p706o1_r2_500.gifv

[beelzebubble]

You should watch him in Kurosawa's Scandal.

https://64.media.tumblr.com/tumblr_mbebtjlYnP1r9p706o1_r2_500.gifv
Hubba! Hubba!

[WHITBISSELL!]

Hubba! Hubba!Right? After watching it I thought he could have given some of the matinee idols of the late 40's to 50's a run for their money.

[Citizen Rules]

The noir for the 6th week is:

https://iv1.lisimg.com/image/21466369/482full-the-mob-(1951)-poster.jpg
The Mob (1951)
Dir: Robert Parish

Due Date: Dec 12th -19th

@John-Connor (https://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080) @iluv2viddyfilms (https://www.movieforums.com/community/member.php?u=1628) @beelzebubble (https://www.movieforums.com/community/member.php?u=109178) @Wyldesyde19 (https://www.movieforums.com/community/member.php?u=104656) @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) @John W Constantine (https://www.movieforums.com/community/member.php?u=109412)

[Citizen Rules]

Sorry for the late posting. My internet was down for three days, ugh! It just came back on minutes ago.

[John W Constantine]

Hey, we thought you quit the business, went straight on us.

[I_Wear_Pants]

I totally forgot to check this thread until today. I'm going to have to look for this film. I'll try not to cut it close vis my usual motif. It's just who I am; a procrastinator. In undergrad, I'd wait until the night before a paper was due to even start it. I failed about two of a few dozen papers my whole time there; my first one, and one I needed to spend about six weeks writing that I spent two days actually writing it. I rectified both, and easily passed both classes.

Anyway, I'll look for The Mob. Uh I mean the movie. I'm not looking for an actual mob. Please don't send out a hit for me!

[I_Wear_Pants]

I found the movie in question on Internet Archive with a search for The Mob, and then narrowed it down by "media type; movies", and then "release year; 1951" and there it is. It's also available on Prime.

[Citizen Rules]

I found the movie in question on Internet Archive with a search for The Mob, and then narrowed it down by "media type; movies", and then "release year; 1951" and there it is. It's also available on Prime.I believe it's also on YouTube. Good movie I watched it last night and will post my thoughts later on.

[I_Wear_Pants]

I believe it's also on YouTube. Good movie I watched it last night and will post my thoughts later on.

That it is. So there are plenty of ways to watch this one. I thought I'd try to be helpful.

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F2.bp.blogspot.com%2F-A7kuEMm5GkA%2FTlkWtgeMmzI%2FAAAAAAAAQpk%2FIEsLJ__Ky6Y%2Fs1600%2Fvlcsnap-00003.jpg&f=1&nofb=1&ipt=937beb0610b2bc3798920e262e878287b9cef9bfa76d4f4ae24b328fa2ee51d5&ipo=images
The Mob
(Robert Parrish 1951)


Nicely done noir with a tight knitted and interesting story. I like seeing Broderick Crawford playing the good guy for once, usually he plays the heavy in these type of films. The story had some nice twist that I didn't see coming but wasn't twisty-turning just for the sake of it. I also appreciate the police procedural aspect of the film. This is the only nom in this HoF that I hadn't seen, so very glad it was nominated.

[John W Constantine]

The Mob (1951, Parrish)

It's always interesting going into a story without being sure where it tends to go but having a likeable actor along for the ride. Crawford is one of these actors with his burly voice and size to chew the required scenery in these stories. We are also afforded with a little mystery as the story plays along as to the identity of the criminal that is the main pursuit. Plenty of fun dialogue and some decent twists along the way. Good selection.

[PHOENIX74]

https://i.postimg.cc/G2f1HHLZ/the-mob2.jpg

The Mob - 1951

Directed by Robert Parrish

Written by William Bowers
Based on the novel "Waterfront" by Ferguson Findley

Starring Broderick Crawford, Betty Buehler, Richard Kiley, Matt Crowley, Neville Brand
Ernest Borgnine & Charles Bronson

I sometimes find myself thinking about actors who are playing actors, or one's who are playing detectives or other people pretending to be somebody else. There's a balancing act to be done, because they're playing somebody playing somebody - and if they are really good actors there's a danger that they'll do a better job than what their character would ordinarily have done. Broderick Crawford has this balancing act to do as Johnny Damico in The Mob. Johnny is a police officer who has missed a trick and let a big-time murderer and gangster off the hook after witnessing a murder he commits. This murderer, Crime Boss Blackie Clegg, becomes the target of Johnny's undercover stint - a dangerous job given to him to make up for the fact he let Blackie go - Blackie having tossed Johnny a badge before running off claiming he was going to "call the murder in" at a local store. Johnny is sent to New Orleans with the intention of working his way back home as Tim Flynn - a tough guy who will no doubt attract attention and hopefully work his way into prospective employment by Blackie. He'll in the meantime be framed for murder, investigated by federal agents and get into many scrapes. It's a tough, deadly job - but it's one that Johnny is well and truly up for.

The Mob is all about Broderick Crawford and his performance - he'd just recently won an Oscar for playing Willie Stark in All the King's Men, and his turn here is so powerful and energetic you'd have to say that Johnny Demico was born to either go undercover or become an actor himself. He plays a confident, streetwise, cocky, defiant hood like he was born to be the best of them - doing almost too well in the role, for the crooks he comes across are suspicious of his apparent skill in the criminal arts. However that goes for Johnny in the movie, it works out fantastically for us in the audience because Tim Flynn is an entertaining character of the highest order, and watching him is exceedingly enjoyable and a whole load of fun. His cheek and various methods of speech make him an endearing man - but only because we know for a fact that this is all an act, and that the man is not only innocent, but a brave soldier on the front lines of law and order. Broderick Crawford went on an extensive publicity tour in support of The Mob, and everything worked out well for the film - his tour de force performance and commitment enough to make the public sit up and take notice. His sheen remains attached to the movie to this day.

For modern day audiences, The Mob also sticks out for the appearance of two future stars. First we see Charles Bronson in only his third ever film appearance - uncredited here, and only a bit part, but he had enough going for him to win a few lines which is always the currency of the eager young actor. Knowing Bronson as we do now, one almost expects his character to become a large part of the plot - but soon enough we're reminded of his obscurity when he disappears as soon as he showed up. Later on, in a larger (and credited) role a young Ernest Borgnine swaggers along as mid-level crime boss Joe Castro - an early foe for Johnny/Tim Flynn, and one who is certainly dangerous and difficult to deal with. Borgnine really developed a cuddly kind of aura in his later years, but during this phase of his career he'd often get casted in villainous roles simply because of his ugly (sorry Ernest) imposing look and heavy build. It was a good part for Borgnine, and he gets a fair bit of screen time and occasion to joust with our lead actor/character. Other performers, such as Neville Brand, were very much of the time and big in film noir, westerns and the like - Brand plays heavy Gunner - Joe Castro's hatchet man, and a big worry for the heavyset Johnny who at first doesn't look like a capable man in a fight (he'll fix that impression as the film advances.)

For us filmgoers director Robert Parrish and co set up a whole lot of tension, suspense and mystery in the film, and the pace keeps us propelled forward without the moving images losing their grip on us. So many scenes have that "Oh no!" hook to them, and see Johnny in situations where he has to think fast, or hang on and hope for the best - but he also gets to exhibit his knowledge of the way cons and criminals operate, and his finely developed strategies for dealing with the various tricks they pull. He has little comfort, for he's exposed and will damn well never snitch on himself as far as being undercover goes - even as we start to wish he would. The threat of violence hangs over the movie like a heavy cloud, emphasised from the very start with the callous murder that sets events into motion. How much of this faithfully follows the events in the novel Waterfront, by Ferguson Findley, I do not know - but it suits a snappy 86-minute film noir format to a tee and is very enjoyable. There's a bold clearness to the narrative that steeps almost every step Johnny makes as one through a minefield of dangerous subterfuge, discovery and counter-move. It's so easy to follow, and easy to become gripped by. It also features "modern" crime fighting techniques that are innovative and interesting.

So, The Mob was a very fine little crime movie that I'd never heard of before and one that really hasn't aged all that badly really - something that you could nearly translate into a modern feature without too much about it really changing, if the time period it's set in stayed in the mid-20th Century range. You imagine what might happen to Johnny if his cover is compromised, and those he ends up rubbing shoulders with would obviously hurt him - a mix of spoiler-heavy characters with surprises in store for a first-time viewer. It's one hell of a punishment for missing the chance to nab a killer (reminding me of the punishment battalions armies would use during the Second World War, in which the likes of Neville Brand, Richard Kiley, Ernest Borgnine and Charles Bronson fought.) These crime thrillers seem built as almost disposable box office fodder, but when you go back and watch them they can have surprising value despite that - especially when there's an inspired performance the likes of which we get from Broderick Crawford here. Not one that would be showered with film awards or recognition, but one which cements the movie as something good and worthwhile. Real heroes don't have to be built like Superman, or even be handsome in a conventional way - yet they can be smart, dedicated, clever and obviously able to act the part to win the day.

Rating : 4

[John W Constantine]

Next movie?

[beelzebubble]

The Mob (1951)
This is a Broderick Crawford vehicle. He is big guy with a face like a potato and a gruff voice. Perfect noir casting for a detective or a villain. In this one, he is an undercover detective. It is a decent melodrama. There is no femme fatale, but there is a lady in distress. Damico’s (Broderick Crawford’s) girl is the lady in question. The script is full of incident, but it feels as if there is no real threat. The dialogue is hard-boiled without the occasional amusing turn of phrase.
Richard Kiley, who had quite a career on Broadway, is another undercover detective. Neither he nor Crawford know that the other is a cop. Ernest Borgnine has a small but important role as a hood and Charles Bronson has a tiny speaking part. It’s fun to see future leading men before they make it.
It was kind of weird how the evil kingpin was hiding in plain site as the bartender of a hotel dive bar. Is anyone who we think they are in this movie. Even the woman are in on the masquerade with Kiley’s wife posing as Crawford’s date in order to pump some information out of him.
It was a fun film and held my attention because of the amount of incident and turns of fortune. Not a great movie but amusing.

[Citizen Rules]

Next movie?That's all there is.:cool:

[beelzebubble]

So its time to make our lists, eh?

[Citizen Rules]

So its time to make our lists, eh?Not quite yet, we're still waiting for @John-Connor (https://www.movieforums.com/community/member.php?u=102242) and @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) to do their write ups.

[I_Wear_Pants]

That is Mob tackled! I found it to be very good. Thoroughly solid no doubt. Broderick Crawford was great. I guessed who Blacky Clague was about five or ten minutes before it was revealed, which isn't a surprise. It is a great film. Sorry it took so long to get to it.

[John-Connor]

98646
This was my second viewing of The Mob. I watched it for the first time in preparation for the Noir countdown and placed it at #19 on my Film Noir ballot. Sadly it didn't make the top 100.

The Mob is an underseen, underrated, under-talked about Film Noir. I loved the twisty, engaging and entertaining undercover cop story. It's well-paced and cast with good dialogue, wisecracks and a perfect runtime. Broderick Crawford really carries this film successfully and delivers a solid performance as Johnny Damico. No femme fatale but the relationship with his lovely nurse wife upped the stakes and made me root for his character even more. Good nomination!

[Citizen Rules]

Send me your ranked voting ballots for the six noirs listed on the 1st post of this thread. Rank them in numbered order with #1 being your favorite noir of the bunch, and #6 your least favorite of the bunch. I will tally the points as soon as all the voting list are in and then I will post the results...

https://i.pinimg.com/originals/86/da/34/86da34416f0ca98668d8250b2dacfe04.jpg

We've reached the end of our HoF noir watching journey, time to send in your voting list.

@John-Connor (https://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080) @beelzebubble (https://www.movieforums.com/community/member.php?u=109178) @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) @John W Constantine (https://www.movieforums.com/community/member.php?u=109412)

[I_Wear_Pants]

98646
This was my second viewing of The Mob. I watched it for the first time in preparation for the Noir countdown and placed it at #19 on my Film Noir ballot. Sadly it didn't make the top 100.

The Mob is an underseen, underrated, under-talked about Film Noir. I loved the twisty, engaging and entertaining undercover cop story. It's well-paced and cast with good dialogue, wisecracks and a perfect runtime. Broderick Crawford really carries this film successfully and delivers a solid performance as Johnny Damico. No femme fatale but the relationship with his lovely nurse wife upped the stakes and made me root for his character even more. Good nomination!

I thought it was neat how the writers had the lead character be a bit dim. Usually noir have the lead be a wise-cracking hard-nosed tough guy. Broderick Crawford's Johnny Damico was a bit of a dunce, and it worked great for the film. The final shot was a bit corny though... The Mob is a good movie overall. Ernest Borgnine was a good Joe Castro too. I liked his villainous persona.

[I_Wear_Pants]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.jchekvFwNp5HHKbIYJb5TQHaEK%26pid%3DApi&f=1&ipt=43fb91373ac8cc670888b381929e90a5e71e746c2fc1c4d92638ea99bb8af4c3&ipo=images



Are you doing another one next year? If you are, and I remember, are we allowed to nominate films we haven't seen? I trimmed the quoted message because it was hella long and I wanted to get your attention somehow but didn't want the whole post. It occurred to me that it'd be fun to nominate a film I haven't seen to kind of spurn me to watch it except I don't know if that's allowed.

[Citizen Rules]

Are you doing another one next year? If you are, and I remember, are we allowed to nominate films we haven't seen? I trimmed the quoted message because it was hella long and I wanted to get your attention somehow but didn't want the whole post. It occurred to me that it'd be fun to nominate a film I haven't seen to kind of spurn me to watch it except I don't know if that's allowed.Yes, I hope to do another Film Noir HoF, probably in next November. We've always allowed 'blind noms' movies you haven't seen to chose as your nom, so yes no problem to that question.

Happy Noir Holidays:cool:
https://i2.wp.com/www.classicmoviehub.com/blog/wp-content/uploads/2017/11/blast-of-silence-1961.jpg

[John W Constantine]

And the winner is....

[Citizen Rules]

And the winner is....Ready to go I was waiting for someone to be online. I hate posting to an empty room:D Results coming in a minute or two.

[Citizen Rules]

103798

Time to put the Film Noir VI HoF to bed...
Thanks to everybody who stuck it out, I appreciate it!

@John-Connor (https://www.movieforums.com/community/member.php?u=102242) @PHOENIX74 (https://www.movieforums.com/community/member.php?u=112080) @iluv2viddyfilms (https://www.movieforums.com/community/member.php?u=1628) @beelzebubble (https://www.movieforums.com/community/member.php?u=109178) @Wyldesyde19 (https://www.movieforums.com/community/member.php?u=104656) @I_Wear_Pants (https://www.movieforums.com/community/member.php?u=96027) @John W Constantine (https://www.movieforums.com/community/member.php?u=109412)


The Results:

1st place: Night and the City (1950)
Points 28
Nominated by Phoenix

2nd place: Stray Dog (1949)
Points 23
Nominated by I_Wear_Pants

3rd place: I Want to Live! (1958)
Points 21 Nominated by Citizen

4th place: The Big Clock (1948)
Points 20
Nominated by John-Connor

5th place: The Mob (1951)
Points 18
Nominated by Beelzebubble

6th place: The Naked City (1948)
Points 16
Nominated by John W Constantine

[John W Constantine]

A worthy winner. Congrats Phoenix. Hopefully we can get rolling with the regular HoF again soon.

[PHOENIX74]

Great job everyone! Loved all of the films in this and it once again expanded by noir knowledge a little bit. Thanks to CR for hosting - it can be a job and a half sometimes.

[Citizen Rules]

Great job everyone! Loved all of the films in this and it once again expanded by noir knowledge a little bit. Thanks to CR for hosting - it can be a job and a half sometimes.Thanks this one went smooth and the new format really made it easy too....I forgot to say:


Congratulations to Phoenix! Night in the City is a worthy winner. All of the noms were worthy of 1st place. Good choosing everyone!


The 34th HoF (https://www.movieforums.com/community/showthread.php?t=71855), is up and taking members:)

[John W Constantine]

I think I'm going to skip this one, but I'll be there for the next general Hall.
👀

[beelzebubble]

I approve. I picked Night and the City as the #1. Love the combination of Widmark’s performance and beautiful cinematography.

[Citizen Rules]

I approve. I picked Night and the City as the #1. Love the combination of Widmark’s performance and beautiful cinematography.That was my #1 too.

[I_Wear_Pants]

Good job for Night in the City! Even though my favorite didn't win, each one of the films was a worthy victor. It was a neat experience. Thanks for hosting, Citizen.

[Citizen Rules]

Good job for Night in the City! Even though my favorite didn't win, each one of the films was a worthy victor. It was a neat experience. Thanks for hosting, Citizen.You're welcome:) Hey did you see I'm hosting the 34th HoF? there's still time to join, it's done just like this HoF only I posted the movies in advance so that everyone can see what they are watching.

[I_Wear_Pants]

You're welcome:) Hey did you see I'm hosting the 34th HoF? there's still time to join, it's done just like this HoF only I posted the movies in advance so that everyone can see what they are watching.

Yeah I posted in that thread a bit ago. I haven't decided on a movie though.

[Citizen Rules]

Yeah I posted in that thread a bit ago. I haven't decided on a movie though.Cool.