Film Noir HoF IV
 

I'd like this to be a quick HoF, as I want to do a couple more of these before the Noir Countdown deadline. So the length will be like 6 weeks.

So what are you waiting for? Send me your noms and we'll start faster than a B-girl can make for a drunk loaded with dough in a dingy dive.

Re: Film Noir HoF IV
 

I've never participated in a hall of fame before. Do I just pm you two nominations for the HOF. I'm also new to noir so this might help focus on the essential films of the genre.

Glad to have you! Any questions just ask. Yeah pm me but it's only one movie nomination.

I should say as per the usual HOF rules, noirs that already won an HOF aren't eligible...Laura, In a Lonely Place, Sunset Blvd, The Big Heat, The Big Sleep and The Third Man

I'll help out with a good recommendation.

Lol, very cheery.

I may join this. I’ll wait and see what’s nominated first. I plan on watching noir this month anyways

Re: Film Noir HoF IV
 

I'll bite.

Cool

Cool and yeah you wait until the reveal.

Cool

Re: Film Noir HoF IV
 

I'm in. Sending nom.

Cool once again.

Re: Film Noir HoF IV
 

I gotta look up what has already been nominated but thankyou for doing this.

I hope to be able to do another Noir HoF and also a Neo Noir HoF before the Noir and Neo Noir countdowns deadlines are up.

That's good because I'm trying to find this noir I saw on Noir Alley that was really good but it's hard to find in my records and I don't want to give away the big twist(which is what makes it so special). I know somebody did a review of it so it might pop in this Hall

Re: Film Noir HoF IV
 

Still room for more...I think I'll do the reveal fairly soon and anyone who wants to join after they see what noirs are in the HoF are welcomed to do so!

Re: Film Noir HoF IV
 

Yeah, count me in.

It's a toughie - I'd like to find a Film Noir from this era that's never been nominated before. I might go blind, I'm not so well watched Film Noir-wise, though spending two and a half years here has sure broadened my noir knowledge somewhat.

Blind noms are fine for this HoF. I've done that plenty of times myself for other HoFs.

I'm in. Just need to pick a nom.

You bet, CR. I'll be happy to join the fun.

Just to be sure, you're wanting only 1 nomination per person sent to you; and that nomination can't be a noir that has won before. Is that correct?

Aces.

Yup just 1 nom per person that hasn't won an HoF before. If we get alot of people joining, I'll extend the HoF time some.

Just sent my nom over

Re: Film Noir HoF IV
 

Looking to be a biggie

I'm stoked that people are interested in noir I've got to say that every single nom is worthy of win, very impressive choices so far!

I'm going to pass on this one but I will attempt to watch the nominations that I haven't seen.

I know you've seen some of the noms from past HoFs. I think you would dig some of the ones you haven't seen. I hope to post the movies real soon.

https://media1.giphy.com/media/nze8j...0sVf/giphy.gif

you're gonna piss off, Bogey. I'm just saying.



;)

@Diehl40 @John W Constantine; @rauldc14 @KeyserCorleone @Siddon @Thief @PHOENIX74 @edarsenal @GulfportDoc @beelzebubble @seanc


The Nominations are up on the 2nd post. Take a look, the posters are pretty and all the same size😁

Act of Violence (1948)
Directed by: Fred Zinnemann
Nominated by: John W. Constantine
Length: 1h 22m

The Asphalt Jungle (1950)
Directed by: John Huston
Nominated by: Edarsenal
Length: 1h 52m

Criss Cross (1949)
Directed by: Robert Siodmak
Nominated by: Citizen
Length: 1h 24m

Detour (1945)
Directed by: Edgar G. Ulmer
Nominated by: Thief
Length: 1h 6m

Gilda (1946)
Directed by: Charles Vidor
Nominated by: Phoenix
Length: 1h 50m

Gun Crazy (1950)
Directed by: Joseph H. Lewis
Nominated by: Sean
Length: 1h 27m

The Maltese Falcon (1941)
Directed by: John Huston
Nominated by: Diehl40
Length: 1h 40m

Mildred Pierce (1945)
Directed by: Michael Curtiz
Nominated by: KeyserCorleone
Length: 1h 51m

Murder, My Sweet (1944)
Directed by: Edward Dmytryk
Nominated by: Beelzebubble
Length: 1h 35m

Out of the Past (1947)
Directed by: Jacques Tourneur
Nominated by: Gulfport Doc
Length: 1h 37m

Thieves Highway (1949)
Directed by: Jules Dassin
Nominated by: Raul
Length: 1h 34m

Touch of Evil (1958)
Directed by Orson Welles
Nominated by: Siddon
Length: 1h 35m

Absolutely pumped for this. I have seen a few, but a couple I really want to rewatch anyway. Act Of Violence was high on my to watch list, and I was planning on checking out all the Marlowe adaptations.

Can't wait to get started. Not a bad choice in this group.

That's a damn fine lineup there fellas. A few I'm happy to revisit after not seen in years to favorites like Welles and Dassin. Great lineup.

Detour

Detour bears a healthy dose of all the bare essentials needed for a great, twisty noir movie. Some of these events are extremely shocking and unpredictable. I really have to handle it to the writers for not only keeping this full of events, but really relying on the personality and intelligence of the main character. On the BOTTOM side, they're also a little hokey, which tells me the movie needed a little more length to flesh out the story. But in the end it's an excellent tale of bad luck and how life really bites us in the ass. This on top of the excellent first-person narration make this a very easy movie to get behind, as well as making our protagonist easier to sympathize with than many other protagonists in the genre.





Mildred Pierce

Mildred Pierce is NOT a typical noir movie. We have yet another protagonist that's unique and easy to relate to because we see all her life-related pains before her eyes a la Jeanne Dielman, except this movie's happening over the course of a few years, which means our feelings are building up with the main characters. The movie has a lot of story to it, but instead of packing it with all the detective crime stuff you can expect in those Mr. Wong movies, we're getting a Jane Austen tale of love, loss, betrayal and everything attached to it. But one of the biggest, and most powerfully heartstring-teasing aspects is the ****ed-up family aspect. Through this, our noir story beats at our own feats of betrayal like a bombshell. I adored the characterization of this movie, and that's why I was happy to nominate it.





Touch of Evil

Saw this twice. It's a real shame that a standout for movie nerds is the opening cinematography, because the real meat of this movie is the realism of the setting and all of the characters' reactions, responses and actions as a result of the surroundings. In lieu of a thoroughly developed wife / female deuteragonist (a criticism I also gave Strangers on a Train, North By Northwest and Doctor Strage 2), we have a couple of cops doing their own thing and going against the powers that be for their own agenda. Both Heston and Welles play excellent foils, one being a temperamental man on the side of the law who will do anything for his wife, and one being the exact kind of person you can guarantee will justify any crime he commits with "the law." It's not my favorite Welles movie, as I still wish the lady had more development, but it's still an amazing movie.

Re: Film Noir HoF IV
 

Wow Keyser did you just do three reviews within 30 minutes of the noms being posted...That's a HoF record!

Whoa. Didn't think I'd make a record.


I was gonna add Out of the Past to it, but I think I need to watch that one again.

I'm impressed! I'll link yours and everyones reviews to the 1st post as usual. I'll do that as soon as I wake up:eek:

Act of Violence (1948)
Directed by: Fred Zinnemann
Nominated by: John W. Constantine
Length: 1h 22m

The Asphalt Jungle (1950)
Directed by: John Huston
Nominated by: Edarsenal
Length: 1h 52m

Criss Cross (1949)
Directed by: Robert Siodmak
Nominated by: Citizen
Length: 1h 24m

Detour (1945)
Directed by: Edgar G. Ulmer
Nominated by: Thief
Length: 1h 6m

Gilda (1946)
Directed by: Charles Vidor
Nominated by: Phoenix
Length: 1h 50m

Gun Crazy (1950)
Directed by: Joseph H. Lewis
Nominated by: Sean
Length: 1h 27m

The Maltese Falcon (1941)
Directed by: John Huston
Nominated by: Diehl40
Length: 1h 40m

Mildred Pierce (1945)
Directed by: Michael Curtiz
Nominated by: KeyserCorleone
Length: 1h 51m

Murder, My Sweet (1944)
Directed by: Edward Dmytryk
Nominated by: Beelzebubble
Length: 1h 35m

Out of the Past (1947)
Directed by: Jacques Tourneur
Nominated by: Gulfport Doc
Length: 1h 37m

Thieves Highway (1949)
Directed by: Jules Dassin
Nominated by: Raul
Length: 1h 34m

Touch of Evil (1958)
Directed by Orson Welles
Nominated by: Siddon
Length: 1h 35m

I’ve seen 7 out of 12.
Haven’t seen Act of Violence, Gun Crazy, Murder my Sweet, Out of the Past, or Thieves Highway.

Nice set of nominations.

Gun Crazy (1950)
Nominated by: Sean
Excellent pick from Sean...this isn.t going to "win" might even finish at the bottom...but this is a whole lot of fun for the genre piece.

The Asphalt Jungle (1950)
Nominated by: Edarsenal
Ed going with his pick for the last Hall. I think this might place higher for me on second watch because it has stuck with me a bit.


Murder, My Sweet (1944)
Nominated by: Beelzebubble

Didn't care for this one and actually prefer the neo-noir remake Farewell My Lovely.


Mildred Pierce (1945)
Nominated by: KeyserCorleone
I don't know if this is going to hold up on rewatch for me. It's a good film though,


Detour (1945)
Nominated by: Thief
Thieves Highway (1949)
Nominated by: Raul


Happy to rewatch these two because they might make my ballot with a revisiting.





Act of Violence (1948)
Nominated by: John W. Constantine


Criss Cross (1949)
Nominated by: Citizen

I might have seen these before but good to see again with a more critical eye.


And here we are with the films that should rank highly here and on the countdown


Gilda (1946)
Nominated by: Phoenix

The Maltese Falcon (1941)
Nominated by: Diehl40

Out of the Past (1947)
Nominated by: Gulfport Doc

Touch of Evil (1958)
Directed by Orson Welles
Nominated by: Siddon
Length: 1h 35m


I don't know what version of the film they should see...I think the Theatrical cut is actually the worst one

When you say theatrical cut, do you mean the first version that was edited without Orson Welles guidance and originally shown in the theater?

I first watched Touch of Evil for the Noir HoF II, the person who nominated it drop out so it's not listed as being in an HoF. I had wrote this about the different versions of the movie:

I've seen all the noms except Thieves Highway (1949). I considered some of the other noms for my own choice. One of the noms is in my Top 10 profile and many of them are contenders for my Noir Countdown ballot. Looking forward to rewatching all of them.

Gun Crazy



My nom that I just watched a couple of weeks ago. I like fun movies, but I don't think it's too often I love a movie when I feel like that's the main point going for it. I just thought this was a blast. Also has maybe my favorite femme fatale. The story is silly but imaginative. the dialogue is funny and colorful. I don't really have a ton to say about it. i just hope everyone enjoys it as much as I did.

A Noir of highs and lows for me. The highs were very high though. I love the opening scene. There is a very tense scene about half an hour in that had me sitting up straight a couple of times, that's one I won't soon forget. The climatic scene is also fantastic.

The problem for me comes with the protagonist. I like the actor, but the character as a whole is slightly baffling. I kept expecting his plan to some together, but instead I just kept getting left asking what in the world is intentions are. This wouldn't be a big problem if the character was written as dumb, but that's not how he comes across 80% of the time. I also thought the relationship with his girlfriend was under developed. Which leaves that arc very unsatisfying.

Overall this Noir has much more good than bad, and I am glad it was nominated.

Just found out about this Hall and see that it's already started. You guys aren't wasting any time! haha

I've seen half the nominations, some of which thanks to previous HoFs, and might check out the remainder since apparently there's a Noir Countdown coming up that I also didn't know about.

I've definitely been living under a rock for far too long, but hope to change that!

Re: Film Noir HoF IV
 

Be sure to use this as a good marker for your homework pertaining to the countdown as well. Some o the featured directors have several noir movies. Example, Siodmak is attached to a few other eligible noir classics: The Phantom Lady, The Killers, Cry of the City, The Suspect and The Dark Mirror.

My second watch of Detour. Of course, I remembered absolutely nothing about it, so a rewatch was most certainly in order. I spent the first fifteen minutes wondering why I gave it such a low score. Then Ann Savage shows up. Yikes, now I remember why I did not like this film. The character and performance just don't work for me on any level. the last forty five minutes of Detour just grate on my nerves. It's not like over the top performances are rare for Noir, so I really don't know why this one kills the movie for me, but it sure does. I know this one is pretty well liked, so I won't lose any sleep over not being a champion for it.

The one I own is the 1998 cut....it's excellent and got it thanks to Siskel and Ebert


https://www.youtube.com/watch?v=X3krdeLKh6g

IMO this is a great noir, and very unusual for its time. One of my favorite scenes is the long take bank heist scene, shot from the back of Cummins and Dahl. That's a pretty unique long take:
https://youtu.be/2on8Wp7WXJ4?si=f77EHhenYhlKu4ds

Here's a fascinating interview of Peggy Cummins by Eddie Muller, the "Czar of Noir":
https://youtu.be/1NCjQb33big?si=XYQ10U22h_PeNhFJ

Re: Film Noir HoF IV
 

Criss Cross

OK, it needs to be said that the first half is a bit slow, because thanks to the heavy romantic plotting, one can easily forget it's supposed to be a crime story. So the second half bears a little of a genre switch. But this doesn't mean the progression from one to the other isn't very good. Aside from our typical noir villain, our leading romantic couple has some excellent development, whether alone or together, and thanks to this we feel their pain very easily. And thanks to the development throughout the movie, the ending is a pretty serious bang despite being pretty traditional. So while some of the tropes weren't fully fleshed out, the great storytelling largely compensates for this.



This also marks a third Siodmak movie to put in my chart, which means Siodmak's getting a score on my directors list.

Nice! I unknowingly started yesterday, cause I watched Criss Cross last night :D With that, I've seen 6 of the 12 films. I will probably rewatch some, including my nom, but will post reviews for the others soon.

Steve Thompson has returned to his home town after being away for a while. He returns home looking to settle back in and hopefully move past some things that happened in the past and maybe forget some others. It doesn't take long after returning that he begins to get involved in things he would rather forget, like his ex woman Anna, who after a bad breakup starts to gravitate towards against his better judgment. His mother and his old friend Pete (a detective) don't see any positives of Steve being involved with Anna as it caused friction in the past. It also doesn't help that Anna has married local town crook Slim Dundee, but soon plans are put into motion that Steve sees a way he can be with Anna once more.

I think I first watched this in 2021 when I was navigating TSPDT noir pictures list. It didn't make a huge impression on me compared to some of the others I watched during that time. I'm not the biggest Burt Lancaster fan but I felt he was almost at home in this one. His love interest was prickly and on point for the ladies that occupy this genre. Dan Duryea I can't quite put my finger on why but he just enhances any of the pictures from this genre and time, almost the only self aware actor in these types of movies. This one was greatly enhanced by this revisit.

Re: Film Noir HoF IV
 

I've seen 9/12 of the nominations. At least 3 ‐ 4 of them are locks for my ballot.

Mildred Pierce has trouble making ends meet. When her husband leaves (or she gives him the boot) she chooses to enter the job market. Working as a waitress, she eventually works her way up and successfully amasses a chain of successful restaurants. While becoming financially stable it seems Mildred has gained a pretty good life for herself, if only her daughter weren't such a spoiled brat who didn't hate the smell of grease and dirty kitchens.

Seen this many a long time ago and remember thinking in my movie watching "not quite adult level" that this was pretty good but I never went back to watch it again. This is a very well told classic movie in a not your typical film noir style, but Joan is not your typical noir leading lady. Its like they swapped her with the usual male lead and she did all the dirty work except for the shooting, and for the way her daughter acted in this I'm surprised Joan didn't pull the trigger. This was much better than I remember and I already thought highly of it. If the daughter didn't make you want to slap her after seeing this then I believe you have reached a level of non violence zen that I haven't achieved yet. Excellent choice for this countdown.

And OH SO wonderful to see you come out!
https://media.tenor.com/Zv1Snk7zXEQA...tf-curious.gif

This is such a juicy list of nominations! How f@ckin awesome!

Act of Violence (1948) This was my original nom, so serious kudos to John for feeling the same way about this film.

The Asphalt Jungle (1950) This one's mine. I love the cinematography in this; it grips my attention from the opening exterior shots to that final country scene. Just amazing. And oh, yeah, the heist is pretty f@ckin cool, too.

Criss Cross (1949) This one is unknown, but seeing that Yvonne De Carlo is in this caught my complete attention.

Detour (1945) On my list of Need-To-Sees and now I get to, THANKS @Thief

Gilda (1946) Been far too long since I've watched this one. Sweet!

Gun Crazy (1950) Only caught this one about two-thirds of the way and, for whatever reason, got the opportunity to finish, and now I can. So thank you, Sean.

The Maltese Falcon (1941) This one is imprinted on my brain with utter love and appreciation since my teenage years. I could write a review, but f@ck that, I'm gonna happily revisit this one.

Mildred Pierce (1945) Very cool call. I've seen this one several times and am looking forward to it once more.

Murder, My Sweet (1944) And what's a noir HoF without a lil bit of Chandler? Power does an excellent Phillip Marlowe, one of my favorite renditions of the literary character.

Out of the Past (1947) A very solid noir I always enjoy watching.

Thieves Highway (1949) Another complete unknown and quite f@ckin curious about.

Touch of Evil (1958) Another multiple rewatch that will be a pleasure to revisit.

Al Roberts plays the piano in the night clubs to make ends meet. He shares the stage with his singing partner (future wife?) who shares with him that she wants to make a move to Los Angeles and put their marriage plans on hold until she and him get established. Al stays behind for a bit but decides to also make his way west to be with Sue (singing partner). Little by little Roberts makes his way west eventually being helped along by a driver who is also heading his way, but things take a turn for the worse when his travel partner ends up dead on the side of the road.

I'm pretty sure this may have been the first strictly low budget film noir I watched many years ago. It has a very simplistic story structure (even more less complicated than the typical noir story) but it works with a simple hook. Nothing is overbooked (probably due to the low budget) and it sort of just moves along. Tom Neal's sad disillusioned facial expression seems like it was made as a prototype for noir cinema. Ann Savage is also classical in a almost black widow type of female predator in this journey. Nothing too outrageous to speak of in this just a lot of familiar beats played to great effect.

It's feckin. Get it right. Fecken!

Re: Film Noir HoF IV
 

The concept of "love at first sight" is a common idea among romantics and lovers. The belief that upon seeing someone you just can't imagine your life without that person, disregarding anything else. This classic film noir puts a bit of a spin to it by presenting what can be referred to as "love at first shot". But will it last?

Gun Crazy follows Bart Tare (John Dall), a young man that has been obsessed with guns since he was a kid. This obsession took him from reform school to the Army, and eventually back to his hometown. When he meets circus sharpshooter Annie Starr (Peggy Cummins) during one of her performances, the two become infatuated with each other. Is it love, or is it that gun obsession again?

Eventually, Bart and Annie embark on a crime spree across the nation. With Annie's ambitions and Bart's obsession, the idea of losing each other is so unbearable that they disregard law and morals in favor of a life on the run. Both Dall and Cummins are fantastic transmitting this attraction in a way that's believable, and both charming and toxic at the same time.

But aside from that, the camerawork from Lewis, especially during the car chases is nothing short of impressive. Moreover when you consider this was a low budget film, with little resources when compared to the big studio productions of the time. All of this adds a certain energy to the film that's maintained until the last scene.

Until a couple of weeks or months ago, I don't think I had heard about this film. But after Dr. Richard Edwards brought it up on one of my latest podcast episodes, and after reading some of you mention it, and praise it here, I decided to give it a shot. It is no surprise why it is so well regarded, cause Gun Crazy is a wonderful and thrilling ride. I guess it's love at first sight.

Grade:

Re: Film Noir HoF IV
 

Set in the US-Mexican border, Touch of Evil follows the investigation of a car bombing that kills a wealthy businessman and his girlfriend. Even though he's on his honeymoon, "Mexican" agent Miguel Vargas (Charlton Heston) tries to assist in the investigation, which is led by Captain Hank Quinlan (Orson Welles), a veteran but shady officer that might have other motivations in mind.

Objectively speaking, this is a pretty good film. Welles does a great job both behind and in front of the camera. His Quinlan is certainly despicable, but still layered. There's so much thing that he does with his expressions and his stance that communicate so much. As for his direction, what can be said? From the impressive opening shot, you know you're in for a technical treat. He uses some techniques similar to the ones he used in Citizen Kane, low angle shots, pans and zooms, but he also manages to create a good deal of tension, especially regarding the fate of Vargas' wife, Susie (Janet Leigh).

However, one can't deny the context of some of the other decisions made for this. As good as Heston's performance is, his casting as a "dark-skinned Mexican" is... problematic, to say the least. Moreover when he ends up being the *only* "honorable" Latino character in the film, while the others are all thugs, criminals, or prostitutes. There are some things I can give a pass, chalk it up to just a sign of the times. But there are others, like the implications of a single throwaway line in the ending, which kinda neuters any goodwill the film could have.

So the movie feels much like the duality in Quinlan, being a seemingly competent and renowned police officer, haunted by a past that he just can't shake. The film has undeniable technical merits and an inherently thrilling nature, in addition to great performances... but unfortunately, it's haunted by decisions of the past that I just can't shake that easily.

Grade: ?

Re: Film Noir HoF IV
 

Out of the Past follows Jeff Bailey (Robert Mitchum), a former private investigator trying to escape the past. Unfortunately, it all comes back to haunt him when Whit Sterling (Kirk Douglas), a greedy former client and his alluring and mysterious girlfriend Kathie (Jane Greer) reappear in his life.

My first time watching this film was back in 2015, when I was taking an online course on film noir, and I think it was the most perfect choice to capture what a film noir is. Mitchum is perfectly smooth in the lead role as the man who seems to have all the cards stacked against him but still pushes through, while Douglas is cool as ice as the antagonist who just won't leave him alone. Finally, Greer does a great job reeling you in, while you're still wondering her real motives.

But aside from the performances, Tourneur delivers a smooth direction that always gives prominence to the lead characters. Pair that with a flawless script that keeps you going back and forth, trying to guess what will happen next, and an inevitably dark ending, and you have the perfect recipe for a film noir.

I remember that back when I first saw it, I couldn't stop grinning at how much I was enjoying this and how great it was. Rewatching it now, already knowing what will happen, made me pay more attention to the nuances in the performances, and I think I liked it even more. Considering that I had given it a 5/5 already, not sure how much higher I could go. This is an undeniable masterpiece.

Grade:

Re: Film Noir HoF IV
 

Those are three of the six I've seen. I thought I had something written on The Maltese Falcon, which I've seen several times, but I didn't. I also didn't have anything on my nom, Detour, but that's one I'm planning on rewatching anyway. The other one is Criss Cross, which I just saw this week, so my review is pending.

I love Out Of The Past. Looking forward to my third watch.

Re: Film Noir HoF IV
 

Yeah, I love it. It's great and, what the heck, an almost sure lock for my #1 spot. I think I've seen it twice as well, with the last time being back in 2021 before I recorded that noir episode with Dr. Edwards, but I think I'm gonna make it a #Noirvember tradition and rewatch it again this year.

Gilda is a movie I really wanted to rewatch for the list, but honestly don't know if I would have gotten to it if it wasn't nominated here. That was a big reason I wanted to be in the Hall because I knew it would push me to rewatch a few that I need to.

This is a really great Noir, driven by Hayworth who, I think, gives one of the better femme performances I have seen in a Noir. She is a force and extremely sexy, but she also brings a vulnerability that I don't think we see in these movies enough, and is appropriate considering the man she finds herself hitched too.

I don't remember how I first watched Gilda, but I would bet is wasn't under optimal viewing conditions, because the biggest up tick on this viewing for me was how it looked. The cinematography is beautiful full stop, but there are also a handful of shots that really make you take notice. The setting is very simple but the director and cinematographer mined every bit of texture out of it.

Gilda was going to do very well on our list regardless of me, but I will be surprised if it doesn't get some extra help from me.

Oh yeah. Yes Red, I "love it when she does that ***** with her hair".

This is probably the main reason why I chose this. As we are in the wake of our own Film Noir countdown, where the questions of "what is a film noir" has come up often, I think this one gives us a glimpse of all those little things that make a noir. Watch out for beaten-down protagonists betrayed by femme fatales and fate itself, dark twists and a bleak ending, black and white cinematography, foggy lighting, flashbacks, canted angles, oversized props... it's all in here, wrapped in a short package.

Feckin it is! lol

Re: Film Noir HoF IV
 

Detour

https://artscenter.duke.edu/wp-conte...OUR-HI-RES.jpg

This was my second watch of this film but I really didn't remember all too much about it. That's why I figured it would be good to join this Hall to refresh my memory on a lot of these. I enjoy the hitch hiking aspect of the film and it works really well with the swift pacing of the movie. From start to finish there really isn't a dull moment in the 69 minutes of film. The film really heats up when Vera shows up. I thought Ann Savage gave the best performance in this film and her chemistry with Tom Neals character was really great. In particular, I really thought the last 20 minutes or so were the epitome of what a noir should strive for in terms of tension and atmosphere. This is a really good one and I increased my rating to support it.

Re: Film Noir HoF IV
 

Act of Violence

It seems that the focal point of this movie is building tension. Because of this, there's a bit of a slow run for the first act. Also, our villain has so little screentime that it disappoints, but this also makes his scenes more memorable as we get some great dialogue and development from those few scenes. To add to the characterization commentary, some of the development for the wife suffers, and she's just another noir woman in the end. But once we get the scoop on our lead character's reasoning for caution, things get extremely interesting. There's chaos in the lead's mind as he aimlessly goes from person to person wondering what to do about the ghost from his war days. Unfortunately, this also makes the movie a little aimless at times. Thankfully, the air of tension stays thick enough to bounce a ball off throughout most of the movie. And I have to say, I like where the ending went. It seems perfectly fitting for all the chaos that the lead went through during the film. I can't say I'll put this at the top of my list or anything, but I liked what I saw.

Re: Film Noir HoF IV
 

It's getting lopsided.:D

Detour has what I consider to be the key noir element, "someone who through an event or outside influences was doomed in one way or another, often by their own behavior, life choices or even by randomness." That's from the Noir countdown thread and Detour has that. The movie even mentions how a twist of fate has led Al (Tom Neal) down a dark road that he himself didn't chose.

Never thought of this being a key element. But I really like that.

I'm on the wrong side, I bet get moving!

If you look at it closely, most noir films feature that. Characters that think they have control of the situation, and yet they are doomed by fate. Out of the Past? Sunset Boulevard? Double Indemnity? etc.

Seems to be mostly true. Nothing is 100% of course but it's often present in noir films to some degree or another.

I'd say in films like Detour the character is doomed by random circumstance, he even talks about that during the inner monologues. In other noirs they are doomed by character flaws, like weakness for the dames! or outside influences.

Re: Film Noir HoF IV
 

This looks like a quality HoF. Sorry I couldn't join but I have a watchlist as long as my arm that needs to get done before the end of the year. I'll dip into the thread to see how it's going.

I have seen these ones and they are all fabulous films with perhaps Touch of Evil being my favourite

The Asphalt Jungle (1950)
Detour (1945)
The Maltese Falcon (1941)
Mildred Pierce (1945)
Out of the Past (1947)
Touch of Evil (1958)

Re: Film Noir HoF IV
 

Thieves Highway

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This was a very well directed film and overall I thought the story was told very well. I like the set up where we are introduced to Nick and it's a nice buildup to where he meets Figlia. The part I dislike the most is Nick's character in general, as I often thought he made stupid boneheaded decisions. The fact that he seems to end up on the road to getting married with Rica is honestly quite mindbaffling to me. Kind of strange how he wouldn't want to be with Polly but maybe that's just me. The highlight of the film for me is Lee Cobbs performance. I've always enjoyed Cobb in the villain role much like On the Waterfront he is quite on point here

It's a mixed bag film but one that I'm happy to have nominated blind.

There's not a bad apple in the whole bunch with this HoF. Maybe I should've nominated Ed Wood Jr's Jail Bait (1954) just so that people had at least one nom that wasn't up to snuff. Still I kind like that movie, it's probably one of Ed's better flicks.

Bart Tare has a fascination. It just happens to be with guns. When his fascination leads to a sentence in reform school and the military he returns home hoping to make a way of life. When he makes a trip to the local traveling carnival he meets the sharpshooter Annie. It seems to be attraction at first sight that leads Bart on a much more adventurous life than the one he was expecting at home.

Nice to see this one again, I never quite forgot this one as it was one of the first ones I watched years ago. Love the two leads, looks wonderful, and has a sizzle underneath all of the events but still has some of the cheesy dialogue and wit that makes these movies worth watching. Excellent choice.

Jeff Bailey lives a seemingly mundane life running a gas station in small remote town. He spends his time fishing and dating his girlfriend Ann Miller. When a stranger stops in town at the gas station it leads to a revelation that Jeff has a secret past with some shady characters.

This doesn't reach that creative qualities are some of these entries for this countdown, you could almost say the story gets a tab bit confusing. It feels more of a character study for Robert Mitchum's Jeff Bailey (Marcum?) wrapped in a noir setting. Jane Greer's character is interesting enough on the other side of the story. Kirk Douglas does Kirk Douglas but his "Kirk Douglas" moment is strangely missing. Another excellent choice here.

Johnny Farrell has just arrived in Buenos Aires and through some harmless entertainment seems to have made a great connection with local Ballin Mundson who runs a club type business that just happens to offer gambling, which Johnny likes. Soon Johnny is placed as Ballin's right hand man to help run his business and all seems gravy. That is until Johnny is introduced to Mundson's new wife Gilda, who seems as they have maybe met before in a previous life.

I found this one good enough, it's really the exchanges between Ford and Hayworth that are the sizzle to the steak and I enjoy the dialogue between them and also Macready. The story is interesting enough to go along with the love triangle and Rita is easy on the eyes I guess you can say.

Re: Film Noir HoF IV
 

Gilda

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This one is just my kind of jam. And I liked it even more the second time around. Rita Hayworth as Gilda may be my favorite female noir performance of all time and if not it's damn close. I thought she was stunning to look at obviously but I also thought her chemistry with Glen Ford was perfect. I'm also a sucker for casino scenes so those scenes were amongst my favorites. I really thought the ending was quite tense too, with Ballin coming back out of nowhere and reaching his eventual demise. And it was a really great performance by Glen Ford too. Yeah, this is probably among the noir GOATs for me.

Re: Film Noir HoF IV
 

Act of Violence


This turned out to be a good film to watch first. it is said that it has the typical elements that make for a good opening to a Noir film. The city in the dark in the cold and rain. A man (Ryan) limps badly (the film noir figure of the weakened male, I've read) We find out later that Ryan is the avenging male who is seeking revenge against Heflin who has done his compatriots and himself wrong. Throughout this film this character pursues his target relentlessly. In the end the traitor (Heflin) pursues performs a selfless act to save the avenger's life. He redeems himself at a terrible price.



This was only my second Noir (I watched the Big Sleep first). As i watch I hope to pick up enough about Noir style to be able to recognize oir elements when I see them This will not only help identify film noir, but also Neo Noir films.

Re: Film Noir HoF IV
 

Gun Crazy

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The type of noir that's right down my alley. It does a lot of things right for me. The opening sequence introducing us to Batts obsession is a very effective scene in my opinion. I also love the scene where Laurie and Bart meet. His obsession with guns turns into an obsession with her. John Dall and Peggy Cummins have really great chemistry together and the scenes that they are in with each other are really well done. It's cool to see the characters fate spiral out of control yet they keep finding ways out of their misery. It's such a badass ending I wouldn't have seen it coming at all. In the end, Barts obsession really did do him in. Technically it may not be the best of this bunch but I'll be damned if it won't end up as one of the most entertaining.

+

Re: Film Noir HoF IV
 

The Maltese Falcon

The strongest point of this movie is easily Humphrey Bogart's performance. It came to him so utterly naturally that it was like watching a flower blossom. He brings constant charisma with everything he does, even among an entire cast of unfortunately one-sided tropes. But these tropes only survive through pop culture because of the constantly developing story. This mystery has danger all over the damn place, and even to try and avoid it puts you at unease. But there's another flaw: this noir movie doesn't feel as dark as future noirs because the characterization is constantly one-sided. But overall, on the second watch, I had already liked it before and I still like it well enough. But I wouldn't call it one of the greatest ever as boasted about by the pop culture parodies.

Thieves Highway (1949 Jules Dassin)

The son returns home to find his father permanently injured after being taken advantage by the crooked business man. The son decides to get even and even finds a business opportunity and a woman along the way.

Victor Conte is a staple of some good noir pieces and Lee J. Cobb is always a gruff welcome character. Dassin seems to really nail seedy characters in his movies and they are on display here. It really shows how dirty the apple transportation business can really be.

Murder, My Sweet (1944 Edward Dmytryk)

Philip Marlowe is a private eye that seems to be low on cash. When an oversized giant shows up in his office searching for a girl he hasn't seen in 8years, Marlowe seems to be turning around his empty pockets. Soon, his search for the missing woman becomes quite the twisting and confusing search for more than just.

In my experience it's quite difficult to adapt a Raymond Chandler novel that doesn't translate nicely to the big screen. I don't know if William Powell is the best choice for Marlowe but he gets the job done in this one. It borders on a bit confusing in spots but Powell keeps it entertaining and moving along. Maybe the point is we as the audience are supposed to be of the mind of Marlowe in the film with all that's happening?? I dunno. Looks great like most noir and plenty of the good noir ingredients.

By the time you finish with this HoF you should be well on the way to being a noir aficionado. Cool that you joined so that you could learn more about the film noir movement.

Interesting I hadn't thought of that. I seen the movie before and it does seem like we are very much in Marlowe's shoes more so than a lot of noirs. I think about what you said when I rewatch it.

Touch of Evil (1958 Orson Welles)

When a couple are killed in a car bomb explosion, Miguel Vargas and his new wife are witness to the incident. But Vargas won't be the only officer on the case as the incident involves components on both sides of the US - Mexico border. In this case the investigation brings in the long time veteran Hank Quinlan. Working alongside Vargas, Quinlan is able to find the apparent suspect and solve the case but Vargas has questions about the validity of his methods.

Being a Welles piece of filmmaking, obviously the movie looks the part. Charlton Heston brings his normal intensity and Welles brings his whatever he was going for here. Like any of his screenplays there is undoubtedly something interesting he has to say with this one. Not much more I can add.

Re: Film Noir HoF IV
 

Film noir is often defined as "pessimistic, fatalistic, and cynical" with characters that are "trapped in unwanted situations" they just can't control; whether it was in the cards, or fate, or a jinx. Even if they can't control them, they often end up making things worse with their actions, like a snowball effect, which is the case in this dark and twisted noir.

Criss Cross follows Steve Thompson (Burt Lancaster), who can't help but rekindle his relationship with his ex-wife, Anna (Yvonne de Carlo) even though she is now married to Slim Dundee (Dan Duryea), a mobster with no scruples. By the twists of fate, Thompson ends up leading Dundee into planning a heist to the armored truck company he works for.

This film is one of those perfect encapsulations of what film noir is. From the flashback narrative to the dim-lit cinematography, from the romance to the heist, from the lead man thrust into a situation he feels he can't control to the femme fatale you're never really sure where she stands on. It's all in there, in prime form.

In the last 5 years or so, I've seen more films from Burt Lancaster and Dan Duryea than I had before, and they both have become favorites. Lancaster has a unique mixture of tough-guy persona and charm that goes perfectly with the character of Steve, while Duryea can't help but be so good at being "slimy". The main cast is rounded by de Carlo, who I hadn't seen in anything other than The Munsters, but she's so good as the stone cold Anna.

Aside from the performances, I really loved how the story always keeps you guessing where things are at. As the title suggests, there's a cross waiting at every turn and every corner from every character. There's never a sense of certainty in it, and it's great to share that with the main characters, specifically Steve. We never know where the cards or fate would lead us, but we're going there anyway.

Grade:

Re: Film Noir HoF IV
 

Right side is up 18-13 :)

Criss Cross



Thought maybe this would go up on a rewatch, but I stayed the same. This is undoubtedly a Noir all star production, and everyone is doing what they do well. Great acting and the movie looks fantastic. It doesn’t quite have the bite I like. Something is missing to elevate this. Definitely could have used more Duryea to start. Villain is certainly underutilised. Good movie, don’t get me wrong. Just not up there with my faves of the genre.

Re: Film Noir HoF IV
 

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The Asphalt Jungle

This movie was excellent to identify several trope of the Film Noir style. This film was the first of a series of films that could be identified as the heist/crime caper. Later films of this type included: Stanley Kubrik's The Killing, Jean-Pierre Melvills's Bob LeFlaubear's and Jules Dassin's Rififi, among others. Asphalt Jungle is considered to be one of the most influential Film Noir's to be made.

The two main characters are Doc and Dix. They are both seeking to make a break from their lives as criminals They are crooks who possess some virtue. They want this caper to be their last where they can retire. Doc to Mexico where he can watch the girls dance; and Dix wants to buy back the family farm in Kentucky.

Barry Kelly is an example of the cop who wants to be on and off the take, according to his convenience. He enjoys being in the middle and having the power of the streets. This type of flawed cop is classic noir.
The caper "crew" in the Asphalt Jungle is typical of the crime/heist film. The mastermind (Doc), the financial backer (Emmerich), the box man or safe-cracker (Louis), The muscle (Dix) and the Get-away driver (Gus).

Another trope is the con-man hates gun trope. Doc says that, "you carry a gun, you shoot a policeman, Bad rap, hard to beat"
The last trope I'll mention is the old man likes the young girls trope. This proves to be the downfall of two characters in the film. The first is Emmerich who is keeping Marilyn Monroe in his shag pad. She contributes to his downfall. The other example is Doc. Doc stays in a club about five minutes to long to watch a young girl dance which give the police time to catch up with him.

These are some tropes I hope to use to identify other film Noir films and Neo Noir films as well.

Act of Violence (1948 Fred Zennemann)

People have themselves some secrets. Sometimes others aren't cool with these secrets that people keep, and then they show up to get even.

Lots of familiar faces in this one, Van Heflin stands out as a man caught and tortured by the tough decisions that are made in the acts of war. A movie that poses a few important questions.

The Asphalt Jungle (1950 John Huston)

A prisoner just released from the big house has a plan to make some dough. He needs money and a select few individuals to help pull off his well orchestrated heist first, but it seems someone else has plans of their own for the said riches.

I don't think I watched this too long ago so I was familiar with the events that take place. This watch definitely kicked up a notch and seems to be a prototype for the heist film itself. Just the right mix of pictures, shady characters, and cheese. Contender for top spot on my ballot.

The Maltese Falcon (1941 John Huston)

Sam Spade is your typical wise cracking cool as a cucumber private eye. When he's ask to track down the sister of a young woman, tragedy strikes as his partner is killed while on the job. Fingered as a possible suspect Sam is drawn farther into a web of deceit with a possible golden goose on the other side of the proceedings.

I'm a Casablanca guy myself, but it can't be denied that this is maybe the quintessential Bogart film. And to say that might sell the movie short in all the ways it probably enfluenced not just an entire genre but a certain type of film character. Bogie is as laconic and sharp as a tack as the private eye and is surrounded by other classic players of the genre. One of the infinitely rewatchable films with all the right ingredients.

Re: Film Noir HoF IV
 

I rewatched Detour last night and just finished Murder, My Sweet, so I'm well on my way. Only 5 to go.

Re: Film Noir HoF IV
 

John W Constantine has already finished! That's freakin fast and sets a HoF record of finishing in just 7 days!

Re: Film Noir HoF IV
 

Hooray! Now I need a nap until the next ones begin.