Film Noir HoF III

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Women will be your undoing, Pépé
sent one in "comments" as well
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Spellbound (1948)

I'm a sucker for a romantic story, so how could I not love this film! Ingrid Bergman was the perfect actress for pairing with Hollywood's leading men. I'm thinking of her in Casablanca with Bogart, or with Cary Grant in another great Hitch film, Notorious. She works wonders in almost any film because she's so believable. She's not just some Hollywood concocted beauty queen...her beauty comes from within and that's why she's so effective in her movies. And the other big part of Spellbound is Gregory Peck, one of my favorite actors. Peck is always understated and allows the story to build without him trying to be the big star of the show. Ingrid Bergman and Gregory Peck were both believable as a romantic couple who are struggling with the dilemma of Peck' s missing identity. With love being a very powerful tool in his recovery.

Spellbound felt more like a mystery-thriller than a noir. And that's OK because Hitch was making a movie and the term noir wasn't in common usage at the time. What sets Spellbound's script apart from other 1940s movies was it's ground breaking portrayal of the then cutting edge psychoanalyze treatment. Back in the middle of the 20th century the mentally ill were treated as objects of fear and scorn...and cruel treatments such as lobotomies were in use...Spellbound showed that the mental ill were still people and could be helped with a more gentle style of treatment, and that was important for people to see. Spellbound was very progressive for it's time. It helped to change the conditions for mental patients in the decades to come and that makes this film important.

The films underlying premise is that the heart can be more powerful than the mind, and love can heal all. And I love that concept!
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Nice review, CR! I really like Spellbound, although Peck is not really a "Hitchcock actor" in the same way that were C. Grant and J. Stewart, despite the fact that he used Peck here and also in The Paradine Case. Peck tends to come off as a little shallow. Spellbound was rather an atypical Hitchcock film and he wasn't overly pleased with the final product.

The odd thing is that two of Hitch's other films, Vertigo and Notorious, had distinct dreamlike feelings to them, but with no actual dream sequences.

BTW, next time you update the reviews tally, I finished up last week.



Women will be your undoing, Pépé
I've got The Stranger and The Big Heat to write up. Fingers crossed I'll have them up tonight.

It's kind of funny, for the month of April that I had off I was doing all sorts of other things and now that I'm back at work, in front of a computer, I'm able to get to these far more.




L.A. Confidential (1997)

I use to collect vintage postcards and that's a scan of one of them. I'm not sure but I think that might be the exact postcard they showed in the opening title credits. That opening scene which gave a historical overview of L.A. was like manna to me. I love the 1950s, its my favorite decade. So anytime a movie is set in the 1950s it scores high points with me.

I loved the first hour of the film in how it introduced us to the corrupt world of the LAPD. All three of the police officers were very interesting and very varied from one another. But what I liked most was the insiders view into the political workings of the Los Angeles police department. I find that sort of stuff fascinating. The first hour of the film was perfect! Culminating in the intense interrogation of the three black suspects. All that felt very real.

But then the tone of the film changed in the second half and it became more of an action buddy-cop film with people dropping like flies. In the first half I was convinced this would be a 5 star film for me. But as the film progressed it got more action packed and changed in tone. That's when I started losing interest.

The end scene was just ridiculous. Guy Pierce and Russell Crowe arrive at the old motel and quickly find out it's a set up, but declare it's too late to get out of there. So they hold up in a motel room and have an old western style shoot out...Why didn't they just get into their cars and leave? Well I guess it's so we can have a big body count with people being shot right and left. I've never been a fan of action type films and sadly that's how this film ended up.

Oh BTW, I don't think Kim Basinger is hot I didn't find her attractive and that's because she didn't seem to have much personality in the film. I'd say Barbara Stanwyck in Double Indemity is much hotter and she's not even really pretty in any Hollywood sorta way, but she's got an inner spark and that's what counts.

So that you guys don't think I hated this, I'll go ahead and rate it.


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The trick is not minding
I watched The Asphalt Jungle last night, and will do a proper review tonight.
This had me thinking about Huston’s contribution To film noir, and I thought of other directors that have left their stamp on it. Lang is certainly at the top, I hear Fuller as well although I have yet to see any of his films (I should remedy that sometime). Melville, Reed, Welles, Raoul Walsh, I know I’m missing a few names here. Anyone care to fill in the blanks of some I might be forgetting?



I watched The Asphalt Jungle last night, and will do a proper review tonight.
This had me thinking about Huston’s contribution To film noir, and I thought of other directors that have left their stamp on it. Lang is certainly at the top, I hear Fuller as well although I have yet to see any of his films (I should remedy that sometime). Melville, Reed, Welles, Raoul Walsh, I know I’m missing a few names here. Anyone care to fill in the blanks of some I might be forgetting?
Good



I watched The Asphalt Jungle last night, and will do a proper review tonight.
This had me thinking about Huston’s contribution to film noir, and I thought of other directors that have left their stamp on it. Lang is certainly at the top, I hear Fuller as well although I have yet to see any of his films (I should remedy that sometime). Melville, Reed, Welles, Raoul Walsh, I know I’m missing a few names here. Anyone care to fill in the blanks of some I might be forgetting?
Robert Siodmak who directed such noirs as: The Killers, Criss Cross, The File on Thelma Jordan...and Otto Preminger who directed the greats: Laura, Anatomy of a Murder, Whirlpool, Where The Sidewalk Ends, Fallen Angel, Angel Face.



The trick is not minding
The Asphalt Jungle


“I never trust cops. Just when you think one is swell, he decides to go legit.”

Wise words. The Asphalt Jungle starts off introducing the characters to who we know are almost doomed from the start. Such is the life of crime, after al. If you aren’t lucky enough to get out of the life on your own terms, you either end up dead or behind bars. Yet they go through with it, knowing the risks.
Which sets up The Asphalt Jungle The first 40 minutes introduce us the characters who will be pulling bf a job with a huge payoff. There the hooligan Dix, The safe cracker Ciavelli, and the getaway driver Gus.
Of the three, only Dix, played by Sterling Hayden isn’t well cast. Hayden seems limited as an actor in his two films I’ve seen so far, and he Is mostly effective when he’s standing around being menacing. Only a few lines are delivered satisfactory.
This films really picks up, during and after the robbery where greed and desperation takes overs and the Robbers find themselves on the run. There is a scene that I particularly loved when they have emptied the vault and are walking away and the bars slam shut behind them, like a prison. It is both simple, and effective and foreshadows the outcome. Their fate is sealed.
(Shout out to Brad Dexter as a private detective who makes the most of his all too brief scenes!).
It’s interesting to see how a few are brought down. Emmerich, a lawyer, is undone by his much younger mistress (Marilyn Monroe in an early role) who’s unable to provide him the alibi he needs. Doc is brought down by his listing after a much younger girl as well, insisting on playing music for her to dance to.
As the the films winds down after double cross after double cross, all the players are brought down. Some die, others end up behind bars. None bothered to entertain the possibility of just leaving the life. Except for Dix. He just wanted to buy his family farmhouse back. But to do so, he needed one last score. His ending is all the more tragic for it. Such is the life.

Yet another great film in a HOF stuffed with them.
*as an aside, has anyone figured out exactly what city this is set in? I’ve read the theory is Cincinnati, but nothing ever concrete as far as I’ve seen



Good point about Dexter, who I think did mostly westerns. A standout to me was Marc Lawrence, who played "Cobby", the wannabe big time bookie. Flawless performance.

I recognize the cityscape and wharf scenes as Cincinnati. They may have shot some of the scenes across the Ohio River in Covington or Newport. Funny how they didn't want to identify the town, but just wanted it to be a "mid-western city"...



I just watched The Third Man. I loved how the film looked but found it otherwise little underwhelming. We'll see if it grows on me while I'm writing the review. Now I only need to rewatch my own nomination.

By the way, is The Third Man Dario Argento's favorite or something? To me, it looked so much like vintage Argento would be in b&w.
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yeah i am. i was exclusively watching westerns for a while but i’m about to get back into noir season. i also watched the big heat a few weeks ago but just haven’t posted a review yet.
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Are these numbers on the 1st post accurate for everyone? If not let me know and I'll update.

Deadline is...June 11th

Members Reviews:
Ahwell 11/11
Citizen Rules 8/11
CosmicRunaway 11/11
Edarsenal 6/11
Frightened Inmate 2/11
GolfportDoc 11/11
John-Connor 2/11
Neiba 5/11
PahaK 8/11
Siddon 7/11
Wyldesyde 5/11



The Third Man (1949)


The Third Man is easily the best-looking film I've watched for this HoF this far (my nomination may take that title away, but even that's going to be a close race). I love the exaggerated contrasts between light and shadow, odd angles, tilted cameras, unnatural light sources, and unpenetrable darkness. It's like Dario Argento's full playbook in black and white.

Unfortunately, other aspects of the film don't quite match its looks. The story never drew me in, and it kind of wastes the visual dread and doom. The third man never matches the mystery and, like all the other characters, is dwarfed by the cinematography. Characters remain somewhat distant, and the motivations behind some of their actions seem vague. Why does this remind me of Argento again?

The leading duo is quite good (especially Valli as Anna). As usual, I don't like Welles that much; maybe it's just me, but he's too larger-than-life to fit these ordinary roles. I hope you'll forgive me yet another Argento reference, but the soundtrack reminded me of the Italian maestro as well; it's unusual, intrusive, loud, and seemingly off the mark. Sadly it didn't end up working.

It won't be easy to rate The Third Man. Despite its flaws, I think it'll end up in the upper half of my ballot. I'm just a sucker for this kind of visual aesthetics.