Noirvember 2022

I like that definition Actually I seen a classic noir last night that didn't seem like noir to me, which is OK because it was still a great film. I guess I should review it.

The Phenix City Story -

This noir is very much ripped from the headlines; in fact, it kicks off with a reporter interviewing residents affected by the scandal it depicts. It involves the titular Alabama town, which in the '50s was notorious for being a hive of gambling, prostitution, or as the narrator memorably sums it up (and pronounces it), vice. Change seems impossible to the residents who want to live peacefully since the gang in charge pull the cops and lawyers' strings; that is, except for attorney Albert Patterson, whose perhaps even more noble son John just returned home after serving overseas. Their fight for justice results in a true crime tale that's equally thrilling and angering.

If you also love to hate bad guys who are smug, overly confident and untouchable, look no further than Edward Andrews' Rhett Tanner, who adds an annoying singsong lilt to his voice that's bound to haunt you. Add John Larch's mouth breathing enforcer to the mix, and you have a battle in which each step forward for the Pattersons makes you get closer to the edge of your seat and each setback feels like a punch to the gut. All the while, whether it's the intro praising the power of democracy or the inclusion of the oft used but still effective quote about what happens when good men do nothing, the movie reminds us that the Pattersons cannot prevail by doings what the bad guys do. While Andrews and Larch's performances certainly help, they'd be less effective if it weren't for the movie's depiction of Phenix City's red-light district, which comes across like the Mos Eisley of the south. The movie sometimes shows its age and not in a good way, especially in the token use of pioneering black actor James Edwards' casino employee, especially when you read about how the real Phenix City story played out. Little of what happens to him or his family in the movie actually happened, and on top of that, the real John Patterson was not much of a friend to African Americans. While it's always nice to see inclusion, particularly in this era, I believe that Edwards and his character deserve better. Despite the resulting Hollywood sheen, it's a movie and story that deserve to be better known.

Detour (1945)
Brief but superb gritty noir.

https://www.movieforums.com/communit...88#post2345788

__________________
What would Hitchcock do?

Just read your review and I totally agree it's a fast paced, leaned and hard hitting bleak noir. Its story style of 'out of the firepan and into the fire' reminds me of the Edgar Allen Poe story The Pit and the Pendulum. Detour was one of the first noirs I ever watched and I've never forgotten it in all these years. Ann Savage is indeed savage! Wow, that's one nasty femme fatale. I hope to watch this one again, this month.

BTW, you guys can repost your reviews here, if you want.

Well, you're right. Key Largo is not a noir. Many films are labelled as noirs simply because they're crime films shot in black and white. Largo is basically a gangster/hostage/murder film.

While I'm at it, I don't believe Spellbound to be a noir either. It's really a psychoanalytical love story. Now if Bergman had shot and killed Murchison (Leo G. Carroll) in order to cement her relationship with Peck, now THAT would be noir... Here's my commentary on the film:

Spellbound

Directed by Alfred Hitchcock from a screenplay by Ben Hecht and Angus MacPhail, this is a noirish film from a time when the style was still young. Rather than a detective, we have a psychoanalyst, while the early protagonists are not who or what that they appear to be.

The main characters are Gregory Peck, who plays the young newly installed head of a mental hospital, and Ingrid Bergman who shines as a prominent psychiatrist on staff. The inimitable Leo G. Carroll plays the previous head of the hospital who had been forced into retirement. Michael Chekhov (of the Chekhov acting method) plays Bergman’s teacher and mentor.

Bergman notices some peculiar behavior by Peck, and suggests psychoanalysis. During his analysis some shocking truths come out which set up a series of criminal discoveries, escape, further revelations, and death. Naturally Peck and Bergman are drawn to each other, which attraction flows to a romantic ending.

Mention must be made of the superb dream sequences authored by the surrealist artist Salvador Dali. They remain as some of the only video work by Dali in film. The sequences constructed by Dali and Hitchcock were reportedly initially 20 minutes in length, but producer David O. Selznick didn’t approve, and had them cut to roughly 2 minutes. This unfortunate deletion resulted in the loss of that valuable footage, remaining only in some photographic stills.

The score went to Miklos Rozsa when his normal collaborator, Bernard Herrmann was busy with other projects. The music featured the novel use of the theramin to underpin the weird scenes. Rozsa has used it once before to great effect in The Lost Weekend earlier in 1945.

Spellbound was the final film while under a 7 year contract with Selznick. Hitchcock had directed several films for other studios during that time, notable among them was Suspicion (1941) which was his first American film as both producer and director. Freed from Selznick’s meddling Hitchcock turned out several top pictures which lead into his most productive and memorable 1954-64 era.

Hitchcock characterized the film as, “Just another manhunt story wrapped up in pseudo-psychoanalysis.” Yet Spellbound is a fine film with an other-worldly feel to it despite its serious themes.

Did good ole Hitch ever make a straight up noir? I can't think of one off the top of my head...I think I've seen all of his films, sans the silents.

I love High Sierra. Crazy to see Lupino billed above Bogie. I think it was the last time he was 2nd billed. Also believe it was yet another big role he got because George Raft turned it down (a theme in Bogie’s early career).

Pairs well with Hell or High Water.

Why wouldn’t a gangster/hostage/murder film made in that era, with that cast, and that ending be a noir?

Again, depending on your definition of a straight up noir. I would say Notorious is the closest, but Shadow of a Doubt might also apply.

__________________

CRY OF THE CITY

Current favorite noir watch of the season.

https://boxd.it/3qcFSP

5/5

I’d certainly put Strangers on a Train on that list.

Forgot about that one. Yup I'd call that noir for sure. I also seen Notorious but so long ago I can't recall it.

Why would a movie with...

Because a lot of noirs do?

I found that site while looking up some potential noir watches. They have a nice layout and well written reasons why their choices for 15 top underrated film noirs are special. And apparently you all have great taste in noir! As many of these films have been already mentioned in this thread. I plan on watching some of them.

I'd say I Confess (1953) is a noir for sure. Starring Montgomery Clift, Anne Baxter, and Karl Malden, the film features fascinating chiaroscuro noir photography by Robert Burks, which highlights a brooding story of murder and guilt. Strangers on a Train (1951) is another one. I'd have to mentally review his other pictures, but he may have done a couple of other noirs.

I think it's interesting that Psycho (1960) is an excellent noir, up to the point of the shower murder. Then it becomes a horror film from there out.

Thieves' Highway

https://boxd.it/3qee2B

Not my favorite from Dassin and while still noir, lands closer to dramas like On The Waterfront. I could see ranking this higher after ruminating on it.

4/5

Read your review and seen you also mentioned it feeling somewhat like They Drive By Night. Interesting as I was just contemplating a rewatch of They Drive By Night, mostly for Ida Lupino. Though if memory serves me she didn't have a big role in that.

I don't think I've heard of Thieves' Highway before now but I'm intrigued by the truck hauling aspect of it. It sounds like a British noir that I recently watched about cut throat truck haulers operating illegally Hell Drivers (1957) Not the best film but fun enough for me.