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Complicated days for me. Hopefully I can tackle the three I need to within the remaining four days.
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Film Noir HoF IV
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The Asphalt Jungle covers the weakest subgenres of noir...the man on the run. When you do a chase film it's often very difficult to carry that storyline for an hour. The strength of the film is that it breaks up the chase into multiple storylines. The fence, break-in guys, and the cops all expand on the story so you get four endings rather than one.
Huston does a good job expanding on the use of women in the story. It's kinda funny how all of these toughs going running to different women once the heat gets put on them and you've got a futility in that chase. My favorite scene in the film is the diner scene where the german is just watching this girl dance and is confronted by how time has past him bye.
The film is also notable for Marilyn Monroe's screen debut and she looks and plays young, almost a Judy Garland but sexy aspect to her that is especially creepy when her sugar daddy is 40 years older than her and she calls him uncle.
At the end of the day the film was fine...I think I'm going to try and do one review a day to try and figure what my list is going to end up as. The biggest problem I had with the film is that the impetus for the story is the heist and the heist was just kinda dull to me. The film is also hurt by being a lesser Huston noir it's really not as good as The Killers, Key Largo, and Maltese Falcon that Huston adapted beforehand. I believe this was his last noir until his comeback decades later.
Murder, My Sweet(1944)
Well I liked this one better than Crossfire but I still didn't love it. I actually ended up watching it twice because the mystery was just so muddled for me. It is interesting about both of Dmytryk films cover cuckolding as a plot point...don't know what that says about the film maker.
I enjoyed the early parts of the film the set pieces early on are very good though I didn't care for the "drugged" fx they used in the mental hospital. I don't think Dmytryk shoots films in a particularly engaging fashion. Also I feel like Dick Powell was a pretty good Marlowe he kind of made the character his own or his was more distinctive compared to Bogarts.
Both of these are retreads from the last Hall and I don't see really much of a point to revisit them...but these were my reviews.
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Theives Highway (1949)
Yes I know that's from the Godfather but I couldn't shake The Godfather and other mafia films while watching this one. This is the story of a guy that gets swept into the world of trucking and the perils that come with it. And it's well...it's a silly noir. You've got all of these rough and tough heavies and the movie is about apples...and I'm sorry it's just to hard to take seriously.
What is good and that felt like the better aspect of the film was the love triangle. Contie is a second generation American who is trying to live the dream. He's chasing this blonde in the hope of achieving his goals but he gets sucked into an affair of sorts with an older immigrant woman. That's really where the focus of the film should have been with the chracters complex feelings towards the woman who needs him and is like him versus the woman that he desires to change himself and become more respectable. that's a great setup for a quality noir....but we only got a tease of that.
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Thieves Highway
Thieves highway is a bleak portrait of post WWII despair, capitalism that has become corrupt, and the disillusionment of a generation. Nick returns home from a stint in the military with exotic gifts for his family and fiance. Nick is kinda upbeat with what turns out to be a naive optimism about his future.
When he returns he finds his father has lost his legs in an accident that was caused by a local thug. Nick recruits a trucker who has assumed his father's route to exact revenge on this thug and to deliver some apples for some much needed cash.
By the end of the film, Nick has devolved from an optimistic vet into a battle scarred nomad hardened by life's most negative consequences. Although the movie has a lot of negative things about capitalism, it is really about revenge and betrayal.
Thieves highway is a bleak portrait of post WWII despair, capitalism that has become corrupt, and the disillusionment of a generation. Nick returns home from a stint in the military with exotic gifts for his family and fiance. Nick is kinda upbeat with what turns out to be a naive optimism about his future.
When he returns he finds his father has lost his legs in an accident that was caused by a local thug. Nick recruits a trucker who has assumed his father's route to exact revenge on this thug and to deliver some apples for some much needed cash.
By the end of the film, Nick has devolved from an optimistic vet into a battle scarred nomad hardened by life's most negative consequences. Although the movie has a lot of negative things about capitalism, it is really about revenge and betrayal.
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Touch of Evil
I watched the fully restored version of the film. It would be a shame if Touch of Evil was known only for its 3+ minute tracking shot. It was Welles last film within the Hollywood system, and he sought to make the most of it. It is the story of two policemen who were fighting for control of the same case. One was the corrupt Sheriff of the small town on the Mexican border, and the other a law enforcement official from Mexico. The sheriff is prejudiced against Mexicans and seeks to frame the Mexican official and his wife for murder.
The story is good and the production sought to meet Welles exacting standards. The most recent restored version made 50 changes and added three minutes to the studio version to align itself with Welles notes after the studio release.
My biggest complaint relates to the issue of white washing the cast. I assume this was done because the studio was unaware of a Mexican actor who could lead an all star cast. I do not know what an acceptable solution to this issue would have looked like, and I'm sure this resulted in many films having white washed cast, but it still is irksome all the same.
I watched the fully restored version of the film. It would be a shame if Touch of Evil was known only for its 3+ minute tracking shot. It was Welles last film within the Hollywood system, and he sought to make the most of it. It is the story of two policemen who were fighting for control of the same case. One was the corrupt Sheriff of the small town on the Mexican border, and the other a law enforcement official from Mexico. The sheriff is prejudiced against Mexicans and seeks to frame the Mexican official and his wife for murder.
The story is good and the production sought to meet Welles exacting standards. The most recent restored version made 50 changes and added three minutes to the studio version to align itself with Welles notes after the studio release.
My biggest complaint relates to the issue of white washing the cast. I assume this was done because the studio was unaware of a Mexican actor who could lead an all star cast. I do not know what an acceptable solution to this issue would have looked like, and I'm sure this resulted in many films having white washed cast, but it still is irksome all the same.
Last edited by Diehl40; 12-14-23 at 06:39 PM.
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Thieves’ Highway(1949)
Director Jules Dassin had a run of five films from 1947 to 1955 --Brute Force, The Naked City, Thieves’ Highway, Night and the City, and Rififi-- which are often listed as films noir, but the only one that serves as a prime example of the style is Night and the City. By then Dassin had fled to Europe where he made dramas and romantic comedies, along with another heist film, Topkapi (1964), which was inspired by his own Rififi.
Thieves’ Highway is a revenge drama with a happy ending. A G.I. returns home to discover that his father has lost his legs from an accident in his produce truck, caused by a criminal produce dealer. The G.I. eventually settles the score, and ends up with the femme fatale to boot.
Fine performances are turned in by Richard Conte, Lee J. Cobb, and Valentina Cortese. Long veteran cinematographer Norbert Brodine had previously directed the noirs Somewhere in the Night and Kiss of Death, so he was no stranger to the style. The tale’s authenticity is enhanced by much filming at the actual San Francisco produce markets of the day.
The film was based upon A.I. Bezzerides novel Thieves’ Market (1949), but when the produce dealers’ association objected because it would cast an unfavorable light on the produce industry, the title was changed to Theives’ Highway. Bezzerides produced several books or screen plays that were turned into noir movies, such as The Long Haul, which was used for They Drive by Night (1940); and On Dangerous Ground (1952). He had a penchant for social consciousness subjects, so he was a good source for Director Dassin, an admitted communist who himself fled the U.S. to avoid testifying before the House Un-American Activities Committee. The film is often included in a list of film gris, which typically feature leftist criticism of society, mostly during the years 1947 to 1951.
Thieves’ Highway is a revenge drama with a happy ending. A G.I. returns home to discover that his father has lost his legs from an accident in his produce truck, caused by a criminal produce dealer. The G.I. eventually settles the score, and ends up with the femme fatale to boot.
Fine performances are turned in by Richard Conte, Lee J. Cobb, and Valentina Cortese. Long veteran cinematographer Norbert Brodine had previously directed the noirs Somewhere in the Night and Kiss of Death, so he was no stranger to the style. The tale’s authenticity is enhanced by much filming at the actual San Francisco produce markets of the day.
The film was based upon A.I. Bezzerides novel Thieves’ Market (1949), but when the produce dealers’ association objected because it would cast an unfavorable light on the produce industry, the title was changed to Theives’ Highway. Bezzerides produced several books or screen plays that were turned into noir movies, such as The Long Haul, which was used for They Drive by Night (1940); and On Dangerous Ground (1952). He had a penchant for social consciousness subjects, so he was a good source for Director Dassin, an admitted communist who himself fled the U.S. to avoid testifying before the House Un-American Activities Committee. The film is often included in a list of film gris, which typically feature leftist criticism of society, mostly during the years 1947 to 1951.
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Gilda (1946)
The funny thing about Rita Hayworth is I believe this was her first big departure from musicals into something darker. Gilda tells the story of Johnny a gambler who gets drawn into this twisted relationship with a singer (Rita) and her eurotrash casino owner played by George McGready. McGready actually is from Rhode Island...so damn fine accent work here.
Gilda gets right what Mildred Pierce and Theives Highway got wrong. This movie is focused heavily on the gender politics of deeply flawed people. Hayworth should have 100% won the Oscar for this performance most of the noms and performances from that year were forgettable this was a classic. Hayworth gives Gilda a sarcastic biting nature that falls away to fragility. Really your empathizes are always bouncing between Johnny and Gilda.
Also really love the costuming in this film. You can tell it's elegant and colorful even in black and white. The director came from the Korda films and while the film doesn't have the same epic scale of those films it's still a great looking film.
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Hey, I don't know if Siddon even needs it. He's really crankin' them out!..
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Hey, I don't know if Siddon even needs it. He's really crankin' them out!..
I just finished Maltese Falcon and the only film left is my nomination...so yeah I'm good.
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I just finished Maltese Falcon and the only film left is my nomination...so yeah I'm good.
Hey while you're here, I got a question you wanted a Neo Noir HoF right? See the next post
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I was hoping we'd be done with this HoF by now as there's something scheduled...I talked to Thief and he's going to run a Neo Noir HoF very soon. At the same time I'm going to start another Film Noir HoF.
Both of these HoFs will be more relaxed and laid back and have 2 full months watch time. You can join one, or the other, or both.
The Neo Noir should be popular but I am guessing another Film Noir will have very light turn out, so super easy to do. These will be the last HoFs we can do to support the upcoming duel Noir countdowns and are a great way to help bring attention to noirs.
Both of these HoFs will be more relaxed and laid back and have 2 full months watch time. You can join one, or the other, or both.
The Neo Noir should be popular but I am guessing another Film Noir will have very light turn out, so super easy to do. These will be the last HoFs we can do to support the upcoming duel Noir countdowns and are a great way to help bring attention to noirs.
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The Maltese Falcon (1941)
The film opens with a double murder as Sam Spade loses his partner and gains a shady woman, a weirdo, and a fat man. The first collaboration of Bogart and Huston is to me the best...and that's saying a lot. I forgot how hilarious Lorre and Bogart were in this one. This is a very claustrophobic film, most of it takes place in single rooms with guys playing games of cat and mouse.
Bogart's Sam Spade is less a man on revenge but more a man bemused by the people in this story. Mary Astor on the other hand...this is a character who goes on a journey, Each act of the story she just changes a little bit each time until the final result is nothing like the person from the start of the film.
This is a great noir, it's dark, cynical and fun. I saw a lot of good noirs but this was one of the best.
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Hey while you're here, I got a question you wanted a Neo Noir HoF right? See the next postSure...would love to.
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*sigh* I've tried for four nights to finish The Asphalt Jungle, but every time I sit down to watch it, I end up dozing off 
Not the film's fault, but again, too much work, too much stuff going on, and when I sit down to watch TV at 9pm, my body just shuts down. I'm gonna try it again tonight.
I also need to write up my thoughts on Act of Violence and Thieves' Highway, which I did see a couple of weeks ago. Might skip my usual long review for the moment and just go for a quick write-up to close this up.
If I do end up finishing The Asphalt Jungle tonight, and can manage to watch Gilda and Mildred Pierce in the next few days, I'll be done
Not the film's fault, but again, too much work, too much stuff going on, and when I sit down to watch TV at 9pm, my body just shuts down. I'm gonna try it again tonight.I also need to write up my thoughts on Act of Violence and Thieves' Highway, which I did see a couple of weeks ago. Might skip my usual long review for the moment and just go for a quick write-up to close this up.
If I do end up finishing The Asphalt Jungle tonight, and can manage to watch Gilda and Mildred Pierce in the next few days, I'll be done
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*sigh* I've tried for four nights to finish The Asphalt Jungle, but every time I sit down to watch it, I end up dozing off Not the film's fault, but again, too much work, too much stuff going on, and when I sit down to watch TV at 9pm, my body just shuts down. I'm gonna try it again tonight.
I also need to write up my thoughts on Act of Violence and Thieves' Highway, which I did see a couple of weeks ago. Might skip my usual long review for the moment and just go for a quick write-up to close this up.
If I do end up finishing The Asphalt Jungle tonight, and can manage to watch Gilda and Mildred Pierce in the next few days, I'll be done
Not the film's fault, but again, too much work, too much stuff going on, and when I sit down to watch TV at 9pm, my body just shuts down. I'm gonna try it again tonight.I also need to write up my thoughts on Act of Violence and Thieves' Highway, which I did see a couple of weeks ago. Might skip my usual long review for the moment and just go for a quick write-up to close this up.
If I do end up finishing The Asphalt Jungle tonight, and can manage to watch Gilda and Mildred Pierce in the next few days, I'll be done
You're the man! You can do it too! One or two sentence write ups are perfectly fine, just be like me and write your thoughts on the fly and misspell everything
I do!
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Touch of Evil (1958)
This is often considered the last noir film before the world moved into neonoir movements. Orson Welles had performed and man some other noirs but this was his masterpiece. Rewatching the film you catch things that you miss on earlier viewers. I had forgotten that this entire takes place in basically a weekend.
Heston plays Vargas a diplomat caught up in this murder case. The captain of the police force comes in played by Orson Welles. Quinlan is a man barely hanging on 12 years sober with one leg and suffering from severe obesity and trauma from a dead wife. Quinlan is a fantastic villain the last of the western lawmen who had no issue planting evidence if you knew the guy was guilty. Although with this crime the guilt was almost known immediately.
Quinlan's descent into alcoholism is just one plot of the film...you also have this other story where Janet Leigh is sent to a shady motel at the border. The local criminal family Grandi doesn't want Vargas and Quinlan hanging around investigating everything that is going on. Grandi sends his family to basically drug and frame Vargas wife. The entire plot is some of the more terrifying aspects of the story.
Welles hits on so many things that are topical today. The drug trade at the border, the thin blue line that police officers deal with, PTSD in where we see the start with Leigh and the conclusion with Welles all under this specter of big oil coming into this region to take it over. The film ends in a bittersweet notion where Quinlan turns out he was right in finding the killer but that's all beside the point. This is honestly one of my favorite movies of all-time.
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