noir

TCM’s June feast of noir

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Humphrey Bogart in THE MALTESE FALCON (1941)

It’s more than a film fest, it’s a feast of film noir.

This June, Turner Classic Movies’ Friday Night Spotlight will focus on Noir Writers.  The guest programmer and host will be San Francisco’s Eddie Muller, founder and president of the Film Noir Foundation.  The Foundation preserves movies from the traditional noir period that would otherwise be lost.  It also sponsors Noir City, an annual festival of film noir in San Francisco, which often plays newly restored films and movies not available on DVD.  (My favorite part is Noir City’s Thursday evening Bad Girl Night featuring its most memorable femmes fatale.)

Muller (the Czar of Noir) has selected films from the work of noir novelists.  Friday night, he kicks off with films from the novels of Dashiell Hammett: the 1931 and more famous 1941 versions of The Maltese Falcon, plus the 1936 version (Satan Met a Lady) and After the Thin Man and The Glass Key.  (Muller informs us that Hammett pronounced his first name da-SHEEL.)

On June 14, Muller continues with the work of David Goodis, The Burglar, The Burglars, The Unfaithful, Shoot the Piano Player and Nightfall.  (You may have seen Goodis’ Dark Passage with Bogie and Bacall.)

On June 21, we’ll see films from the novels of Jonathan Latimer (Nocturne, They Won’t Believe Me) and James M. Cain (Double Indemnity, The Postman Always Rings Twice).

TCM and the Czar of Noir wrap up on June 28 with movies from the novels of Cornell Woolrich (The Leopard Man, Deadline at Dawn) and Raymond Chandler (Murder My Sweet, The Big Sleep, Lady in the Lake, Strangers on a Train).

These two movies aren’t part of the Friday night series, but on June 11, TCM features two of the nastiest noirs:  Detour and The Hitchhiker.

Set your DVR and settle in for dramatic shadows, sarcastic banter and guys in fedoras making big mistakes for love, lust and avarice.

Anne Bancroft and Aldo Ray in NIGHTFALL

Coming Up on TV: 3 noir classics

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OUT OF THE PAST

On May 7, Turner Classic Movies is broadcasting three classics of film noir.

You really haven’t sampled film noir if you haven’t seen Out of the Past (1947).  Perhaps the model of a film noir hero, Robert Mitchum plays a guy who is cynical, strong, smart and resourceful – but still a sap for the femme fatale…played by the irresistible Jane Greer.  Greer later reported that she received this guidance from director Jacques Tourneur: “First half of the picture – good girl.  Second half – bad girl.”  Kirk Douglas plays The Bad Guy You Don’t Want to Mess With, emanating a mix of evil and power.  With Out of the Past, Tourneur crafted one of the most dramatically lit and photographed noirs – not one puff of cigarette smoke goes uncelebrated.

THE ASPHALT JUNGLE

In The Asphalt Jungle (1950), the crooks assemble a team and pull off the big heist…and then things begin to go wrong.  There aren’t many noirs with better casting – the crooks include Sterling Hayden, Louis Calhern, Sam Jaffe and James Whitmore.  The 23-year-old Marilyn Monroe plays Calhern’s companion in her first real speaking part.  How noir is it? Even the cop who breaks the case goes to jail.  Directed by the great John Huston.

Every police procedural from 1948 through today’s Law and Order and CSI owes something to the prototypical The Naked City (1948). Tenacious New York City cops solve a murder amid gritty streets and shady characters. Unusual for the time, it was shot on location.   Directed by noir great Jules Dassin, The Naked City won Oscars for black and white cinematography and film editing.

THE ASPHALT JUNGLE

The Prowler: Van Heflin takes a dark turn

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Van Heflin (right) in THE PROWLER

On April 30, Turner Classic Movies will be broadcasting the oft overlooked 1951 film noir The Prowler, starring usually sympathetic good guy Van Heflin as the twisted bad guy.  Heflin is a beat cop responding to a call – a woman has reported a prowler outside her house.  By the time Heflin and his partner arrive, the prowler is long gone, but Heflin is lusting after the comely woman (Evelyn Keyes), who is home alone every night because her husband works as an all-night DJ.  Under the ruse of making sure that the prowler has vamoosed, Heflin returns and overcoming her reticence, seduces her.  As befits a film noir, once he finds out about the husband’s insurance policy, sleeping with the guy’s wife just isn’t enough anymore.

It’s a strong screenplay, penned by the blacklisted screenwriter Dalton Trumbo (who also provides the voice of the DJ).  Heflin sheds his usual decency to cast a predatory eye at another man’s wife and stuff.   This isn’t the Double Indemnity film noir sap who does the bidding of the femme fatale; it’s all his idea, and she just triggers his rapaciousness.  Keyes plays a woman who wants to pretend she’s on the level, but kinda knows what’s going on.

And of course, the cop has figured out how to get away with the scheme…except for one thing.

The Prowler has been restored by the Film Noir Foundation and the UCLA Film & Television Archive.  It’s an underrated noir thriller.

Sun Don’t Shine: shaky cam noir

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Kate Lyn Shein and Kentucker Audley in SUN DON'T SHINE

Thirtyish Crystal and Leo are on the run and coaxing his weathered (and probably uninsured) sedan through central Florida.  Crystal is a white-hot mess.  I was going to describe her as needy and erratic, but those adjectives seem inadequate.  She is a unfiltered, explosive bundle of nerves, filled with impulses that are unfailingly ruinous.  The suspense in Sun Don’t Shine stems from whether Leo can navigate an escape path through her emotional minefield; we can tell from the neo-noir undercurrent that she’s going to bring him down no matter what.

In her first feature, writer-director Amy Seimetz combines a command of pacing with a Malickesque visual sense.   Watching her sweaty characters, we can feel both the Floridian humidity and the relief from air conditioning in a tourist trap. (A promising actor, Seimetz just turned in a compelling performance in the controversial Upstream Color.)  

The strength of the screenplay is that the audience only gradually learns why the two are on the run, from what and to where.  However, those revelations are not surprising.  Fortunately, Seimetz has chosen not to send her characters on yet another hyper-violent nihilistic crime spree.

But why doesn’t Leo leave Crystal on the side of the road and drive the hell away?  After about fifteen minutes, we know that’s his only chance.  He’s not very bright, but he is grounded in reality, and we wonder why he is so drawn to this wackadoodle. It may be a fim noir, but she sure isn’t Mary Astor’s Brigid O’Shaughnessy in Maltese Falcon. 

Watching Sun Don’t Shine is a 96-minute simulation of having an annoyingly clingy and scarily volatile girlfriend.  Long ago my friend Steve advised me, “Never sleep with anyone crazier than you are”.  Sage words, my friend.

Sun Don’t Shine is available for streaming from Amazon Instant and other VOD outlets, and is beginning a limited theatrical release.

DVD of the Week: The Paperboy

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Set in 1969 Florida, The Paperboy is a coming of age film nestled within a deliciously pulpy crime drama.  The story is centered around an overlooked younger son (talented up-and-comer Zac Efron) who is thrilled when his older brother (Matthew McConaughey) returns to their swampy backwater after making it in the big time of Miami.  The older brother is an investigative reporter who seeks the truth about a sensational death row case.

The strength of the film is in the supporting characters.  David Oyelowo plays the older brother’s cynical and self-absorbed partner.  John Cusack’s death row inmate is utterly animalistic, a real departure for Cusack.  Nicole Kidman plays the convict’s pen pal fiance; the younger brother falls for her, but she’s apparently screwing everyone except him.

But the surprise performance in The Paperboy is by recording artist Macy Gray, who plays the family domestic.  With complete authenticity, Gray is playful, hurt, dignified, angry, funny, tough, cagy and vulnerable and, as the narrator, she keeps the movie together.  It’s a really superb performance, and I look forward to seeing Gray in more high profile parts.

This is director Lee Daniels’ follow up to his heart rending Precious.  Once again, his  character driven story-telling is first rate.  The Paperboy is dark, violent, sexy and gripping with vivid characters.

Watch for Kidman’s particularly alarming treatment for jellyfish stings.

DVD of the Week: Elena

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Elena is a superbly crafted film that vividly peeks into a dark, very dark contemporary Russia.  Directed and co-written by Andre Zvyagintsev (The Return), Elena is the triumph of drama over melodrama.  There is an absolute minimum of on-screen action and no histrionics at all, yet the story simmers throughout. It’s on my list of Best Movies of 2012 – So Far.

Zvyagintsev builds the story upon his characters.  It is set in a toney apartment in a quiet upscale Moscow neighborhood, home of Vladimir and Elena.  Vladimir is pushing 70 and rich.  I doubt that any softies got rich in post-Soviet Russia, and Vladimir is a hard man, devoid of sentimentality except for his estranged daughter.   Late in life, he has married the working class Elena, his one-time nurse, now in her 50s.  They have a comfortable, frank, affectionate and practical relationship.

Both have adult children from previous marriages.  Vladimir’s daughter Katerina has no use for her father, but he subsidizes her lifestyle of perpetual partying.  Vladimir and Katerina finally share a moment, bonding over their shared cynicism.

Elena’s nogoodnik son Sergey lives in a hard scrabble suburb and embraces his chronic unemployment with alarming indolence.  His equally lazy and selfish teenage son, having an indifferent high school career, is now facing the dreaded Army unless someone can bribe his way into a college.

Elena is desperate to rescue her grandson from his self-inflicted predicament, but only Vladimir’s money can help, and Vladimir despises Elena’s trashy and shiftless family.  The movie is built on this conflict, and it is Elena’s story.   As Elena, the actress Nadezhda Markina reveals Elena’s affection, desperation and determination with her eyes, face and movements.  Perfectly framing Markina’s outstanding performance by isolating it, Zvyagintsev delivers the film in a series of long shots, with terse dialogue and a spare soundtrack. There is no expository dialogue explaining the plot or swelling music manipulating our reaction.

Elena is a dark movie that asks its audience to invest patience, thought and energy – so it’s not for everybody.  Elena is also one of the year’s best films, and an extraordinary example of a very pure breed of filmmaking.

The Paperboy: a trashy Nicole Kidman and a canny Macy Gray

by

Set in 1969 Florida, The Paperboy is a coming of age film nestled within a deliciously pulpy crime drama.  The story is centered around an overlooked younger son (talented up-and-comer Zac Efron) who is thrilled when his older brother (Matthew McConaughey) returns to their swampy backwater after making it in the big time of Miami.  The older brother is an investigative reporter who seeks the truth about a sensational death row case.

The strength of the film is in the supporting characters.  David Oyelowo plays the older brother’s cynical and self-absorbed partner.  John Cusack’s death row inmate is utterly animalistic, a real departure for Cusack.  Nicole Kidman plays the convict’s pen pal fiance; the younger brother falls for her, but she’s apparently screwing everyone except him.

But the surprise performance in The Paperboy is by recording artist Macy Gray, who plays the family domestic.  With complete authenticity, Gray is playful, hurt, dignified, angry, funny, tough, cagy and vulnerable and, as the narrator, she keeps the movie together.  It’s a really superb performance, and I look forward to seeing Gray in more high profile parts.

This is director Lee Daniels’ follow up to his heart rending Precious.  Once again, his  character driven story-telling is first rate.  The Paperboy is dark, violent, sexy and gripping with vivid characters.

Watch for Kidman’s particularly alarming treatment for jellyfish stings.

Coming up on TV: Night and the City

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Richard Widmark running out of luck in THE NIGHT AND THE CITY

On July 15, Turner Classic Movies is showing the under appreciated film noir classic Night in the City (1950). Richard Widmark is superb as a loser who tries to corner the pro wrestling business in post-war London – and, as in any noir classic, it doesn’t end well for the sap.

The American director Jules Dassin had just made the noir classics The Naked City and Thieves’ Highway when he shot Night and the City in the UK. He was blackballed in the McCarthy Era and never moved back to the US.

At the request of a studio exec, Dassin created a role in Night and the City for the stunningly beautiful but emotionally fragile Gene Tierney. The cast also includes real life wrestlers Stanislaus Zbyszko and Mike Mazurki.

Night in the City (along with The Wrestler) represents wrestling on my list of Best Sports Movies, and there’s a clip of an extended wrestling scene from the movie on that page. (Also, Dassin’s Brute Force makes my list of Best Prison Movies.)

Elena: a vividly dark peek into contemporary Russia

by

Elena is a superbly crafted film that vividly peeks into a dark, very dark contemporary Russia.  Directed and co-written by Andre Zvyagintsev (The Return), Elena is the triumph of drama over melodrama.  There is an absolute minimum of on-screen action and no histrionics at all, yet the story simmers throughout.

Zvyagintsev builds the story upon his characters.  It is set in a toney apartment in a quiet upscale Moscow neighborhood, home of Vladimir and Elena.  Vladimir is pushing 70 and rich.  I doubt that any softies got rich in post-Soviet Russia, and Vladimir is a hard man, devoid of sentimentality except for his estranged daughter.   Late in life, he has married the working class Elena, his one-time nurse, now in her 50s.  They have a comfortable, frank, affectionate and practical relationship.

Both have adult children from previous marriages.  Vladimir’s daughter Katerina has no use for her father, but he subsidizes her lifestyle of perpetual partying.  Vladimir and Katerina finally share a moment, bonding over their shared cynicism.

Elena’s nogoodnik son Sergey lives in a hard scrabble suburb and embraces his chronic unemployment with alarming indolence.  His equally lazy and selfish teenage son, having an indifferent high school career, is now facing the dreaded Army unless someone can bribe his way into a college.

Elena is desperate to rescue her grandson from his self-inflicted predicament, but only Vladimir’s money can help, and Vladimir despises Elena’s trashy and shiftless family.  The movie is built on this conflict, and it is Elena’s story.   As Elena, the actress Nadezhda Markina reveals Elena’s affection, desperation and determination with her eyes, face and movements.  Perfectly framing Markina’s outstanding performance by isolating it, Zvyagintsev delivers the film in a series of long shots, with terse dialogue and a spare soundtrack. There is no expository dialogue explaining the plot or swelling music manipulating our reaction.

Elena is a dark movie that asks its audience to invest patience, thought and energy – so it’s not for everybody.  Elena is also one of the year’s best films, and an extraordinary example of a very pure breed of filmmaking.

Coming up on TV: Night and the City

by
Richard Widmark running out of luck in THE NIGHT AND THE CITY

On March 25, Turner Classic Movies is showing the under appreciated film noir classic Night in the City (1950).  Richard Widmark is superb as a  loser who tries to corner the pro wrestling business in post-war London – and, as in any noir classic, it doesn’t end well for the sap.

The American director Jules Dassin had just made the noir classics The Naked City and Thieves’ Highway when he shot Night and the City in the UK.  He was blackballed in the McCarthy Era and never moved back to the US.

At the request of a studio exec, Dassin created a role in Night and the City for the stunningly beautiful but emotionally fragile Gene Tierney.  The cast also includes real life wrestlers Stanislaus Zbyszko and Mike Mazurki.

Night in the City (along with The Wrestler) represents wrestling on my list of Best Sports Movies., and there’s a clip of an extended wrestling scene from the movie on that page.  (Also, Dassin’s Brute Force makes my list of Best Prison Movies.)