The 10 Most Devastating Film Noir Endings: Pre-Code to the Present
A film noir doesn’t have to have an unhappy ending … but it helps. Here are 10 film noir endings that pack an emotional wallop. I Am a Fugitive from[…]
Category: Noir
Leslie Stevens’ Private Property (1960): Noir’s Edge of Wetness
Long thought lost, Stevens’ grim exposé of gender roles and sexual psychopathy may be the missing link in noir’s transition to the sixties.
Mann in the Dark: The Film Noirs of Anthony Mann
“The morally complex interrelationship of hero/villain, which is partially accountable for the remarkable intensity of his films, has at its roots the film noirs of the 1940s. The darker side of human nature, the interiority of these earlier, psychologically troubled characters, is the determining force in Mann’s noirs. We see the director striving for the depth and complexity of characterization he ultimately achieved in the great films of the 1950s.”
Directors · Genres · Noir · Westerns
Going Through the Devil’s Doorway: The Early Westerns of Anthony Mann
“Mann’s 1950 threesome — The Devil’s Doorway, Winchester ’73, The Furies — was the most auspicious quantum jump by an American director since John Ford’s equivalent Americana triumvirate of 1939 (Stage Coach, Young Mr. Lincoln, Drums Along the Mohawk) lifted him into the major phase of his career. Yet Mann’s achievements seem destined to remain unappreciated and the director himself obscure.”
Composers · Directors · Music & Musicals · Noir
Clashing Harmonics: The Characteristics of Sound in Orson Welles’ Touch of Evil
“Welles familiarizes us with the geography of the town largely through source music. Los Robles is presented as a labyrinth, an inter-place where physical and moral borders are erased.”
TCM Musts: 12:15 AM EST tonight – THE GLASS KEY (1942)
It’s not ‘rare’ by TCM standards, but its not easily available on DVD, so hey – you should maybe DV-R this if you haven’t already and then keep it[…]
TWO SECONDS to Noirville
Is Two Seconds (Mervyn LeRoy, 1932) the first American noir? I’ve read some historians who trace American film noir as far back as Josef von Sternberg’s Underworld (1927). But Underworld,[…]
WINTER’S BONE and the Rural Noir
Although most film noirs take place in an urban setting, the “dark city,” Winter’s Bone (Debra Granik, 2010) shows how the noir vision can thrive almost anywhere – it is[…]
Maximum Security: Film Noir, Domesticity, and the Female Captive
“While films about men with dangerous jobs showed them returning home to supportive, contented wives, films that focused on domestic settings showed women caught in oppressive relationships or warped by the narrowness of their emotional lives.”
Essays · Noir · Writers & Critics
Ossessione: Shabby Little Shocker?
Or Advanced Guide to Cinematic Survival?
“Fucking Queer”: Eastern Promises and the Traditions of Noir
“The filmmaker, having scrupulously established the world of film noir, queers it by shattering the categories — both narrative and cinematic — of the world itself.”
Interviews · Noir · Writers & Critics
A Writer’s Evolution: An Interview with Eddie Muller
“[My film] is stylized and theatrical because the story is so telescoped we have a life-and-death outcome played out over 20 actual minutes.”
Past Sunset: Noir in the West
“I don’t need other people. I don’t need help. I can take care of me.”
Of Perfect Plans and Acts of Creation: Stanley Kubrick’s The Killing
“His plan mirrors Johnny’s, that is, pieces of the plan are known to one person: Johnny and Stanley; and not until the end do we see most of their pieces come into place.
In Lonely Places: Film Noir Outside the City
“Noir films with non-urban settings exploded the idea that escape into a safer or healthier world was possible, showing how temptation and violence can attack anyone, anywhere.”
Crime · Drama · Noir · Reviews
Women Larger Than Life: Program Notes 2: King Vidor’s Beyond the Forest (1949) / Gerd Oswald’s Crime of Passion (1957)
Note: The humble program note has a long and noble history. Sometimes anonymous, sometimes not, cheered as often as they were reviled, these brief, ephemeral, often illuminating handouts, likely destined for the dustbin the same night they appeared, offer “wisdom in a nutshell,” as one of Ivy Compton-Burnett’s characters aptly put it. This article is the second in Bright Lights’ series of vintage program notes from those heady days of the 1970s when unstoppable auteurists started their own cine clubs and commandeered movie theaters to bring their idea of cine-culture to audiences. Our late friend Roger McNiven continues the series with fascinating write-ups of two more works on the subject of “women larger than life,” in this case Bette Davis in King Vidor’s woefully underrated Beyond the Forest and Barbara Stanwyck in Gerd Oswald’s undeservedly obscure Crime of Passion. This double feature was screened at the legendary Thalia Theatre in New York City on Monday, December 3, 1979. We have added images but not edited the text, deferring to the time and spirit in which it was written.
Plumbing the Depths of Capitalism: On Force of Evil
“It was like going down to thebottom of the world”
To Slap a Dame: Sexual Violence in the Age of Reason
“Skip is the only one that enacts incest with one hand and bats away communists like flies from a dung pile with the other.”
Summer Movie Essential: NIAGARA (1954)
A strangely soothing, a sun-drenched proto-neo-noir, NIAGARA is one of my favorite Marilyn Monroe movies, up there with DON’T BOTHER TO KNOCK and THE MISFITS in its ability to capture[…]
Whose Noir Is It, Anyway? Robert Aldrich’s Kiss Me Deadly
Mike Hammer deconstructed, or Mike Hammer disrespected? Back in the day — way, way back in the day, when life in America was not a total girlie show — Americans[…]
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