The Film Noir Thread! Gats, dames, and cheap hooch welcome.

[Ian Jane Administrator Find all posts View Profile Close Ian Jane]

Looks like Warner Archive is releasing Murder My Sweet on Blu-ray.

http://warnerarchive.tumblr.com/post...-coming-to-blu

[Andrew Monroe Pallid Hands Find all posts View Profile Close Andrew Monroe]

Looks like Warner Archive is releasing Murder My Sweet on Blu-ray.

http://warnerarchive.tumblr.com/post...-coming-to-blu

Fantastic news! I have had a feeling for a while now that this one would get a Blu-ray release.

[Andrew Monroe Pallid Hands Find all posts View Profile Close Andrew Monroe]

Anyone considering getting the Kino British Noir set should be aware that at least some of the films are far from pristine looking. There's a mention on the back cover that "SNOWBOUND is derived from a master suffering from moderate deterioration and is presented in less than ideal condition." Also, I watched the earliest film in the set last night - THEY MET IN THE DARK (1943) and it suffers from some problems as well. Not unwatchable or anything but I'm getting the feeling the rest of them may not be ideal as well. I'm still glad to have the set as these are fairly rare films and I had only seen THE OCTOBER MAN (a very fine film) but buyer beware. THEY MET IN THE DARK stars James Mason and is a fairly good wartime thriller involving enemy agents and conspiracies. It reminded me quite a bit of Hitchcock's THE 39 STEPS actually. Not particularly noir but well worth watching.

[Jason C Senior Member Find all posts View Profile Close Jason C]

I'm starting to get into Film Noir. I can't imagine that it gets any better than the opening diner scene in THE KILLERS (1946). That's one the coolest moments of film I've witnessed.

[Andrew Monroe Pallid Hands Find all posts View Profile Close Andrew Monroe]

Yes, the diner scene is a terrific opener, love the two hitmen (played by William Conrad and Charles McGraw). McGraw was a memorable supporting player in quite a few noirs and they're all pretty much worth your time. When he got the rare lead he really made the most of it too, he had few equals in the tough guy department. THE THREAT, ROADBLOCK, ARMORED CAR ROBBERY...tough as nails. That rough as sandpaper voice of his and that granite slab mug are unforgettable.

[Paul L Scholar of Sleaze Find all posts View Profile Close Paul L]

I'm starting to get into Film Noir. I can't imagine that it gets any better than the opening diner scene in THE KILLERS (1946). That's one the coolest moments of film I've witnessed.

It's really well-played and shot, but it's handling (and softening) of Hemingway's short story always bugs me slightly. That personal gripe aside, it's a superb film, and Conrad and McGraw are brilliant as the two hoods in that sequence.

[Clive Smith noodle doodle Find all posts View Profile Close Clive Smith]

The Film Noir Thread! Gats, dames, and cheap hooch welcome.

Yes, the diner scene is a terrific opener, love the two hitmen (played by William Conrad and Charles McGraw). McGraw was a memorable supporting player in quite a few noirs and they're all pretty much worth your time. When he got the rare lead he really made the most of it too, he had few equals in the tough guy department. THE THREAT, ROADBLOCK, ARMORED CAR ROBBERY...tough as nails. That rough as sandpaper voice of his and that granite slab mug are unforgettable.

THE NARROW MARGIN too! Oh, and the start of SADDLE THE WIND.

[George Barry Senior Member Find all posts View Profile Close George Barry]

Yes, the diner scene is a terrific opener, love the two hitmen (played by William Conrad and Charles McGraw). McGraw was a memorable supporting player in quite a few noirs and they're all pretty much worth your time. When he got the rare lead he really made the most of it too, he had few equals in the tough guy department. THE THREAT, ROADBLOCK, ARMORED CAR ROBBERY...tough as nails. That rough as sandpaper voice of his and that granite slab mug are unforgettable.

Andrew, if you haven't seen it, you may find this book about Charles McGraw of some interest. Not so much for his life story, but I remember his time at RKO is well covered.

http://www.amazon.com/Charles-McGraw...charles+mcgraw

[Andrew Monroe Pallid Hands Find all posts View Profile Close Andrew Monroe]

Andrew, if you haven't seen it, you may find this book about Charles McGraw of some interest. Not so much for his life story, but I remember his time at RKO is well covered.

http://www.amazon.com/Charles-McGraw...charles+mcgraw

I do have that book, George, but thanks for the thought. I enjoyed reading about his life outside of pictures as well, though the circumstances of his death were pretty horrifying. I hope Alan Rode will do another noir bio on someone one of these days.

Good call on NARROW MARGIN, Clive! I was pulling them off the top of my head and forgot that essential one. McGraw had a juicy supporting role in another western - the very noirish BLOOD ON THE MOON. He was in several westerns and was a natural in those too, as you'd expect with a face that seemed carved from the prairie winds.

I still gotta go with THE THREAT for his absolute best as far as tough as nails noirs go.

[Dom D Spoon! Find all posts View Profile Close Dom D]

Watched a couple noirs the other day that had somehow bypassed me. The first was The Enforcer. Particularly surprised I missed this one as it stars Bogart and in my teens I had a serious Bogart phase and watched dozens of the things but somehow this one never crossed my path. It's pretty damn good actually. Ties up a bit neatly and easily but these films often do. It was the first Hollywood film to use the term "contract killing" and so they stop every five minutes or so to explain to the audience that a contract is a murder and a hit is a target. It gets quite funny after a while which is a shame because there's a lot of good stuff here... particularly in the opening 15 minutes which are good, taut, noir filmmaking.

Murder My Sweet on the other hand I thought was out and out one of the best noirs I've and certainly the most successful Chandler adaption. They tend to shy away a bit from the complexities of a Chandler plot but this one justs dives right in and lets you work it out at Marlowes pace. Not sure about Powell in the role but he was better than I expected him to be. A very accurate representation of the character I thought. I liked the little touches like the skip he does in the hallway of the big mansion just to let the owners know he's not too impressed.

[Andrew Monroe Pallid Hands Find all posts View Profile Close Andrew Monroe]

I think Powell is aces as Marlowe, he completely changed his screen persona with this film - and went on to do some other terrific noirs like CRY DANGER, JOHNNY O'CLOCK, CORNERED and PITFALL. He also directed an incredibly tense noir - SPLIT SECOND. I love his Marlowe, much as I adore Bogart he always seems in control and not caught up in the pathos of his situation. The new Warner Archive BD of MURDER MY SWEET isn't perfect but it's an improvement on the DVD for sure. As many times as I've seen this film it just continues to grow in my estimation. So many quotable hard-boiled lines...

[Quot Bark! Go away Find all posts View Profile Close Quot]

Happy birthday, Andrew!

[Andrew Monroe Pallid Hands Find all posts View Profile Close Andrew Monroe]

Thanks brother Quot! Hope you are staying dry amigo.

[George Barry Senior Member Find all posts View Profile Close George Barry]

Moved to Andrew's Birthday thread

[Andrew Monroe Pallid Hands Find all posts View Profile Close Andrew Monroe]

Warner Archive released several noir and or crime films this week:



SMART GIRLS DON'T TALK (1948) Virginia Mayo stars as a penniless society girl torn between what's right and the charms of Mr. Wrong. Linda Vickers (Mayo) gets swept off her feet after gambling gangster Marty Fain (Bruce Bennett) woos her to the side of keeping mum when his minions "borrow" her car for a hit. Linda's doubts about her arrangement start to grow only after her young doctor brother (Robert Hutton) gets wind of what's going on with her new beau. But it turns out Marty may just need the administrations of a medical practitioner - provided he knows who to keep quiet. Directed by Richard Bare.


FLAXY MARTIN (1949) Virginia Mayo goes full femme fatale for this thriller that's a shadow away from full Film Noir. Zachary Scott plays the fall guy, the arrogant and abrasive mob shyster Walter Colby who thinks he's getting out only to discover he's getting set up for the big fall. Making a break, the now wanted man ends up falling in with a worldly librarian Nora Carson (Dorothy Malone). Hip to fact that gang boss Hap Richie (Douglas Kennedy) may be behind the frame, Colby heads back to the city to get at the truth - but the gun-happy gunsel Roper (Elisha Cook, Jr.) is dogging his steps. Directed by Richard Bare.

SHADOW ON THE WALL (1950) Child star Gigi Perreau ably anchors this psychological suspense thriller starring future First Lady Nancy Davis. David Starrling discovers his wife (Kristine Miller) has been playing hanky-panky with the finance of his sister-in-law Dell (Ann Sothern) and confronts her. Said confrontation ends in death with young Susan Starrling witnessing the horror. Traumatized, Susan is sent to a psychiatric ward while David is sent to the big house. As child shrink Caroline Canford (Davis) attempts to unlock Susan's memories, her helpful Aunt Dell is at hand to ensure the best of...care. This taut drama is directed by Patrick Jackson who coaxes nifty against-type performances from Ann Sothern and Zachary Scott.

CRY OF THE HUNTED (1953) Director Joseph H. Lewis (Gun Crazy, The Big Combo) delivers a spicy backwoods jambalaya that deftly mixes domestic drama, crime, prison break and noir. Barry Sullivan plays Lt. Tunner whose interrogatory pursuit of Creole convict Jory (Vittorio Gassman) turns into the real thing when Jory escapes through the bayou. As cop pursues criminal, hunted becomes reflected in hunter and the two men must find common ground as the swamp tests them both.

BOBBY WARE IS MISSING (1955) Shortly before Bill Elliott would take on the role of Lt. Andy Doyle (later to be renamed Andy Flynn) Neville Brand would play the sheriff's department level-headed investigator in this by-the-book procedural about two boys lost in the mountains above Los Angeles. But these mountains that are about to be blown sky high! Unfortunately for the missing Bobby Ware (Kim Charney) and Mickey Goodwin (Thorpe Whiteman), someone has delivered a ransom note claiming they kidnapped the boys, drawing the search team off the track and pulling the Feds in. Directed by Thomas Carr. 16x9 Widescreen.

THE SAFECRACKER (1958) Ray Milland stars and directs this war-time crime-caper character study. Milland plays Colley Dawson, an honest expert locksmith who takes up a Raffleian double life, cracking safes and living the high life as "Simon Ledburn". Colley's ego gets the better of him and gets sent up for a stretch of eight years as the Nazi menace goes to war. Two years in, Colley is offered parole, trading convict life for commando training. Now it's time for Colley to crack the biggest safe of all - the one used by the Abwehr, Hitler's spymasters. 16x9 Widescreen



SHADOW ON THE WALL is a really good noir, quite suspenseful and a great cast. I'm really curious about BOBBY WARE IS MISSING which seems to be more of a straight crime film than a noir but I dig Neville Brand and this a fairly rare lead for him. The plot sounds a little like the phony kidnapping aspect of BIG HOUSE, U.S.A.