Tag Archives: Film Noir

Devil in a Blue Dress

Now, usually when someone tells me ‘There’s nothin’ to worry about’, I look down to see if my fly is open. As much as I prefer New York to Los Angeles, southern California somehow lends itself to film noir better than … Continue reading

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The Lady from Shanghai

Some people can smell danger. Not me. Orson Welles is a mess.  After directing what is widely understood to be the greatest (or second greatest) movie of all time, Citizen Kane (1941), Welles would take part in hundreds of productions.  He directed … Continue reading

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Laura

Dames are always pulling a switch on ya. Here’s a thought for you.  How is it that they still make tame romantic comedies like they did in the 40’s and 50’s, but they don’t make tame mysteries of that era?  … Continue reading

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Le Cercle Rouge

We all change…for the worse. Le Cercle Rouge (1970), the second in my Jean-Pierre Melville double-feature after Le Samouraï (1967) (review), is slightly more mainstream fare.  In fact, seeing them together makes me feel slightly odd.  Here are two films that … Continue reading

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Dark Passage

Hold your breath and cross your fingers. I’ve gotten used to the idea that black and white means that it’ll be a pretty good movie one way or another.  Maybe it’ll be funny, maybe the story will be a classic, … Continue reading

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The Maltese Falcon

Thursby dead?  How’d I kill him, I forget? Film noir is tough to do in color.  Luckily, in the 30’s to 50’s color wasn’t a viable option so film noir could thrive.  The writing and acting styles matched the genre … Continue reading

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L.A. Confidential

Between the two of you, you should bring along a photographer. How do you make a great movie?  Make three movies but pull it into one.  In a way, that’s the film noir classic formula, but usually it’s two sides … Continue reading

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