I've always thought that Linda Fiorentino's machinations throughout The Last Seduction rendered it a perfect film noir...except, of course, that it falls well after the genre's peak period (1994, but looks very 80's), and was filmed in color. Do they have to be American? If not, Fritz Lang's M should get an enthusiastic mention as a pioneer of the genre. It came out in 1931, features nary a redeemable character apart from the victims, and its black-and-white photography remains stunningly beautiful.
M is not considered a noir, but it was influential on the later noir style. Ironically, the 1951 Joseph Losey remake is considered a noir. Such are the vagaries of film definition.
Has The Hitchhiker been mentioned yet? From 1953 and directed by Ida Lupino, it's premise is two guys off on a fishing trip pick up a hitchhiker who happens to be a mad killer on the road. That's it. What makes the movie are the performances by Frank Lovejoy, Edmond O'Brien, William Talman of Perry Mason TV series fame and Lupino's taut, note perfect direction. Based on a true story (Lupino went to the jail the actual killer was in to interview him for background) it's a perfect film and very much worth seeing.
Niagara (1953) hasn't officially been discussed. I watched this recently for the first time and going in I wasn't expecting much. I didn't know much about it other than being Marilyn Monroe's breakout role. Underrated noir film, and very interesting to film it in technicolor rather than the tradition low lighting black and white to fit the mood of the film. Marilyn glows on screen but so does Jean Peters. “undoubtedly the producers and/or director Henry Hathaway’s obsession with Monroe’s growing status as a sex symbol. I wonder whether the filmmakers intentions was to exploit her femininity just for the sake of it, rather than tidying up some of the loose threads in its script? The film is particularly famous for its daring walking sequence, often referred to as “the longest walk in cinema history”, where Monroe walks away from the camera and our eyes firmly fixated on Monroe’s hip-swaying walk. Though, I suppose, no female fatale character on-screen would truly work without its female protagonist flaunting her beauty, charm and sexual allure? If we look at from this point of view, Monroe played her part to perfection as a scheming blonde bombshell adulteress. All of this of course was heightened by Twentieth Century-Fox’s choice to film Niagara in Technicolor, rather than as a black and white picture. Though I must admit as a Hollywood film noir enthusiast, those early pictures filmed in Technicolor, somehow for me never really capture the fatalistic mood or menace that film noir black and white pictures had, especially with its stylized use of low-key lighting, silhouette effects and unbalanced compositions. Nonetheless, today with the advances in blu ray technology for example, even I’m prepared to admit revisiting Niagara at home on my big screen TV, it looks better than ever in colour, especially the film’s scenery in and around Niagara Falls. Even Marilyn is admittedly truly dazzling in colour. She glows supremely, especially in her tightly fitted attire revealing her sultry figure. Look out for that infamous red dress as she sings in a soft low voice the song ‘Kiss’ in one of the films most memorable moments. Marilyn Monroe’s solid performance in Niagara, dramatic at times and sultry the next, opened the door for her in Hollywood like no other film before. The commercial success of the film alone secured her roles she probably never dreamed were possible. As for the rest of the cast, they do a damn good job as well. Leading the way is the underrated Joseph Cotton as George Loomis, Rose’s hapless husband-turned killer, who we at first sympathise with, but soon after find ourselves rooting against him. Apart from Monroe’s very good performance as I have mentioned, I’m equally smittened by the beautiful Jean Peters, who almost steals the limelight in one her best supporting roles as Polly Cutler, who gets caught up in the Loomis couples deadly drama. Finally, Casey Adams, as Polly’s dull and at times clueless husband, rounds out a cast of strong performances.“ Niagara (1953): Revisiting the film noir classic starring Marilyn Monroe.
That would be The Third Man. How this film has not been mentioned (it was on the big list) is beyond me. But it is the gold standard of noir and one of the best films ever made. The other really great noir is the aforementioned Maltese Falcon. Some of the modern films mentioned are really great like LA Confidential, but that is not noir in my book. I mean it's got good guys that you root for.
I've been a fan of film noir since my teens and those who are interested in the genre should recognise my favourite film from my board name which I've used since "the birth of message boards." For those who can't, here's a clue. It features by far, the best actress in the film in my opinion , followed by Sonia Darin (What do you think these are, grapefruit?) and Joy Barlow, the taxi driver, ("If you can use me again some time, call this number." "Day or Night?" "Night's better, I work during the day." My second favourite film of the genre is this one. https://www.youtube.com/watch?v=icJw9HXXoXA
Need to watch the Big Sleep again. I recently watched Maltese Falcon and In A Lonely Place and Bogie's cynical demeanor was spot on for the noir character portrayal. I really enjoyed In A Lonely Place (1950). Much more of a character development going on than the Maltese Falcon. In A Lonely Place “Bogart was 50 when the picture was made, and Grahame was 27, and yet the age difference between them doesn’t seem as great because of Grahame’s remarkable confidence, maturity and charisma. She is midway between Mae West and Marilyn Monroe: stylish, sexy and self-possessed. Bogart’s performance is daring: it is precisely his cynicism and what-the-hell attitude to everything that has put him in the frame for the murder, and there is something sociopathic about the way he never quite drops this tone. He has a habit of making wasteful gestures of pseudo-remorse, sending flowers to the dead woman’s address, and cash to a young kid he beats up after a road-rage incident.”In a Lonely Place review – Bogart still captivatingly cynical in noir classic
My top 5 favorite classic Noir films... 5. Sunset Boulevard (1950) 4. The Killers (1946) 3. Double Indemnity (1944) 2. Touch Of Evil (1958) 1. The Maltese Falcon (1941)
I've always liked Gloria Grahame. She's excellent in "The Big Heat" which was shown on TV the other night. It's the film where Lee Marvin throws boiling coffee in her face. Quite a shock for anyone who has not seen it before.
' M ' is one of my favourite movies but I can't see it as a noir. It's missing a key noir element : the femme fatale.
Phil Stufflebean (that can't be his real name, can it?) at American Film Noir thinks it has to do with television's ubiquity in the late 50's and the rise of the hour-long drama like Perry Mason.
I especially like the remake of it by Joseph Losey in '51---it's got almost everything, starting with the opening shot on the Angels Flight railway in LA, a chase thru Bunker Hill, the murderer hiding with the kid in the Bradbury Building, Raymond Burr as a thug (he sure did that a lot pre-Perry Mason!), and the creepiest sequence of shots during the opening titles, one that always makes me shudder---I'm surprised Lang didn't think to do something like it 20 years earlier. I wish Criterion or some other outfit would put this out on Blu-ray with a good commentary track; the only thing missing is, like the original version, there's no femme fatale in it. I'd also vote for Losey's last movie before he went to Europe to escape the blacklist----1951's The Prowler with an oily Van Heflin as a cop and (pant, pant!) Evelyn Keyes as the woman he lusts after---make sure you watch it once and then do it again listening to Eddie Muller's commentary track. Another nice and tight, bare-bones one is 1954's Crime Wave directed by Andre de Toth starring Sterling Hayden, Gene Nelson, Phyllis Kirk and including Timothy Carey and Charles Buchinsky (but we know his last name as Bronson). Eddie Muller and James Ellroy (L.A. Confidential author) have a great time commenting on it, as they also do in 1958's The Lineup with a psychopathic Eli Wallach. I know some people wouldn't consider 1942's This Gun For Hire as film noir per se, but I think it qualifies. Alan Ladd, Veronica peek-a-boo Lake, Marc Lawrence and the late, great (no pun intended) Laird Cregar do a good job keeping it moving. I'd definitely throw 1947's Crossfire on the DVD player too---Robert Ryan and Bob Mitchum and Gloria Grahame top off the cast, and I always love the denouement at the end (no spoilers here!). There are three others I'd recommend to anyone and everyone----1944's Phantom Lady with Ella Raines and Elisha Cook, Jr., especially for the jazzorgasm in the middle of the pic (although the movie is marred by Alan Curtis doing a letter-perfect imitation of a sequoia tree), Act of Violence from '49 where you get Bob Ryan at his tortured best (and I believe it's Janet Leigh's first film), and 1952's The Narrow Margin with Charles McGraw and another woman who makes me take blood pressure meds, Marie Windsor---maybe it's not exactly film noir since only the first few minutes take place in shadowy hallways and dark city streets while the rest is on a train, but I vote for it anyway.
Always like it when there's a dame, especially one with some nice gams. Know what I mean or do I have to pull out my roscoe and fill ya full of lead ?
Heads up!! Friends of Noir.. "Double Indemnity'' will be on TCM at 12:00 Eastern that's Noon TODAY One of my all-time favorites.. but Bogie and the black bird are still #1 to me. This is a tremendous Edward G, Stanwyck - McMurray vehicle. Barbara Stanwyck one of the greatest femme fatale characters, she set the standard. AND - one of the best "Out Of The Past" is on TCM tonight at 8:00 PM Eastern Two top level classics, if your new to Noir, or just need a great celuloid fix Don't Miss It! Enjoy friends!
''Memento'' was something else.. loved it. Wish this hadn't really moved to 'Neo Noir' so fast.. but ''Chinatown'' and L.A. Conf. are fine flicks. It was so good to see John Houston pull out one more!
Sure was some snappy writing back then.. better when it sort of smolders.. it's a great film still.. regardless of the story-script thing. Excellent Bogie & Bacall. Not too versed in the French classics yet, "Rififi'' was great and considered one of the best Noir - heist films around.. like our ''Asphalt Jungle'' which I just saw the other day. Brilliance!
I watched “Basic Instinct “ neon noir recently, for a nearly 30 year old film I would imagine it wouldn’t get a 18 certificate these days.
For many, "Lift to the Scaffold" when it was released, was a revelation to a teenager like me. It was the first time they'd have seen a '57 Mercedes 300 SL gull-wing sports car.
Love Barbara Stanwyck. The synopsis I read of her recently was spot-on, having a 60-year career as a consummate and versatile professional, and known for her strong, realistic screen presence. I forgot that before Double Indemnity in 1944, Stanwyck teamed up again with Fred McMurray in the 1940 film Remember The Night in a completely different role and film. They both were very versatile actors.
Great film. Great cast too. I never thought Marilyn Monroe could act but she arguably never looked better than she did here.
