Author Topic: Noirvember Group Marathon 2017  (Read 18251 times)

pixote

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Re: Noirvember Group Marathon 2017
« Reply #70 on: November 25, 2017, 11:57:55 PM »




















My Name Is Julia Ross  (Joseph H. Lewis, 1945)

As with The Lodger, My Name Is Julia Ross is a film I could just as easily have watching as part of Shocktober. The villains are legitimately scary — George Macready obviously so, as he lustily plays with knives and casts evil looks all over the place; but Dame May Whitty is maybe even more sinister with her complete, placid control of the situation. The whole premise if very far-fetched premise but still done very well, with the tight screenplay by Muriel Roy Bolton being wise to keep things moving quickly before suspension of disbelief can completely collapse. The final third gets close to that collapse point, but at just sixty-five minutes, things get wrapped up (and wrapped up nicely) just in time. Joseph H. Lewis' direction really elevates the fun with nice visual flair.

My Name Is Julia Ross makes a nice companion piece to The Amazing Mr. X, also scripted by Bolton.

Grade: B-

Up next: The Stranger

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pixote

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Re: Noirvember Group Marathon 2017
« Reply #71 on: November 28, 2017, 06:04:07 PM »


The Stranger  (Orson Welles, 1946)

The Stranger is likely going to be my discovery of this Noirvember, which is odd, given that I'd seen it before. But not like this. Watching on Blu-Ray was a complete revelation.  Welles and cinematographer Russell Metty (Story of G.I. Joe, All That Heaven Allows, Touch of Evil) crafted a gorgeous film, full of fluidly composed, deceptively simple long takes that render beautifully the idea of darkness seeping into a sunny and innocent Connecticut town. (The long takes were Welles' attempt to have say in the film's final cut, limiting the editor's choices, but their worth extends well beyond that practical consideration.) When, after the film, I watched the standard definition trailer, it was easy to see why I wasn't fully appreciative of this film on original viewing; the visuals were dulled to ordinary.

Another delight of the movie is the contrast of acting styles between Welles and Edward G. Robinson, with the former's performance feeling greatly effortful — but engagingly so — and the latter's seeming almost effortless by comparison — but no less engaging. The difference fits the characters well: Franz Kindler (Welles) is the evil mastermind, wheels always turning like the gears in the clocks that so fascinate him; and Mr. Wilson (Robinson) is the dogged, almost faceless, force of justice, as easy and inevitable as the tide. Interestingly, though, the film keeps Mr. Wilson off any pedestals. There's a telling scene where he grabs a gun from Loretta Young's character (who's doing rather well with it) — asserting his role as a professional and a man — only to have the gun click empty. That moment of utter impotence is echoed by another scene where he trips on the stairs as well as by the ending when he refuses (somewhat comically) to climb down the ladder from the clock tower. I don't have a clear handle on how to interpret all that in the context of the whole film, but I definitely find it fascinating. Something to chew over on my next watch.

My favorite character in the film might be the town itself. It's really wonderfully drawn, with a very impressive sense of space and believable community atmosphere. I'd love to visit and see the clock tower in person and make my own coffee at the general store before playing chess with Billy House. He's great here, incidentally, apart from his introductory scene, when he laughs maniacally to the point of annoyance. I was dreading his next appearance after that, but he turned into a great character. Loretta Young and Richard Long also do memorable work, though I neglected to jot down any specifics.

The footage from Death Mills is sort of shoe-horned into the story, but I love that it's there nonetheless, a reminder of the difference between the cartoonish evil of a Saturday matinee and genuine, real-world evil. And just the physical, tangible presence of those gas chamber horrors in this idyllic New England town is like a slap in the face of contentment, entitlement, and any impulse towards isolationism.

Storywise, The Stranger goes on one scene too long, jumping through logical hoops to set up the big, final confrontation, but, damn, it's worth it. So visually wonderful and aesthetically and thematically satisfying. But even with that, film struggles to find the perfect final note to end on. These noirs should be taking their cues from the early 1930s Warner Bros. films, but instead so many of them — The Stranger and My Name Is Julia Ross included — tack on a sputtering "That's All Folks!" ending that completely belies the tone of the rest of the film.

I've never made the effort to rank the greatest years of cinema, but I've always suspected that 1946 would top my list. The Stranger is another example of what makes the year so great.

Grade: B+

Up next: Decoy

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« Last Edit: November 28, 2017, 06:07:24 PM by pixote »
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pixote

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Re: Noirvember Group Marathon 2017
« Reply #72 on: November 28, 2017, 07:25:03 PM »




















Decoy  (Jack Bernhard, 1946)

"What's a-matter with the dictionary?"
"There ain't enough story to it."


Wow, this is like a bowdlerized porn film. Some of the acting is really at that level, the plot is just that silly, and Marjorie Woodworth, playing the classic porn role of a doctor's assistant, just has that look, my god. The one saving grace is Sheldon Leonard (the same year he was Nick in It's a Wonderful Life), who just feels so right as a grizzled noir detective. He totally should have had his own series in the Bulldog Drummond style. It's too bad he's not more central in Decoy.

If you judge noirs on how viciously crazed their femme fatale is, then Jean Gillie's performance makes this a masterpiece. You could definitely enjoy it as Brechtian camp; or with MST3K treatment; but it's just not for me. The atrocious, wall-to-wall score, poor editing, and adequate camerawork make this a long 76 minutes. There's still some good standard noir dialogue, though.

"People who use pretty faces like you use yours don't live very long anyway."

Grade: D+

Up next: They Made Me a Fugitive

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« Last Edit: November 28, 2017, 07:31:20 PM by pixote »
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pixote

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Re: Noirvember Group Marathon 2017
« Reply #73 on: November 28, 2017, 08:06:17 PM »


They Made Me a Fugitive  (Alberto Cavalcanti, 1947)

This dumbly titled adaptation of a poorly titled novel (A Convict has Escaped) is a good example of a film where the whole is less than the sum of its parts. The cinematography by Otto Heller, art direction by Andrew Mazzei, and the slithering supporting performance by Benedict Cumberbatch Griffith Jones are all award-worthy; Cavalcanti crafts some great scenes and moments, often with appealing brutality; and the screenplay showcases some cracking dialogue. But the film suffers from missteps at the most crucial times. In a key fight scene, for example, a perfectly aimed bottle of milk changes the tide in annoyingly improbable fashion. The script packs so much exposition, character, and atmosphere into the compact setup of the story that it's extra disappointing when it only manages to lurch along from there. The second act isn't without its standout scenes — especially a fantastic one that's anchored by Vida Hope's wonderfully loopy performance; and another very solid scene inside a truck — but, even though the story is on a clear path to the final confrontation, it still feels oddly aimless. My favorite aspect might be how strongly the film feels rooted in the post-war atmosphere. As for Trevor Howard's lead performance, it's a bit erratic, fantastic in individual moments but lacking cohesiveness. It doesn't always feel like he's playing the same character from scene to scene.

Grade: B-

Up next: They Won't Believe Me

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« Last Edit: November 28, 2017, 08:22:51 PM by pixote »
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Re: Noirvember Group Marathon 2017
« Reply #74 on: November 28, 2017, 08:42:24 PM »

Criminal Lawyer (1951)

I will sometimes be more positive about a movie because I easily see its potential for greatness far beyond the actual finished film. If I were a studio head, I would grab the rights to remake this film and get a lunch with Aaron Sorkin to talk him into my vision. What speaks to me most here is the way the plot progresses through the characters while most films have the story push the characters into their correct positions.

The film takes us through three court cases, centering on James Edward Reagan, a shady defense attorney with a stellar record (Pat O'Brien) and the people who work with and against him that know about his ways of bending ethics to get results. His fellow attorneys treat him with disdain, holding back respect and promotion his track record would've earned him many times over. His friends don't care about that because Reagan's such a nice guy, except when his conscience leads him on brief, but intense alcohol benders. Besides, he is watched over by former wrestler 'Moose' Hendricks, played by Mike Mazurki.


Watch enough Noir and you'll find Mazurki in about every third one, usually playing a heavy in a scene or two. This is a considerably bigger part, one that gives him more range too. He's still not a soulful actor like Anthony Quinn but he's really great. (This film makes me want to find a "Moose" who will be my close friend and protector.) I was looking to see if MartinTeller ever mentioned Mazurki and found that he even reviewed this film. (The image he uses is from one of my favorite scenes.)

Martin didn't like the film and calls it "barely a noir." Considering it doesn't appear in any list or encyclopedia of Noir titles, I was surprised by the noir shadings of the characters and the lowdown atmosphere. I also like Pat O'Brien a lot more than Martin, but mostly I think there's something special here.
Rating: * * * - Good

If you're interested in a better version of a crafty lawyer movie, look for Illegal starring Edward G. Robinson, but if I had the power (and even after Sorkin turns me down), I could elevate this one to be the better story.

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Re: Noirvember Group Marathon 2017
« Reply #75 on: November 29, 2017, 10:51:18 AM »




















They Won't Believe Me  (Irving Pichel, 1947)

I don't think I'll ever be able to distinguish Robert Young from Robert Taylor from Robert Montgomery. As far as I'm concerned, they're all the same bland actor, one who didn't have the luck to be born a Mitchum. The one at the center of They Won't Believe Me is Robert Young, and he's even boring when playing against type as a murderous, lying adulterer. Jane Greer, Susan Hayward, and even Rita Johnson are all infinitely more interesting, and it strained my suspension of disbelief to imagine any of them desperately wanting to be with this Robert. As a result, the movie falls flat for me. It doesn't help that, until the last fifteen minutes, there are few if any visual touches of any note. They Won't Believe Me is a film noir in narrative and tone but not in style, which is oddly sunny. There are a few very nice flourishes in the final scenes that merely highlight how lackluster the film has been to that point.

MartinTeller, based on your review, I wonder if you perhaps watched the (shortened) 80-minute version of the film. The full 96-minute version I watched didn't seem to suggest at all the possibility of an unreliable narrator.

Grade: C

Up next: Dick Tracy Meets Gruesome

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1SO

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Re: Noirvember Group Marathon 2017
« Reply #76 on: November 29, 2017, 12:53:38 PM »
I don't think I'll ever be able to distinguish Robert Young from Robert Taylor from Robert Montgomery. As far as I'm concerned, they're all the same bland actor, one who didn't have the luck to be born a Mitchum.
It took me awhile. Robert Montgomery made a number of films with Rosalind Russell, plus he came back from the war changed. That's what made him the standout. Robert Taylor usually has facial hair and is more concerned with his matinee looks. I just started liking him this year. That leaves Robert Young, the true plain donut of the group. I always think he went on to found American Movie Classics just so he could host, and then Robert Osborne came along and replaced him.

Thanks for posting images of Susan Hayward. She is 1940s Amy Adams.
« Last Edit: November 29, 2017, 01:08:08 PM by 1SO »

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Re: Noirvember Group Marathon 2017
« Reply #77 on: November 29, 2017, 01:19:53 PM »
There can only be one Amy Adams.
« Society is dumb. Art is everything. » - Junior

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Re: Noirvember Group Marathon 2017
« Reply #78 on: November 29, 2017, 05:29:46 PM »

"What's your friend's name?"
"Gruesome."


"Isn't he."




















Dick Tracy Meets Gruesome  (John Rawlins, 1947)

I have no strong preconception of what Dick Tracy should look and sound like, but the way Ralph Byrd plays him as a corny dad feels off to me; maybe it's just that he's not a very good actor. He receives second billing here to Karloff, and rightly so, but the real star is Skelton Knaggs, who is perfectly creepy and even funny as X-Ray. It's the kind of part Peter Lorre would have played in an A picture, though I doubt he could have done any better. I also rather liked Anne Gwynne as Tess Trueheart and James Nolan as the dogged reporter who seemed more interesting than Tracy himself; even Tony Barrett as Melody seemed like a guy deserving of a similar role in a major noir.. The plot proved too silly for my liking; I'm not even sure I fully followed the twisting alliances. There's one good car chase and a couple good exchanges of dialogue, though a Ralph Bellamy-style meta joke about Boris Karloff didn't land with me.

Grade: C

Up next: Nightmare Alley



Bonus short from the same disc...



The Goose That Laid the Golden Egg  (Burt Gillett & Tom Palmer, 1936)

I'm not familiar with the silent era Felix the Cat cartoons, but this mid-30s update is enjoyable enough for what it is. Felix is instantly endearing because he takes his goose's golden eggs and churns them into gold coins, which he hands out to people at his makeshift Relief Bureau. But the greedy Captain Kidd wants the gold all to himself and steals the goose, leading to a rescue adventure on the pirate ship. I appreciate that bit of political commentary in what is otherwise a very kid-friendly cartoon.

Grade: C+

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Re: Noirvember Group Marathon 2017
« Reply #79 on: November 29, 2017, 08:04:57 PM »








































Nightmare Alley  (Edmund Goulding, 1947)

Jules Furthman packs such an epic amount of plot into this film's 110 minutes that I assumed William Lindsay Gresham's source novel most run at least 700 pages. In actuality, it runs less than 300, consisting of 22 short chapters that all take their titles from tarot cards (from The Fool to The Hanged Man). Goulding's film retains that same feel, with each new scene feeling like it could almost be the start of a new movie. Through the first hour, that effect is mostly exciting, especially the unexpected way Tyrone Power quickly shifts his focus from the maternal Joan Blondell to nymphish Coleen Gray to the maniacal Helen Walker. It's like riding a roller coaster in the dark: you know the turns are coming, but you're not sure when or in which direction.

The zip of the film's structure isn't matched by the individual scenes themselves, with many of them running long and lacking pace. There's a cumulative bloat to the movie (a Goulding trademark?) that becomes more and palpable, especially in the second half. The film feels about forty-five minutes longer that it actually is, a feeling amplified by the story's conspicuous inevitability. I honestly lost a substantial amount of interest just five minutes in, when Power remarks of the carnival geek, "I can't understand how anybody could get so low." I'm not against foreshadowing as a rule, but that line seemed blatant to the point of obnoxiousness, causing me to slump in my seat. 105 minutes later, when another character echoed, "How can a guy get so low?" I wanted to throw things.

Tyrone Power is a silent film actor born too late. He's got the look, and in his quiet, intense, Alan-Ladd-in-This Gun for Hire moments, he's great here. But when he has to deliver lines, it's rarely more than adequate. On second thought, maybe he's a television actor born too early. The standout in the cast for me is actually Ian Keith, who's not an actor I know at all. I was never more invested in the film than when he was onscreen, and I'm not even sure why. I'll now be adding Mary of Scotland to my John Ford marathon.

I almost forgot to mention what a good looking film this is — though hopefully the abundance of screenshots made that clear already. Great atmosphere, great shadows, great textures.

Grade: C+

Up next: It Always Rains on Sunday

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« Last Edit: November 29, 2017, 08:06:37 PM by pixote »
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