Film noir about a police lieutenant who comes under pressure from a gang headed by a vicious thug. He is helped by the gangster’s wife, jealous at her husband’s affair with another woman, who supplies him with information to help him close the net on his foe.
Welles (who was also a director of film-noir classics, including “The Lady from Shanghai”) gave directors, including his venerable elders, a sense that anything was possible, even in Hollywood.
The 1967 neo-noir that got Seijun Suzuki blacklisted from the Japanese film industry (he wouldn’t make another movie until ten years later). Composer John Zorn wrote an essay on the movie’s.
My 25 personal favorite movies that are considered classics. Since there were so many movies to choose between I have chosen only to focus on movies from 1920-1979 Honorable Mentions: The General (1926) - Buster Keaton Sunrise (1927) - F.W. Murnau City Lights (1931) - Charlie Chaplin Mr. Smith Goes To Washington (1939) - Frank Capra The Wizard of Oz (1939) - Victor Fleming The Grapes of Wrath.
The disc features commentary by film historian and NOIR CITY contributor Imogen Sara Smith, who provides insightful observations and background on the artists and the film's place within noir. There's also a 1949 radio adaptation (not 1945 as the disc cites) starring Dorothy McGuire (providing internal voiceover) and a brief visit with director Siodmak.
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Margaret Talbot writes about the director Tay Garnett’s “Cause for Alarm!,” starring Loretta Young. This suburban film noir from 1951, which from a feminist lens was ahead of its time, is.
Tough Talk: 14 Unforgettable Film Noir Lines. Posted on 02.12.15 by John Farr One of the many lures of the film noir genre is its taut, no nonsense dialogue. There’s no room here for flowery speech, not when the bullets and fists are flying. Terse yet evocative, dialogue from film noir also rings with the.
Film noir does not have a thematic coherence: the term is most often applied to crime dramas, but certain westerns and comedies have been cited as examples of film noir by some critics. Even such sentimental comedy-dramas as Frank Capra ’s It’s a Wonderful Life (1946) have been cited as “noir-ish” by critics who find in its suicidal hero and bleak depiction of small-town life a tone.
Chinatown, however, is a neo-noir film, and its departures from classic noir elements help to define the newer genre. Most obviously, Polanski shot Chinatown with color film, and though his colors do appear especially vivid (Katherine Cross’s bright, spotless dress and Evelyn Mulwray’s rich, deep eyes, for example), color film precludes the contrast intensity that black and white film offers.
Film Noir: An Introduction: Dark rooms with light slicing through venetian blinds, alleys cluttered with garbage, abandoned warehouses where dust hangs in the air, rain-slickened streets with water still running in the gutters, dark detective offices overlooking busy streets: this is the stuff of film noir--that most magnificent of film forms--a perfect blend of form and content, where the.
As well as an introductory essay on the origins of Film Noir, this Pocket Essential discusses all the classics from the heyday of the movement in detail and includes a handy reference section for readers who want to Read more.
Crime and Gangster Films are developed around the sinister actions of criminals or gangsters, particularly bankrobbers, underworld figures, or ruthless hoodlums who operate outside the law, stealing and violently murdering their way through life. In the 1940s, a new type of crime thriller emerged, more dark and cynical - see the section on film-noir for further examples of crime films.
What also distinguishes film noir is its stylistic elements and themes. In terms of style, the dominant night scenes, elements of German expressionism, lighting emphasis on both characters and props, as well as the presence of compositional tension, are all unique to film noir.
In his essay “Film Noir: A Modest Proposal” (1978), James Damico offers his generic example of a film noir plot: “Either he is fates to do so or by chance, or because he has been hired for a job specifically associated with her, a man whose experience of life has left him sanguine and often bitter meets a not-innocent woman of similar outlook to whom he is sexually and fatally attracted.
I will say that I am not a huge Silent Film fan, but after watching City Lights for the first time I was amazed at how advanced the acting and filmaking was. This movie is a gem, and I highly suggest that you do not have any preconceived notions about this film. It is ONE IN A MILLION.
It's the reason why film noir is so difficult to define, and why so many people disagree about what movies are film noir, and which ones aren't. To this day, movie critics are divided over the film noir status of beloved classics like Notorious with Cary Grant and Ingrid Bergman, 1950's Sunset Boulevard, and one of the most well-respected classic movies of all-time, Casablanca.
Check out the video essay by Tom Elrod, publisher of The Critical Press, below to learn more about film noir's narrative traits, as well as how it relates to other Hollywood film genres. In the end, it's not just the look that makes a movie a film noir, it's the story, too -- it's the narrative structure, the themes.