The Killers (1946)

Movie Blurb

Burt Lancaster

The Killers (1946) is a better than average film noir based on the Hemingway story of the same name. Starring Burt Lancaster as the prize fighter Ole ‘Swede’ Andreson, Ava Gardner as the femme fatale Kitty, and Edmond O’ Brien as the insurance investigator Reardon. Directed by Robert Siodmak. The first thirteen minutes are pure Hemingway and, in my opinion, the best part of the movie. The rest of the movie is quite good too, but that first part was very impressive. The rest of the movie is an expansion of the original Hemingway story and told in a series of flashbacks. Excellent performances by all, this was Lancaster’s first film and made him a star.

Ava Garner
The Killers

House of Games (1987)

Movie Blurb

House of Games (1987)

Written and directed by David Mamet, starring Lindsay Crouse and Joe Mantegna. This movie was pretty much universally praised when it came out in 1987. It is currently rated 7.3 on IMBD. Roger Ebert, no less, rated it four stars out of four and gave it a glowing review. I’m going to give it a six out of ten.

While I liked the film, and had a favorable impression of it when I first saw it in 1987, I don’t feel like it stands the test of time. It is well crafted, but so is a finely made piece of furniture. I can see the seams and joints and that seems to take away from my overall impression. I want to get lost in the action of the picture and not see the woof and worf.

House of Games is about a den of con artists. And while it is fascinating to see the cons work their magic, I couldn’t help but notice seeing them coming. And it is hard to imagine the central character being so gullible, after having participating in a con herself, not seeing the con being played on her. But I guess that is the beauty of the con, it’s human nature to want to believe it.

Lindsay Crouse and Joe Mantegna in House of Games

I loved how the film looked. Very noirish. Seattle at night with neon lights reflected in puddles of water and steam rising from man hole covers. Nice atmosphere!

Lots of Mamet’s patented rapid-fire dialogue, which can sound a little stilted and stagy at times.  If only Mamet had succeeded in conning me into believing what he was selling. He already conned me out of my money for the price of a ticket.

House of Games is part of the Criterion Collection and is available on Amazon.

The Big Knife (1955)

Movie Review

The Big Knife poster

Directed by Robert Aldrich, starring Jack Palance, Ida Lupino, and Rod Steiger. Screenplay by James Poe, based on the play by Clifford Odets.

The Big Knife is a movie that defies easy classification. It is billed as a crime picture, a drama, and a film-noir. I would call it more of a melodrama. It is a poison pen piece directed at the cruel and heartless Hollywood system of the time, which, when you think about it, hasn’t really changed by much. At one point the Shelly Winters character says, “I’d rather see a snake than a Hollywood producer.”

The writing is a bit turgid, approaching the Baroque. It is hard to tell where Clifford Odets leaves off and James Poe begins. But I suspect it is Poe, who is doing all the declaiming. Example: “How dare you come in here and throw this mess of naked pigeons in my face.”

Big Knife

Ida Lupino and Jack Palance

It seemed to me to have a strong Homo-erotic undertow. I don’t know, I didn’t see any mention of it in any of the reviews, but it was certainly apparent to me. In the opening scene the Jack Palance character, Charlie Castle, and his personal trainer, Nick, were boxing in the backyard of his plush home in Bel Air. Both were half naked and there was a lot of clinching going on. They were having a lot of fun. Later Nick gives Charlie a rubdown on a massage table in the backyard while Charlie took a meeting with the head of the studio and his henchmen. Lot of sensual rubbing going on. Then, Nick has Charlie turn over on his back and he pours alcohol on his chest and belly and continues to rub. All the while Charlie is talking to others in the scene. Towards the end of the scene, when it looks like Charlie is going to crack from the pressure, Nick sidled up to him from behind and gets very close and says into his ear, “Is there anything a Greek can do for you? Anything at all?”

Throughout the movie all the male characters refer to Charlie as kiddie, darling, and dear. All very strange. And then there is the matter of the Big Knife. What big knife? There’s no knife to be seen in the movie. Obviously, a symbol of something, but what? Usually considered phallic, but there was a lot of backstabbing going on and then there was that last scene. Plenty of heterosexual activity too. Charlie the movie star was something of a player. Every time somebody went up the spiral staircase it was to have sex with someone. Usually Charlie.

Big Knife 2

Rod Steiger and jack Palance

All the acting was over the top and the actors chewed the scenery plenty. Rod Steiger went nuclear in one scene which probably will go down in the history of cinema as the most explosive ever. The only actor who escaped this phenomenon was Ida Lupino, who was pitch perfect in every scene.

Now, you may have gotten the impression that I didn’t like this film. Not so. I thought it was very entertaining and fascinating to watch. I thoroughly enjoyed it! It is definitely an important part of film history. Highly Recommended.

 

The Lady from Shanghai (1947)

Lady from Shanghai

Movie Blurb

The Lady from Shanghai (1947), directed by Orson Welles, starring Orson Welles, screenplay by Orson Welles, also starring the beautiful Rita Hayworth. Wow! I can’t believe I have never seen this film noir classic until now. That is the beauty of the Criterion Channel. A very convoluted plot, solid acting, a few plot holes, and a phony Irish brogue on the part of the Orson Welles character mixed together with original and creative camera work and outstanding editing make for the ingredients of a flawed but visually stunning movie. Orson Welles and Rita Hayworth were married at the time the picture was being filmed but were divorced three weeks after completion. That might explain the lack of chemistry between the two. He had her cut her hair short and bleached blonde for the picture, which was controversial at the time but I thought she looked sensational. This is a must see for all serious film buffs. Glad I finally got around to it!

 

Queen & Slim (2019)

Queen and Slim poster

Queen and Slim (2019) is one of the most emotionally satisfying movies I’ve seen this year. It’s the story of a first date gone wrong. Very wrong.  And a couple on the run. Part crime drama, part road movie, and all love story, this movie resonates. It seems a little underwritten and disjointed in places, and you wonder about some of the decisions the characters make, but for me that just adds to its charms. Sort of a cinema verité of the Black Lives Matter Movement. It has a gritty feel and is very watchable.

Outstanding cinematography by Tat Radcliffe. Clocking in at 132 minutes some critics thought was too long but I was totally caught up in the story and didn’t notice the time.

The movie was directed by Melina Matsoukas and was her first feature film. She has been known for her TV work and music videos, most notably Beyoncé’s Formation. Excellent work for a debut film.

Acting performances were very solid. Daniel Kaluuaya of Get Out fame played Slim and Jodie Turner-Smith played Queen in what may be a breakout performance for her. I just loved these two characters!

With a killer sound track, a compelling story, and characters you root for and care about this is a must-see film.

Detour (1945)

Movie Review

Detour

Detour, directed by Edgar G. Ulmer, is a classic “B” movie in the Film Noir genre straight out of Pulp Fiction Hell. Shot on the cheap in four weeks it packs a wallop! This Criterion edition film is beautifully restored in glorious black and white. It is worth seeing just for the visuals alone. The story is as cheap as the characters it portrays. The writing is a little weak but the performances of the unknown actors more than compensate.

The story is told in flashbacks from an opening scene in a diner somewhere in the middle of nowhere.

The main character, Al Roberts (Tom Neal), is an out of work down on his luck pianist from New York City. He hitchhikes out to Hollywood to join up with his girlfriend Sue (Claudia Drake) who is a chanteuse, also from New York City, who went out west earlier to find her fame and fortune. Along the way he is picked up by a guy named Haskell (Edmund McDonald). Haskell tells him about another hitchhiker he had picked up earlier. A young female who turns out to be a real hell cat who put some deep scratches in his hand when he had tried to make advances on her. “There oughta be a law against dames with claws,” he says. Later he dies of a heart attack. Al panics as he thinks the cops will think he killed the guy. He hides the body and takes Haskell’s clothes, money, identification and drives away in his car.

He meets a girl at a gas station and offers her a ride. She falls asleep in the car then suddenly sits bolt upright and demands, “Where’d you leave his body? Where did you leave the owner of this car? Your name’s not Haskell!” About this time Al realizes he has picked up the same girl that Haskell had picked up and she turns out to be the femme fatale of all femme fatales. She berates him all the way to Los Angeles.

When they get to Los Angeles, they cook up a scheme for Al to impersonate Haskell, the long-lost son of the elderly rich father who they read about in a newspaper is dying. They plan to inherit his estate when he dies. Waiting to execute their plan, they sit around in an apartment, drinking, playing cards and fighting. Al’s not playing ball to suit the drunken Vera and she threatens to call the cops. She runs to another room with the phone and slams the door. Al grabs the phone cord and pulls on it. He pulls and pulls. Finally, the line goes slack. He goes in the room to find Vera has become entangled in the cord and is accidentally strangled on it. Now Al has another corpse on his hands that just might point to murder.

That’s when he heads back east and we find him in the diner. In the final scene he is walking out on the desert highway and gets picked up by the cops. His last line is delivered in a voice over, “Fate, for some mysterious force, can put the finger on you or me, for no good reason at all.”

Most reviewers of Detour take Al’s story at face value. But I have a different view. Al is an unreliable narrator and tell us what he wants us to hear to make himself  look good. He more likely is a psychopath who has committed both murders and is caught by circumstance or fate as he likes to say.

Famed film maker Errol Morris said of Detour, “It has an unparalleled quality of despair, totally unrelieved by hope.” A pretty apt description.

 

Elevator to the Gallows (1958)

Movie Blurb

Elevator Poster

Elevator to the Gallows (1958) is Louis Malle’s first feature film. A French Noir and an early entry into the New wave. Excellent entertainment that touches on several societal issues and displaying a gorgeous black and white portrait of Paris from the 1950s. Sizzling performance by Jeanne Moreau and a killer sound track by Miles Davis. There is absolutely nothing not to like here. Highly recommend!

 

Jeanne M Elevator

Jeanne Moreau

Maurice Elevator

Maurice Ronet

Jeanne Moreau

Jeanne Moreau

Jeanne M

Jeanne Moreau

THEY LIVE BY NIGHT (1948)

Movie Blurb

Debut film by Nicholas Ray. A film noir that is a cut above the rest. A genuine love story between two innocents that was bound to fail.

They live by night poster

Ray did some innovative things with sound and one of the earliest overhead shots shot from a helicopter. He went on to direct such films of note as, Rebel Without a Cause, Johnny Guitar, and King of Kings.

They Live By Night

They Live by Night was remade in 1974 by Robert Altman using the title, Thieves Like Us, which is the title of the novel the two movies was based upon. It was a pretty good flick as well.

Don’t confuse these two well made and entertaining movies with the execrable, Live By Night, directed by Ben Afleck in 2016. It is unwatchable.

They Live by Night (1948), I give it an eight out of ten.