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31  Other/Miscellaneous / Off-Topic Discussion / Re: Logan (2017) on: August 09, 2017, 11:14:08 AM
The Rover is actual cinema  Cheesy

Oh,so it is just like Logan then (which last time I checked was shown in "actual cinemas") good to see you now agree with me and Spike about Logan, Noodles! 
32  Other/Miscellaneous / Off-Topic Discussion / Re: Logan (2017) on: August 07, 2017, 01:58:22 PM
Thanks Spike,and for a double bill,Logan is a perfect match for the Aussie Post-Apocalypse Neo-Noir The Rover:
33  Other/Miscellaneous / Off-Topic Discussion / Re: Logan (2017) on: August 06, 2017, 07:09:27 AM
Awesome to see you enjoyed it so much Spike, (The Wolverine is also very good)  with this being my recent viewing of it:


Not saying a single line of dialogue for the first hour of her (film) debut, Dafne Keen gives a remarkable performance as Laura,with Keen clawing at Laura's frustrations and volatile mood swings with an abrasive body language that keeps all on edge. Raising her voice,Keen gives the difficult relationship with Logan a melancholy,which brings out a father/daughter tenderness. Losing 21 pounds for his return to the series,Patrick Stewart gives a great performance as Xavier,whose fragile,dying state Stewart does not allow to rest on pity,by showing that Xavier still has some sparks which opened the school for the X-Men.

Playing a role he has done for almost 20 years for the final time, Hugh Jackman gives a superb performance as Logan. Visibly carrying the history of Logan on his shoulders,Jackman gives him a raw fragility, as meeting Laura causes Logan to face his own morality.Working with Jackman for the third time,co-writer/(with Michael Green and a returning to X-Men Scott Frank) director James Mangold & cinematographer John Mathieson continue expand on the action style of The Wolverine with a thrilling,bare-knuckle fury,unleashed with blood darting across the screen and each fight move being delivered with a real thump. Setting it in the future,Mangold and Mathieson draw a Post-Apocalypse,Road Movie landscape,as the dry,dusty colour of the road and a burning red sun cast an end of days atmosphere over the journey.

Putting their focus on the trio,the screenplay by Mangold/Frank and Green does keep the "baddies" at a boo-hiss level,but does give them enough snarling menace so that they pose an aggressive threat to Logan. Using the wear and tear of Logan to take the "superhero" sheen off, the writers explore a wonderfully earthy character study,with the dialogue having a grittiness and an unshakeable air of death keeping everything grounded,as the ultimate X-Men reveal themselves.

34  Other/Miscellaneous / Off-Topic Discussion / Re: My 2000th IMDb rating: Garde à vue/Under Suspicion (1981) on: July 30, 2017, 06:12:38 AM

Thank you for the excellent recs Jess,with The Offence being one I'll try to pick up soon on the special Masters Of Cinema edition. With this being on your watchlist for so long,I'm pleased to say that the Moviedetective transfer is very good. In exchange of your recs,I think you would enjoy this as a 1981 French Noir double bill,with the Highsmith adaptation Eaux Profondes:

35  Other/Miscellaneous / Off-Topic Discussion / Re: My 2000th IMDb rating: Garde à vue/Under Suspicion (1981) on: July 29, 2017, 06:27:28 PM

It is awesome to hear from a fellow fan of the film Noodles! What did you think of the ending,and have you seen any of Miller's other movies?

36  Other/Miscellaneous / Off-Topic Discussion / Re: Bon Cop, Bad Cop (2006) on: July 29, 2017, 06:22:40 PM

Thanks for the kind words kjrwe,and have you seen the sequel that recently came out?

37  Other/Miscellaneous / Off-Topic Discussion / Canadian Noir: Ivy League Killers (1959) on: July 29, 2017, 06:19:17 PM



* This review may contain spoilers ***

Joining in the Canadian challenge on ICM,the first thing I went in search for was Film Noir from Canada. Finding a very limited number,I was intrigued to find one that crossed Noir and the juvenile delinquent (jd) genres,which led to me looking at the Ivy League tables.

The plot:

Whilst they annoy the cops by hanging round, Don and his fellow members of biker gang Black Diamonds do little more than drive on the empty roads and hang out. Bumping into the bikers with their cars,rival gang leader Andy starts revving up a rivalry. Aware of the cops keeping an eye on Don,Andy decides to do a heist dressed as Don's gang,with a goal to push the Black Diamonds off the track.

View on the film:

Rolling in on a swift 69 minutes,director William Davidson & cinematographer William H. Gimmi give the flick a very scrappy Drive-In appearance,via the Noir hangouts and bike chases taking place in dingy locations with rough camera moves. Backed by a stirring Noir score from John Bath,Davidson shifts the jd awkwardness into gear,with shots following each gang member carrying a feeling of no one really knowing their place. Done to give exhibitor Nat Taylor a quick box office hit,the screenplay by Norman Klenman follows the mood Davidson sets,via the sweet lovers on the lam romance between Don and Susan being hit by the Noir biker chains of Andy's thugs. Done decades before he set hearts bleeding in the folk Slasher movie My Bloody Valentine, Don Francks gives a brooding,slime ball performance as Andy,who runs down the Ivy League.
38  Other/Miscellaneous / Off-Topic Discussion / My 2000th IMDb rating: Garde à vue/Under Suspicion (1981) on: July 29, 2017, 01:26:35 PM

Watched on Moviedetective DVD:


“Not in the least suspicious.”

* This review may contain spoilers ***

Aware that I was getting close to giving my 2000th IMDb rating,I started planning on what the rated title would be.At first going for Henri-Georges Clouzot's La Vérité/The Truth,I was disappointed to find the official French DVD to have "broken English" Subtitles. When taking part recently in a poll for the best films of 1981, Garde a vue was at the very top of my "most wanted" list for the year. Telling a DVD seller this round the time I got the Clouzot,I was thrilled to hear that they had recently tracked down Garde,which has led to it getting my 2000th rating.

The plot:

Missing out on New Years Eve celebrations, Inspector Antoine Gallien and Inspector Marcel Belmont sit in an interrogation room interviewing attorney Emile Martinaud. With Martinaud (who was on his own each time) having reported to the police two young girls he found raped and murdered, Gallien and Belmont put Martinaud under as being the likely killer. Interviewing him for hours, Belmont and Gallien are unable to any substantial evidence from Martinaud,which leads to Gallien interviewing Martinaud's wife Chantal,and learning of the hidden corridors in Martinaud's life.

View on the film:

Making her penultimate film,Romy Schneider gives a haunting performance as Chantal which reflects the deep troubles Schneider was having in her life,from the interview Chantal has with Gallien being given a washed out mood by Schneider, in expressing the breakdown of the Martinaud's marriage. Left to do the typing in the interrogation, Guy Marchand gives a cracking performance as Belmont, whose frustrations Marchand makes crackle on screen,as Belmont sees the "murderer" in front of him,but unable to lay a finger on him.

Stamping round the interrogation room, Lino Ventura gives a magnificent performance as Gallien,who is given a calculating tact by Ventura,which shatters from Gallien's passion to bring justice to the murdered girls. Caught in the hard line the cops take, Michel Serrault digs Martinaud's heels in with an upper-crust self belief,which crumbles as the interrogation unveil the Neo-Noir loss at wits end behind Martinaud businessman façade.

Joined by his wife Annie playing a major role in the flashback scenes, co-writer/(with Jean Herman and Michel Audiard) director Claude Miller & cinematographer Bruno Nuytten sit in on the interrogation with a stylish,pristine appearance wiping any brightness away for dour,white and grey Noir colours. Keeping all the guys in one room, Miller fires up the claustrophobic anxiety with tightly coiled whip-pans across the confined location,which sweep into hard-nosed close-ups lingering on each vicious exchange.

Taking John Wainwright's book into the station,the writers superbly intercut flashbacks to the murder scenes and Martinaud's private life to emphasise the importance of what Gallien and Belmont attempt to uncover. Taking place against a "stage" setting, the writers keep the Neo- Noir atmosphere fresh with incredibly subtle changes in the dialogue,from everyone trying to get under the skin of each other,to Gallien, Martinaud and Belmont spitting out their frustrations,of all being under suspicion.
39  Other/Miscellaneous / Off-Topic Discussion / Bon Cop, Bad Cop (2006) on: July 27, 2017, 06:14:02 PM

Thanks to kjrwe for rec.

Watched on Netflix. 7

* This review may contain spoilers ***

Reading posts on IMDb's Film Noir board (RIP) I saw a post that mentioned a buddy cop/Crime flick which had broken Porky's 24 year reign as the most successful Canadian film at the Canadian box office. Searching round,I was sadly unable to find a DVD at a good price. Joining in on a Canadian viewing challenge on ICM,I went on another search,and found the bon cop and the bad cop on Netflix UK.

The plot:

Finding a body right in the middle of the Ontario-Quebec border, Ontario cop Martin Ward and Quebec cop David Bouchard fight over keeping the corpse being pushed to their side. During the fight,the body splits and lands on both sides,which forces Ward and Bouchard to team up. Forced to work round the language barrier,the cops learn that the corpse was a hockey executive. Searching the house of a suspect,they find another dead hockey executive,which leads to Bouchard and Ward suspecting that someone wants to cover the hockey pucks in blood.

View on the film:

Freely skipping between French and English exchanges,the screenplay by Leila Basen/ Alex Epstein/ Patrick Huard and playfully uses the lost in translation dialogue to build Ward's and Bouchard's odd couple relationship, with their initial, spike-driven exchanges being hammered down by the realisation that they can both score the winning goal on the case. As Bouchard and Ward break the ice,the writers keep the case spinning with a wonderfully odd murder/mystery Thriller,with the "buddy cop" set-up allowing the writers to give the murderous thrills a black comedy streak,as Bouchard and Ward burn their hands when witnesses go up in flames,and the motive for the killing taking a sly, satirical shot at foreign ownership in sports.

Standing in the middle of the culture clash line between Bouchard and Ward,director Erik Canuel & cinematographer Bruce Chun give the mismatched pair a stylish,glossy Thriller appearance,with slick camera moves for the tense action scenes and neon red for the murders, being well balanced by a lingering which allows for the punchlines to hit. Bouncing off each other, Colm Feore and Patrick Huard both give excellent performances as Ward and Bouchard,thanks to Feore making Ward a calculating, thoughtful force of calm, against the explosive pack of bon bons that Huard wonderfully delivers for Bouchard,which the bad cop and the bon cop soon get a taste for.
40  Other/Miscellaneous / Off-Topic Discussion / Arrow DVD/Blu-Ray Sale. on: July 19, 2017, 02:27:30 PM

DVD/Blu-Ray company Arrow are having a major sale that runs from the 19th to the 31st:

I've just ordered the  Takashi Miike "Black Society Trilogy" which includes the Neo-Noir Rainy Dog:
41  Other/Miscellaneous / Off-Topic Discussion / Re: Rare Anthony Perkins Thriller Remember My Name airing on TCM on: July 16, 2017, 09:27:46 AM
If only I had TMC.

I know what you mean Jess about it being annoying to not have TCM,and check your PMs.

42  Other/Miscellaneous / Off-Topic Discussion / Re: Rare Anthony Perkins Thriller Remember My Name airing on TCM on: July 15, 2017, 10:51:00 AM
TCM have done a write up on the film:

MONDAY JULY, 17 2017 AT 01:30 AM
Films in BOLD will Air on TCM *  |    VIEW TCMDb ENTRY

Everyone knows a woman is fragile and helpless.
Everyone's wrong. Remember My Name...or else.
Tag line from Remember My Name

The poster art with the above caption for Remember My Name (1978) shows a profile mug shot of a woman in dark sunglasses smoking a cigarette. Despite the fact that she's played by the petite, delicate looking actress Geraldine Chaplin, Emily, the protagonist of Alan Rudolph's second directorial effort after Welcome to L.A. (1976), is tough, single minded, cunning and manipulative in the style of such film noir heroines as Joan Crawford (The Damned Don't Cry, 1950), Rita Hayworth (Gilda, 1946) and Ann Sheridan (Nora Prentiss, 1947). And that association is completely intentional as Rudolph once stated that Remember My Name was "an update on the themes of the classic woman's melodramas of the Bette Davis, Barbara Stanwyck, Joan Crawford era."

A brief description of the bare bones plot also suggests a vintage Warner Bros. melodrama on the surface: Emily, a recent parolee from prison after a 12-year sentence, arrives in a small town and takes a room in a local boarding house. She wrangles a job at the local Thrifty Mart and initiates an affair with her landlord (Moses Gunn) in order to receive additional amenities. But her real focus is Neil (Anthony Perkins), a married construction worker, who shares a secret past with Emily and may have been the reason for her imprisonment. She stalks Neil and his wife Barbara (Berry Berenson), breaks into their home, commits petty, malicious acts like destroying a flower bed or making prank calls, upsets the balance of their shaky relationship and generally instills fear and panic before ending her visit.

Yet, in tone and execution, Remember My Name is abstract and free-form, a mood piece that is more interested in penetrating Emily's psyche than following a conventional narrative. And Geraldine Chaplin is mesmerizing in what might be the finest performance of her career. Veering from looking lost and wounded to exploding in violent outbursts, she may very well be psychotic and dangerous...or maybe it's all an act. Rudolph keeps you guessing as he underscores Emily's transitory emotional state with the songs of blues singer Alberta Hunter. Such tunes as "You Reap Just What You Sow," "My Castle's Rockin'" and "I've Got a Mind to Ramble" not only comment on Emily's state of mind but also propel the quirky narrative along toward a final resolution of sorts between Emily and Neil.

Rudolph, who began his film career as an assistant director and worked for Robert Altman on several films, moved into writing and directing in 1972 with his low-budget debut feature, Premonition. It wasn't until 1976, however, that he began to develop his own distinctive style and themes with Welcome to L.A., a film that put him on the radar of most major film critics, despite the mixed reviews. According to Rudolph, the idea for Remember My Name popped into his head while he was driving in Los Angeles; he was on his way to meet with Altman to discuss a project and he passed a theatre marquee in Los Angeles promoting a series of "femme fatale" films. Altman agreed to serve as the producer on Remember My Name and both filmmakers felt Geraldine Chaplin was the ideal actress for Emily, having worked with her previously on Nashville (1975), Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976) and Welcome to L.A. (in which Altman also served as producer).

Anthony Perkins was cast on the basis of his brilliant performance in the stage production of Equus which Rudolph's wife had recently seen and suggested him for the part. Perkins also had a suggestion of his own; he recommended his own wife, Berry Berenson, for the part of Barbara, his screen wife. Rudolph stated that "if Tony was comfortable with her, there was something that might come out of it that I wouldn't have to guide." (from Split Image: The Life of Anthony Perkins by Charles Winecoff). Ironically, Berenson was natural and confident for her first film role but Perkins felt completely insecure about his performance. Altman recalls that the actor was nervous about the film: "He was doing double duty, worrying about himself and his wife. And I think the blue-collar aspect of it worried him. I told him, 'You don't have to be born with a hammer in your hand to take on that situation. This guy's got a strange past.'"

When Perkins was encouraged to watch the day's rushes, something he normally avoided, he became convinced he was completely wrong for the part and wanted to quit. When Rudolph threatened to quit too if Perkins did, the actor was genuinely moved and decided to stay. "From that moment on," the director said, "he became our number one cheerleader...Everyone loved him. Geraldine just adored him. He went from being insecure to being the most stabilizing factor in our film."

For the scene in Remember My Name when Neil and Emily get drunk in a bar before going to bed together, Perkins requested real alcohol. Rudolph recalled, "He was drinking for real, and we did it just in two takes...It wasn't acting, it was meta-acting. There was nothing unprofessional about it; they were both amazing. The exit from the bar was the last thing we did before lunch, and Tony was getting pale. Finally he said, 'Did you get what you need? Do you want us to do it again?' I said no. So he got up from the table, grabbed a trash can, barely made it outside, and vomited. He spent lunch lying down somewhere, then he was fine. He continually added that something extra."

Remember My Name is worth seeing alone for the inspired performances of Perkins and Chaplin and the rich blues score by the 83-year-old Alberta Hunter who wrote new compositions for the movie. But it yields the additional pleasures of seeing a cast of up-and-coming actors in distinctive supporting roles - Jeff Goldblum as a harried store manager and Alfre Woodard as a suspicious co-worker of Emily. Also, in small bit parts you can spot Dennis Franz (in his feature film debut) as Neil's hardass boss and Tim Thomerson as a construction worker. There is also the curiosity of seeing Berry Berenson in her only major part (she also had cameos in Winter Kills [1979] and Cat People [1982]); she died on Sept. 11, 2001 as one of the passengers aboard the hijacked American Airlines Flight 11, which crashed into the World Trade Center.

When Remember My Name was released, it suffered the same fate as Rudolph's previous feature, Welcome to L.A. - mixed reviews and a poor box office reception. The Variety reviewer wrote, "Whatever the generic goal, the end product is an incomprehensible melange of striking imagery, obscure dialog, a powerful score, and a script that doesn't known how to go from A to B...If done on a traditional, linear level, Remember My Name might have induced some interest as a moderate chiller with emotional undertones." There were advocates of the film as well such as Tom Milne of Sight and Sound who called it a "brilliantly realized exercise...whose emotional truth becomes devastatingly real." But clearly Remember My Name was a film ahead of its time and not understood or fully appreciated at the time.

Rudolph once said he saw the movie as "a metaphor for whatever impact the women's movement as a public forum had on me." Still, feminists criticized the film, and the director noted, "They said Emily...was too much like a man in her vengeance. I pointed out that if she were like a man, she would have killed her ex-husband, and shame on them for not understanding that." Possibly the best endorsement and defense of Remember My Name came from film critic Jonathan Rosenbaum who wrote, "It strikes me as the most exciting Hollywood fantasy to come along in quite some time...Remember My Name deliberately suspends narrative clarity for the better part of its running time, and never entirely eliminates the ambiguities that keep it alive and unpredictable - even though its themes, thanks to Alberta Hunter's offscreen blues songs, are never really in question. It will only confound spectators and critics who perceive movies chiefly through their plots...Settling on a tight yet relaxed framework where the anger and passion of a wounded outsider can define its own awesome limits....the results are spellbinding."

Producer: Robert Altman
Director: Alan Rudolph
Screenplay: Alan Rudolph
Cinematography: Tak Fujimoto
Music: Alberta Hunter
Film Editing: William A. Sawyer, Thomas Walls
Cast: Geraldine Chaplin (Emily), Anthony Perkins (Neil Curry), Moses Gunn (Pike), Berry Berenson (Barbara Curry), Jeff Goldblum (Mr. Nudd), Timothy Thomerson (Jeff), Alfre Woodard (Rita), Marilyn Coleman (Teresa), Jeffrey S. Perry (Harry), Carlos Brown (Rusty).

by Jeff Stafford

Split Image: The Life of Anthony Perkins by Charles Winecoff (A. Dutton Book) Alan Rudolph: Romance and a Crazed World by Richard Ness (Twayne Publishers)

43  Other/Miscellaneous / Off-Topic Discussion / Canadian Noir: Whispering City (1947) (with link) on: July 14, 2017, 06:52:21 PM


Full film:

“Maybe the noose is better than a straitjacket.”

* This review may contain spoilers ***

Recently finishing the wonderful Canadian Neo-Noir TV mini-series Cardinal, I was pleased to learn from a fellow poster on ICM about a Canadian challenge,where ICMers have to watch as many Canadian titles as possible in a month. Knowing recent productions from Canada,I struggled to come up with any made during the "Classic" era of cinema. Finding out about director Fyodor Otsep after seeing the fascinating Amok during my 100 French films in 100 days,I was thrilled to stumble on his name when I began search for Canadian Film Noir,which led to me listening in on what the city was saying.

The plot:

Working on a story about an actress who died in a car crash,newspaper reporter Mary Roberts presses lawyer Albert Frédéric on claims from the actress that the suicide of her husband was actually murder. Focusing on his new creation,composer Michel Lacoste allows his marriage to Blanche Lacoste to break down. Seeing nothing left,Blanche kills herself. Finding her body ,Michel fears that Blanche's suicide looks like murder. Hearing Michel's tune,his lawyer Frédéric promises to stop the city whispering and to rid any doubt of the suicide,but only if Michel pays a "debt":To stop Mary Robert's whispers.

View on the film:

For his final movie, (shot as the alternate French language version La forteresse was being shot on the same sets with a different cast) director Fyodor Otsep (who in 1918 was a Russian film cooperative,but had to flee Europe when France got Occupied) listens in with a sharp use of Morris C. Davis,which Otsep composers to build anxiety over the debt Michel Lacoste is ordered to pay,and the composition playing out over the breakdown of his marriage. Driving over the frosty atmosphere from the outdoor locations of 40's Canada,Otsep conducts a fantastic A Christmas Carol mood into Lacoste and Frédéric's outside encounters via stylish weaving camera moves casting a ghostly whisper around the two.

Gradually hitting the notes of doubt,the screenplay by Rian James /Leonard Lee/George Zuckerman/Michael Lennox/Gina Kaus/ Hugh Kemp & Sydney Banks (!) strongly strike a Melodrama edge in the crumbling, fractured marriage of the Lacoste's. Sending the lawyer in,the writers snowball a sinister Film Noir bite,where the suicide of Blanche pulls Michel into the deadly double dealing of Frédéric. Suspecting she is not getting the full story, Mary Anderson gives a wonderful,quick-witted performance as Roberts,who pulls Michel veil of darkness with a real snap. Ploughing Michel into following his orders, Paul Lukas gives a wicked,brittle performance as Frédéric,whilst Helmut Dantine pulls the raw Noir strings of Michel's fear,as Michel hears the city whisper.
44  Other/Miscellaneous / Off-Topic Discussion / Rare Anthony Perkins Thriller Remember My Name airing on TCM on: July 12, 2017, 08:48:46 PM
Hi all,I've just found out that TCM are showing on MONDAY JULY, 17 2017 at 01:30 AM  the 1978 Anthony Perkins Thriller Remember My Name,which did not even come out on Video.

Here is RMN's IMDb page:

45  Other/Miscellaneous / Off-Topic Discussion / Noir TV: Paula (2017) (Mini-Series) on: July 07, 2017, 04:26:34 PM


* This review may contain spoilers ***

Whilst catching up with the excellent Canadian Noir TV series Cardinal,I wondered if there were any other similar shows on. Finding the Brit Noir mini-series One of Us to be an interesting show,I was intrigued to find another Brit Noir mini-series,which led to me meeting Paula.

The plot:

Working as a teacher on a low wage,Paula tries to find a way to rid her loft of rats on the cheap. Hiring indie handyman James,Paula gives James a tip by sleeping with him. Thinking their relationship is more than a one-off,James comes round as Paula ends an affair with a fellow teacher. Grabbing a paper with the staff details,James decides to teach Paula a lesson.

View on the series:

Shot in Dublin,director Alex Holmes rubs the shows mix of tough Noir Drama and glossy Erotic Thriller with dry browns and blues opening the paranoia in Paula's mind, whilst slick whip-pans and jagged edits spin a slick Thriller mood. Running for three hours,writer Conor McPherson has the chance to weave the stylish Erotic Thriller with the psychological depth of Noir. Setting Paula (played a bit too shouty by Denise Gough) off to have sex with any guy that gets in her view, McPherson sadly misses the chance to mix the genres,as wonderfully pulp dialogue is pulled down by dull characters whose bitterness blinds any feeling of mystery,and leads to the twist ending being place where the macabre opportunity is taken,as Paula takes James down to the loft.
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