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Author Topic: Near Noirs  (Read 4155 times)
cigar joe
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« Reply #15 on: September 23, 2011, 11:33:17 AM »

Noir visual influences in Near Noir Films continued....

The Fugitive Kind (1960)

Anna Magnani in shadows



Joanne Woodward with peppers ghost effect Magnani & Brando



The very noir-ish Mississippi Roadhouse with Joanne Woodward and Brando in his snake skin jacket,



Baby Doll (1956)

The peeping tom view of Carroll Baker in her crib.



Shadows across Eli Wallach & Baker



Requiem For A Heavyweight (1962)

Mountain Rivera (Anthony Quinn)



Gleason, Quinn, and Rooney in the back room of the arena.



Manager Gleason & Trainer Rooney




Cape Fear (1962)

Robert Mitchum as Max Caddy



Mitchum in Noir-ish room



Mitchum's ominous confrontation with Polly Bergen



« Last Edit: September 23, 2011, 12:25:13 PM by cigar joe » Logged

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« Reply #16 on: October 31, 2012, 02:33:20 AM »

I see what you;'re saying with some of these movies, but with others, I just don't see how they can be considered even nearly-nearly-nearly-near-noirish, eg.  On the Waterfront, Anatomy of a Murder, or Baby Doll. I only saw parts of BD, but I don't believe it's anything close to a noir visually, even with those screen grabs you made.
OTW, it's a gritty movie (whioch can be expected for a movie shot on the docks involving a longshoremen's union), but that itself doesn't qualify, and AOAM is simply a courtroom drama.
 I can't say for certain that I recall every single shot of these movies, but I don't think there's anything there.

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« Reply #17 on: March 11, 2013, 01:59:03 AM »

We Were Strangers (1949)

It's a movie about a revolutionary cell in Cuba in 1933, so not a typical crime drama, but has lots of noir visuals in the indoor scenes.

Further discussion here http://www.fistful-of-leone.com/forums/index.php?topic=7645.msg163790#msg163790

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« Reply #18 on: September 09, 2013, 05:38:57 PM »

I just saw The Naked Kiss (1964) I suppose you might actually call it a noir if it was made just a half-decade earlier. Maybe it's too early to call a neo-noir; how about calling it a "post-noir"?  Wink

Anyway, I give the movie an 8/10

Very weird in the way it was made and cut, you always kinda feel like there's something a little not right, but it captivated me. Kelly, played by Constance Towers, is a terrific character.


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« Reply #19 on: September 09, 2013, 07:10:43 PM »

I just saw The Naked Kiss (1964) I suppose you might actually call it a noir if it was made just a half-decade earlier. Maybe it's too early to call a neo-noir; how about calling it a "post-noir"?  Wink

Anyway, I give the movie an 8/10

Very weird in the way it was made and cut, you always kinda feel like there's something a little not right, but it captivated me. Kelly, played by Constance Towers, is a terrific character.



It feels like its made on the cheap, without the studio system.

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« Reply #20 on: May 21, 2017, 01:06:25 AM »

I just saw John Ford's The Fugitive (1947). You can call that a near-noir. Despite the title, it's not really a "crime" film, unless you consider religion a crime. It's filmed in Mexico but the introduction tells us it's supposed to be a generic country. The government has outlawed religion and  Henry Fonda plays the last remaining priest who tries to minister to his flock while fleeing the police.

It's a terrible movie. Only good thing about it is the cinematography.

About that cinematography: Many scenes filmed outdoors in bright sunlight, but some of the nighttime and indoor scenes are filmed in noir style.

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