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Author Topic: Film-Noir Discussion/DVD Review Thread  (Read 374055 times)
cigar joe
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« Reply #765 on: April 12, 2011, 10:12:46 AM »

But if you mean "Robert" Montgomery, then you have to include all the OTR Marlowes.

What do you mean by OTR? , I'm not following

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« Reply #766 on: April 12, 2011, 10:18:34 AM »

Murder My Sweet (1944) Though it is the 3d vision of the movie it was my first in english. And I didn't remember it took so many liberties with the plot which, in spite of my having read the novel repeatedly, I couldn't follow in depth. There was the good idea of making Ann Riordan Mr. Grayle's daughter, but eliminating the character completely, like Richards did, was even better. And that's about that. The gimmick of the temporary cecity of Marlowe's is just finalized to the final cheesy scene. The actors. As I said, Powell is my favourite Marlowe with Garner. But probably comes second. The girl playing Anne Riordan is perfect but, as said, the character is disposable. I take Trevor over Rampling just because I like her best. And I take O'Halloran over Mazurki because Moose is, literally, true to his name: Mazurki gives too much passion to a character who shows he has it in store only in the final meeting with Velma. The sanatorium scene is perfect, with a great Powell. That makes me give it a 8\10: still a vote under Richards's version.  

Continued discussion here...... :http://www.fistful-of-leone.com/forums/index.php?topic=1822.msg147908#msg147908

« Last Edit: September 20, 2011, 09:59:36 AM by cigar joe » Logged

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« Reply #767 on: April 12, 2011, 10:19:25 AM »

What do you mean by OTR? , I'm not following

Old Time Radio.

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« Reply #768 on: April 12, 2011, 10:22:20 AM »

OK I see. Afro

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« Reply #769 on: April 12, 2011, 01:48:02 PM »

Just heard a rumor that TCM will show in May 3 Hammers: My Gun is Quick, Kiss Me Deadly, and The Girl Hunters. Afro

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« Reply #770 on: April 13, 2011, 05:54:22 PM »

Here are some screen caps from "Farewell My Lovely" side by side with me playing around with how it may have looked in B&W this really needs a  re-release Cool:

Marlowe's (Mitchum) opening monologue in a room at the Casa Miarabell Hotel, this version is told in flashback for probably 4/5 of the total:







Florian's







Moose Malloy



Jessie in tattered bathrobe



Then all dolled up for Marlowe



Jessi & Marlowe boozing it up (notice no noir barred shadows through the venetian blinds)





Femme Fatale (Charlotte Rampling) has a vague Bacall look about her.



Green eyes to match the jade necklace.



The flash of inner thigh to Marlowe.



The kiss.



Some nice three shot Compositions the top in Florian's the bottom at the Lido gambling ship:





to be continued......






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« Reply #771 on: April 13, 2011, 06:22:10 PM »

You missed Sly...

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« Reply #772 on: April 14, 2011, 01:14:05 AM »

... and Groggy's all time favorite.

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« Reply #773 on: April 14, 2011, 05:51:24 AM »

More screen caps from "Farewell My Lovely"....

Icons Mitchum-Ireland







Novelist Jim Thompson as Judge Grayle



Marlowe's Office, Mitchum-Ireland-Stanton





ambiance Jessie's House



Whorehouse sequence







a young Stallone



Stallone gets caught grabbing a freebie.



Mitchum coming out of his OD.





dead Tommy Ray



The "getting religion" sequence

Ireland



Stanton-Ireland in LAPD cruiser





LA Street





The gambling ship "Lido"



underworld boss Burnette



Using flunkies head to knock on Burnette's office door



Gun battle on Lido










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« Reply #774 on: April 14, 2011, 08:47:18 AM »

I like this slightly over the top interpretation of Mike Hammer, especially after viewing all the previous watered down versions.  Afro Afro Afro

I, The Jury (1982)

Directed by  Richard T. Heffron, starring Armand Assante, as Mike Hammer, Barbara Carreram as Dr. Charlotte Bennett, Laurene Landon as Velda, Alan King as Charles Kalecki,  Geoffrey Lewis as Joe Buttler, and Paul Sorvino as Det. Pat  Chambers.

I first saw this probably sometime in the late 80’s once, had nothing to compare it to, and barely remembered it so it was a delight to get to view this the other day, especially since I‘ve recently been revisiting Spillane and the films based on his novels.

It took 30 some odd years for a film to really do full justice to the zeitgeist of a Mickey Spillane novel. The best looking and true  Noir adaptation is still “Kiss Me Deadly” (1955) with Ralph Meeker, Jack Elam, Strother Martin, Jack Lambert, Gabby Rogers, and Cloris Leachman, but it was hampered by being made while the Hays Code was still in effect. The original “I, The Jury” (1953) was DOA having non presence Biff Eliot in the title role, but at least the babes were “hammertomically” correct , “My Gun is Quick” (1957) starring Robert Bray as had the right caliber of women, but had the action not in NYC, but in some seaside resort and Hammer was running around with a pop gun not his trademark .45 Colt Automatic. “The Girl Hunters” (1963) had Spillane in the title role, but he was no actor, and aside from the establishing shots of NYC , the film was shot in England. At least it had the babes.

But WOW!, right from the opening credits of I, The Jury (1982) you know you are in Mike Hammer land with the emphasis on women and the Colt .45 automatic, Broads & Bullets, Girls and Guns (both kinds).  I’m sure graphic novelist Frank Miller (Sin City) had to have seen this graphic opening sequence in three colors black, white, and red, and was influenced by it. If not, it predates that style by 10 years.

This version has Hammer’s office located above Times Square, set in the post Vietnam 80’s. Hammer is a sleazy detective working divorce cases. We first see him pulling a dead fish out of his tank and holding it while talking to another fish/client, who is worried about his wife cheating on him. Hammer asks to see her picture notices that she is beautiful, then tells the client that he’s in trouble. Next shot has Hammer screwing the clients wife while fielding a call from him, the conversation is humorous along the lines of , “yea I’m right on top of her”, and “yea, don’t worry, I’m very familiar with all her moves”.

Hammer’s one armed war buddy Jack takes a slug in the guts and dies crawling across his living room, notified of his death Hammer (like a licensed rogue cop with full access to NYPD info) acts like bull in a china shop and the action (along with the catchy and wonderfully complementary score) never quits… that is unless a broad drifts into range, and a bevy of lovelies do so.

In this version Velda who in the novels was also a licensed detective holds her own doing double duty as a competent secretary/associate, and quasi love interest, she shows flashes of jealousy when Mike returns to the office disheveled and bruised from his  escapades.

All the actors put in decent performances, I just wish Geoffrey Lewis had a bigger part, my only quibble.

What’s not to like.

Barely Neo Noir if that. The one noir lit sequence that I do rememner was when Hammer goes to pay respects to Jack's wife. Most of the film is too brightly lit.

No first person narrative.

And well, this version deviates a bit from the novel, i.e., using a surrogate serial killer in place of Kaleki’s henchman to the detriment of the novel‘s excellent Bellamy Twins sequences, the substitution of the sex clinic for the whorehouse, and bringing an ex-CIA paranoid operative “house as fortress” character into the story.

Armand Assante as Hammer hews closer to the Ralph Meeker look than what you picture Mike Hammer should look like (for me that would have been the great Charles McGraw), but he has the machismo and misogynistic qualities right, lol .

The cinematography is adequate, very pedestrian, nothing stylistic.

Setting the story in the post Vietnam 1980’s takes away the dirtier, grittier, sleazier, New York of the late Forties to early Sixties. There’s no street level connection to the Burlesque Joints, XXX Movie Theaters, The “Live Nude Girl” Peep Shows, the Arcades, the newspaper stands, the street vendors, the con games, the Dime A Dance Ballrooms, the bums, the panhandlers, the hookers, etc., etc.,  New York was starting to loosing that real ambiance, too bad. I remember The 42nd St. Times Square area ridden with the above in 1970, and by the time I returned in 1996 it had changed to Disneyland. Minor quibbles.

Still excellent film 8.5/10,some funny bits, almost the perfect Hammer with an excellent score.

The only way to improve would be a Sin City type treatment keeping the machismo and misogynistic qualities this film has with the dirtier, grittier, sleazier, New York of the late Forties to early Sixties.

« Last Edit: April 14, 2011, 05:35:58 PM by cigar joe » Logged

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« Reply #775 on: April 15, 2011, 05:25:13 AM »

Phantom Lady Jazz Band sequence:

http://www.youtube.com/watch?v=5vEgZM5x0ik

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« Reply #776 on: April 15, 2011, 08:47:52 AM »

ambiance Jessie's House


"Maybe she beat it." / "Nolte, this is where people like her beat it to."

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« Reply #777 on: April 15, 2011, 03:49:35 PM »


Jessi & Marlowe boozing it up (notice no noir barred shadows through the venetian blinds)




I don't know why but after almost 40 years I've been watching this movie I keep concentrating on her jugs.

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« Reply #778 on: April 15, 2011, 03:50:47 PM »

"Maybe she beat it." / "Nolte, this is where people like her beat it to."

Nolte?

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« Reply #779 on: April 15, 2011, 06:07:39 PM »

"Maybe she beat it." / "No, this is where people like her beat it to."

what it should say.

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