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Author Topic: Film-Noir Discussion/DVD Review Thread  (Read 367880 times)
dave jenkins
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« Reply #1335 on: July 23, 2015, 09:10:57 AM »

... And then there's a third type of person: those who aren't teachers and don't have all summer off to watch movies Wink
Is that jealousy I detect in your tone? Well, I can't hang around trading barbs . . . I've got to get to MoMA and watch a heckuva lot of movies. Evil

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« Reply #1336 on: July 23, 2015, 04:27:06 PM »

These days, I'll record a movie on TCM, then watch a few minutes of it every morning when I'm getting dressed to go to work and a few more minutes of it in the evening. So basically, I get through one movie every 1-2 weeks. That's the extent of my movie watching.
Have fun at MoMA. Say hi to my Hoppers when you get a chance.
I always enjoy hearing about your museum/movie experiences. My entertainment life is almost exclusively a vicarious one right now.

Enjoy! Smiley

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« Reply #1337 on: July 31, 2015, 06:45:36 PM »

http://www.blu-ray.com/news/?id=17278

I'm not convinced that the upgrade is going to be much over the Fox DVDs. However, if it turns out that these are re-scans or taken from better sources, I'll get them.

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« Reply #1338 on: August 07, 2015, 04:56:07 PM »

A poster at Criterion Forums has made these comments about the new blu of Night And The City.
Quote
The new disc is another candidate for best of the year.

To start with the bonus feature and extras, it was only left to producer Issa Clubb to port the earlier extras including the invaluable documentary about the two music tracks and the two cuts. This they've done,in 1080p.

The inclusion of the BFI owned British version is a best extra of the year for any label so far. (Let's say it's on a par with the inclusion of the American cut of Variety on the German Blu Ray.)
 
There's only a few minutes of narrative material/different shots (which at most gives Tierney a bit more space and range) but certainly the presentation of the complete movie with the Benjamin Frankel score delivers a totally discrete experience to the American cut, one that deserves to be studied and enjoyed on its own right, so different is the atmosphere and rhythms of the film, much as I prefer the Waxman score and the more bleak ending of the US version. The UK cut is delivered in a solid 1080p encode and I hazard a guess Criterion (or Schawn Belston at Fox) has performed at minimum some dust busting and clean up the BFI's 35mm source, judging from the chasm in quality and surface debris between the very damaged looking censor card and opening on the documentary (from 2005) and the new 1080p.

The 4k US version, supervised by Schawn Beltson is quite simply superb. I had very much liked the German Single layer BD of this from last year and had recommended it elsewhere but the new 4k wipes out every other rendition for fine detail, grading, black levels, stability and sharpness, including the BFI's very black boosted and basically poor DVD and the older Criterion DVD. It also avoids what Gary Tooze noted as a slight horizontal pinching to the picture geometry on the German disc.

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« Reply #1339 on: August 07, 2015, 05:07:40 PM »

The schedule for Noir City: Chicago (#7) is up here: http://www.musicboxtheatre.com/festivals/noir-city-chicago-7

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« Reply #1340 on: August 12, 2015, 11:52:59 AM »

Aroused (1966) Noir meets sexploitation. Detective and a redeemed (by the detective) lez whore-model pursue a  psycho killer of hookers. Good T&A showings, open mouthed french kisses, tongue in the ear, mimed (or was it cut?) bj. The plot is elemental but the director has a certain professionalism  and certainly must have seen Killer's Kiss at least a couple of times.   Manhattan, alas, is there but the exteriors are wasted by too close shots of the streets. It certainly helps you redefine your memories of more chastised b&w genre flicks. Without the sex this would make a 5/10, but fortunately I can give it 7\10

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« Reply #1341 on: August 17, 2015, 07:06:25 PM »

Murder, My Sweet to get a Blu upgrade: http://www.blu-ray.com/news/?id=17402

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« Reply #1342 on: August 19, 2015, 07:59:10 AM »

Just saw ROADBLOCK on TCM. A tight little "sunny noir" with Charles McGraw as an honnest insurance investigator who meets a gold-digging woman out of his league. Eventually she really falls in love with him an they get married and she is happy with him for who he is, but he is still obsessed with impressing her with money, and decides to organize one big heist ....
7/10

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« Reply #1343 on: August 19, 2015, 06:59:57 PM »

Just saw ROADBLOCK on TCM. A tight little "sunny noir" with Charles McGraw as an honnest insurance investigator who meets a gold-digging woman out of his league. Eventually she really falls in love with him an they get married and she is happy with him for who he is, but he is still obsessed with impressing her with money, and decides to organize one big heist ....
7/10

There is a page for this one

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« Reply #1344 on: August 28, 2015, 05:41:23 PM »

Hot damn!
http://www.amazon.com/Pitfall-Blu-ray-Dick-Powell/dp/B014K364C0/

Mastered in HD from a 35mm dupe negative preserved by the UCLA Film & Television Archive

Special Features: Audio Commentary with Film Historian Eddie Muller | Trailers

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« Reply #1345 on: September 09, 2015, 08:56:34 AM »

http://www.blu-ray.com/movies/Murder-My-Sweet-Blu-ray/107434/#Review

Money quote:
Quote
Murder, My Sweet was shot by veteran cinematographer Harry J. Wild (Gentlmen Prefer Blondes). Warner's MPI facility has newly transferred the film from its original nitrate negative for this 1080p, AVC-encoded Blu-ray from the Warner Archive Collection, a project that presented special challenges. RKO's film library was not as well cared for as Warner's or MGM's, and the negative for Murder, My Sweet has many damaged and worn sections that MPI has repaired to the best of its ability. In many instances, the repairs have been so successful that the viewer will not realize anything was done. In a few cases, there are limits to what can be achieved. An example occurs at time mark 38:11, where a car carrying Marlowe pulls up to the building where Jules Amthor lives. It's a process shot, which is already of lesser quality to begin with, so that, even with repairs, the result falls noticeably below the quality of the remainder of the disc. A big part of the reason, of course, is because the quality of the rest is so good.

Detail, black levels and densities are outstanding, as is the differentiation between shades of gray that gives a black-and-white image depth and dimensionality. Even in the lengthy sequence involving Marlowe's hallucination, the detail remains quite good, despite the process photography and opticals. Deliberately dark scenes (e.g., the beach house sequence near the end) replace detail with pools of blackness (and this is by design), but in well-lit scenes everything is visible, e.g., at the Grayle mansion, where the lavish decor is very much on display.

WAC has mastered Murder, My Sweet at its current default bitrate of 35 Mbps (or, in this case, just a hair below), and the compression has been capably performed.


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« Reply #1346 on: September 23, 2015, 11:32:58 AM »

Aroused (1966) Noir meets sexploitation. Detective and a redeemed (by the detective) lez whore-model pursue a  psycho killer of hookers. Good T&A showings, open mouthed french kisses, tongue in the ear, mimed (or was it cut?) bj. The plot is elemental but the director has a certain professionalism  and certainly must have seen Killer's Kiss at least a couple of times.   Manhattan, alas, is there but the exteriors are wasted by too close shots of the streets. It certainly helps you redefine your memories of more chastised b&w genre flicks. Without the sex this would make a 5/10, but fortunately I can give it 7\10

I finally watched this off of a Something Weird DVD. It definitely is Noir meets sexploitation, but the sex isn't anything you don't see nowadays and it is artistically done with Noir stylistics a shout out to Gideon Zumbach director of photography (as Anibal Paz  I wonder if Argentinian cinematographer Aníbal González Paz was visiting NYC in 1965-66), and has good direction and a descent plot both furnished by Director Anton Holden. The way the street shots are shot suggests that possibly it was shot guerrilla style with no permits but they look great and bring back memories of that time period. I noticed a street location from The Incident (1967) that I just recently watched which used the Bronx Biograph Studios so some of it may be shot also in that borough. I'll give it a 8/10 for accomplishing so much with so little. It could be on a triple bill  with Blast Of Silence and The Incident  ;-)

« Last Edit: September 24, 2015, 06:53:09 PM by cigar joe » Logged

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« Reply #1347 on: September 23, 2015, 11:50:36 PM »

...but the sex isn't anything you don't see nowadays

Yes, but on porn. The average sex movie is tame compared to this, I guess.

The label it's Something Weird.

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« Reply #1348 on: September 24, 2015, 06:53:32 PM »

Yes, but on porn. The average sex movie is tame compared to this, I guess.

The label it's Something Weird.

fixed

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« Reply #1349 on: September 25, 2015, 04:05:38 AM »

I see that you consider Satan in High Heels an antecedent of this one. I think that might be misleading because the visual sex there is quite tame (in fact you can watch the movie on line) and that should make all the difference: wherein should lie otherwise the "exploitation" side? No, I think Aroused is in another category and probably  a case in itself, unless you can turn up with better terms of comparison. I guess that in some of the soft and hard porn flicks made between the sixties and seventies in NYC could be found plot-wise more pertinent examples, though most of them were shot in colour. Or maybe even this one:

http://www.imdb.com/title/tt0085446/?ref_=nm_flmg_act_42

which, as far as I can remember, was visually inspired by the re-reading of the genre of the early '70's. Of course, I can't tell whether those who wrote books on noir  took notice of them.

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