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Author Topic: Film-Noir Discussion/DVD Review Thread  (Read 366024 times)
dave jenkins
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« Reply #1365 on: October 11, 2015, 01:16:31 PM »

Instead of a Noir City week, like in other US towns, we in NY get a mere afternoon:

@MoMA
Sat. Nov. 7

4:30 The Guilty (1947) Film Noir Foundation restoration

6:45 Woman on the Run (1950) Film Noir Foundation restoration

Mr. Muller will be present. The films play again the following Tuesday without Eddie.

UPDATE: Date was wrong before; it's good now.

« Last Edit: November 03, 2015, 04:35:28 PM by dave jenkins » Logged


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« Reply #1366 on: October 30, 2015, 04:48:20 PM »

http://www.dvdbeaver.com/film5/blu-ray_reviews_69/pitfall_blu-ray.htm

Eddie Muller commentary!

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« Reply #1367 on: October 31, 2015, 07:40:15 AM »


Nice!

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« Reply #1368 on: November 03, 2015, 04:36:16 PM »

99 River Street confirmed for 2016 Blu!

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« Reply #1369 on: November 03, 2015, 06:18:25 PM »

99 River Street confirmed for 2016 Blu!

Cool. Eddie Muller commentary too? 😉

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« Reply #1370 on: November 04, 2015, 08:47:55 AM »

I'll ask him on Saturday. Cool

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« Reply #1371 on: November 07, 2015, 11:04:08 PM »

DJ had a shmooze with Eddie Muller tonight. Then I hung out with DJ. He'll tell you all about it ....

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« Reply #1372 on: November 08, 2015, 02:05:25 PM »

Well, maybe.

I went to Eddie's one NY appearance yesterday, at MoMA. Mr. Muller is pretty approachable, so when I saw the seats marked "Reserved" I sat down immediately in front of them. Eddie was along in a few (with Dave Kehr) and they sat down and started chatting. Kehr was saying something about PD films, and Eddie countered with a story about securing the rights to restore Too Late For Tears. Even though the film itself was in the public domain, there were still intellectual property issues to work through. For one, the guy who wrote the script, the late Roy Huggins, had children who now controlled his estate, and evidently they had to be placated before the restoration could go ahead. They didn't know about the film until Eddie brought it to their attention, but then they did a little research and found out their dad had bad-mouthed it and the kids were going, Do we really want to bring this bad film back out into plain view? And Eddie had to go to work on them and persuade them, but, being the winning, personable guy that he is he was able to do so.

Anyway, they're chatting behind me, I wait for a lull, then wheel about and say, "Mr. Muller, Kino has just announced they're bring out 99 River Street on Blu. Will you be doing the commentary?" Eddie looks me over, convinces himself I'm not a threat, then quickly moves into I-can-be-charming-even-to-this-nutcase mode.

"I'm negotiating with them about it now."

"Dude, you're the guy! It's 99 River Street. It's got boxing. It absolutely needs YOUR commentary."

"Please call Kino and tell them that. While you're at it, suggest that they pay me a really big fee."

"Eddie, 99 River Street. It's got boxing!"

"Yeah, I'll probably do it."

"John Payne's best role. Evelyn Keyes."

"It's everybody's best role. Peggie Castle."

"Dude, I'm so in love with Peggie Castle!"

Then Kehr jumped in: "Eddie knew Peggie Castle."

"You knew Peggie Castle?"

"Let's just say I met her. OK, you've convinced me, I'm definitely gonna do that commentary. Now turn around and quit talking or I'm gonna have to call security."

It went something like that, I can't remember exactly, cause later I met Drink at a bar and he bought me a lot of expensive drinks (Thanks, buddy) and I got pretty boiled and today I can't remember yesterday so well.

Well, I remember a few things. Eddie intro'd 2 films, The Guilty (1947) and Woman on the Run (1950), both restored by the Film Noir Foundation. The Guilty is a really dull film, based on a Woolrich short story, it has like only 3 sets: a bar, a furnished room, another furnished room. It was really only part of the program because Eddie had discovered it while looking for a print of the main feature, Woman on the Run.

Eddie had a nice story about how the restoration of WotR came about. For years he had wanted to watch a good print of the film; he only had a really bad VHS copy that was practically unwatchable. Although Universal distributed the film, they had never owned it. Nonetheless, Eddie was sure they had a copy in their vaults. He bugged them about it for years and they kept telling him they didn't have it. Finally they assigned a guy to look for it and, sure enough, they had one copy. It was a copy that had been deposited with them for contractual reasons and had never been screened. It was immaculate. Eddie started programming it for festivals, but then in 2008 there was a fire at Universal and many original prints were destroyed--including the WotR print. Auuuggggghhhh!!

A while later Eddie was visiting the Bfi and they'd just installed their new data-base. Eddie was allowed to give it a test ride. The very first title he searched for was WotR--and they had a copy! He begged Bfi to send it over to UCLA for restoration and they did, but as the techs were going through the elements they made a heart-breaking discovery: although the picture was in good shape and could be further restored, the sound elements were past help. That's when Eddie made a startling reveal: years before, when he'd been programming the copy of Universal's print, he'd made an illicit digital copy of the whole thing. It was now possible to use the digital copy of the soundtrack Eddie made and apply it to the restoration. And that's how we were able to view and hear the exquisite print we saw last night.

Eddie had other interesting things to say. He believes that the guy who wrote the screenplay--who was Dorthy Parker's husband--was essentially using her as the model for the Ann Sheridan title character. The writer and Dorthy had broken up by the time the picture was made, but Eddie pointed out that soon after the film came out, they got back together again. Coincidence? Eddie also pointed out that Ann Sheridan made this movie after she'd turned down Mildred Pierce, and that Sheridan was really happy with the role in WotR and was convinced that the picture was gonna be wildly successful. Needless to say it wasn't, and quickly slipped from view, and probably wouldn't be much known today without Mr. Muller's efforts.

The film itself? It's just so-so. It's got some clever dialog, but the plot isn't anything special. It also has lots and lots of 1950s San Francisco locations, which is probably why Eddie, a native San Franciscan, likes it so much. The rest of us, without a personal connection, have less to enjoy. But the new restoration sure looks good.

« Last Edit: November 08, 2015, 02:12:20 PM by dave jenkins » Logged


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« Reply #1373 on: November 08, 2015, 03:44:22 PM »

I can't remember exactly, cause later I met Drink at a bar and he bought me a lot of expensive drinks (Thanks, buddy) and I got pretty boiled and today I can't remember yesterday so well.

I can confirm that, I got a drunk email from these guys in the middle of the night.

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« Reply #1374 on: November 08, 2015, 04:31:02 PM »

Spent the day at work hung over  Evil

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« Reply #1375 on: November 08, 2015, 08:22:58 PM »

I spent the day sleeping and imbibing huge amounts of coconut water. I'm feeling pretty good now.

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« Reply #1376 on: November 17, 2015, 12:43:57 PM »

Eddie Muller commentary in da house!

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« Reply #1377 on: November 17, 2015, 01:40:06 PM »

Eddie Muller commentary in da house!
Which movie?

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« Reply #1378 on: November 17, 2015, 02:00:00 PM »

Pitfall.

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« Reply #1379 on: November 18, 2015, 03:58:06 AM »

Nice, BTY among the items from the estate were issues of Life magazine 1948, flipping through them I found a full page add for Pitfall.

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