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Author Topic: Film-Noir Discussion/DVD Review Thread  (Read 380337 times)
drinkanddestroy
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« Reply #1380 on: November 18, 2015, 07:40:33 AM »

Coooooooool!

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« Reply #1381 on: November 18, 2015, 08:46:00 AM »

Interesting. Pitfall was of course an independent production, but I guess they had a healthy marketing budget.

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« Reply #1382 on: November 18, 2015, 08:37:52 PM »

There was another add for Sorry Wrong Number also.

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« Reply #1383 on: November 29, 2015, 01:59:03 PM »

Full page July 19, 1948 Life Magazine ad for Pitfall.


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« Reply #1384 on: November 29, 2015, 03:24:51 PM »

Thanks, CJ.  Afro

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« Reply #1385 on: December 20, 2015, 08:08:27 PM »

The Strange Love of Martha Ivers (1946) This movie has two great scenes: that of Stanwick and Heflin on the hill and the final three-sided confrontation except...except that the way that one ends is all wrong: censorship-induced? I would have given it an 8\10 in spite of its taking a long time to get going: the Lizbeth Scott angle, though integrated in the script, it is secondary to the Douglas-Stanwick relationship which isn't well-developed and consequently makes the finale appear even more forced of what already is (or maybe I say this because I don't like Scott, who also seemed to me to be a poor man's Bacall, and I adore Stanwick, probably the best combination of looks and acting ability in Hollywood in the years before the emergence of Ava Gardner). And Douglas is absolutely miscast, though of course nobody when they hired him could predict the screen persona he would develop in the decades to be, as distant as could be from the character he plays (badly, of course) here. So it's 7\10. Anyway I would like somebody to explain the finale to me, eh CJ?

Saw this movie recently.

DJ, I thought of you: Van Heflin eats his spaghetti with a fork and a spoon  Roll Eyes



Titoli, what did you not understand about the ending? Or have you rewatched it in the last 4 years and now understand it?  Wink

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« Reply #1386 on: December 20, 2015, 08:59:55 PM »

Titoli, what did you not understand about the ending? Or have you rewatched it in the last 4 years and now understand it?  Wink

No, I haven't rewatched it again, but re-taking a look at the finale

https://www.youtube.com/watch?v=-DaRH3bTuZM

I was probably referring to the fact that not only BS passes from a murderish attitude to a suicidal one in a matter of seconds, but helps her former intended victim of a couple of minutes before to kill her.  I could have put up with Douglas killing her, but that she herself pulls (well, pushes) the trigger is intolerable.

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« Reply #1387 on: December 21, 2015, 10:38:48 PM »

No, I haven't rewatched it again, but re-taking a look at the finale

https://www.youtube.com/watch?v=-DaRH3bTuZM

I was probably referring to the fact that not only BS passes from a murderish attitude to a suicidal one in a matter of seconds, but helps her former intended victim of a couple of minutes before to kill her.  I could have put up with Douglas killing her, but that she herself pulls (well, pushes) the trigger is intolerable.

It was a few weeks ago that I saw it, and I don't completely remember it all, but didn't she want to kill herself because the murder she committed years earlier was now going to be exposed, and/or because Van Heflin didn't want her, or something like that?

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« Reply #1388 on: December 22, 2015, 11:18:13 AM »

Dammit Eddie, quit filching my routine!
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Eddie Muller - in this brand new video interview, film noir historian Eddie Muller discusses the subversive nature of Gilda, the unusual relationship between Johnny Farrell and his employer as well as the elusive gay subtexts in the film. . . .

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« Reply #1389 on: December 23, 2015, 05:45:12 PM »

An eclectic selection, to say the least, but it really smells like they've run out of things to show: http://www.noircity.com/

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« Reply #1390 on: December 24, 2015, 06:18:35 AM »

An eclectic selection, to say the least, but it really smells like they've run out of things to show: http://www.noircity.com/

Yea it sure looks like it.  Undecided

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« Reply #1391 on: December 24, 2015, 08:08:40 AM »

I never heard of many of these movies, but that is a good thing (not that I am going to San Fransisco anyway). By now I have seen just about all the famous noirs, so it's nice to be introduced to new ones (as long as there are some good ones in there), and have a few classics, too. I'd prefer that to having a lineup of a bunch of classics.

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« Reply #1392 on: December 25, 2015, 08:11:46 PM »

Well, a lot of these films don't really qualify as noirs.

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« Reply #1393 on: December 26, 2015, 03:40:46 PM »

If the Czar of Noir says it's noir, it's noir :p

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« Reply #1394 on: December 26, 2015, 05:01:21 PM »

That's NOT what he's saying:
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"We're expanding the limits of traditional noir to enhance this year's theme," said NOIR CITY producer, host and co-programmer Eddie Muller, “There's always been a dark side to the way The Arts are represented in film, and I thought it would be intriguing to include some unexpected films, like Love Me or Leave Me and Blow-Up, that have trace elements of noir in the way they explore the more treacherous aspects of creativity.”
Expanding the limits of "traditional noir" means including films that don't qualify as noirs. No way a film like The Red Shoes can be considered noir. It's on the bill because it pairs well with another movie about dance, Spectre of the Rose. But considering SotR a noir is a stretch already.

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