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Messages - cigar joe
1
« on: March 29, 2023, 03:46:39 AM »
Brenda Sykes did not play the role of Cleopatra Jones,Tamera Dobson did.
Who said she did? I don't remember reading that.
2
« on: March 28, 2023, 03:23:17 PM »
I think there's been an over emphasis on this being a film noir. Noir hadn't even been invented yet. This is a hybrid of things that would later come to be known as noir and a standard melodrama but also a Betty Grable picture. There are a lot of jokes in the film. Eddie is really good about pointing out the disparities: for example, a bar-counter scene where the three Svengalis try to out-snark each other is shot with Dutch angles. The jokes and the mise-en-scene just don't go together.
Wrong Charles O'Brien researched the term in "Films Noir in France Before the Liberation" The original coinage of the term "Films Noir" was by French Right Wing and Religious publications in the mid 1930s and was used to condemn any films that depicted crimes that went against the laws of the state (i.e. criminals successfully getting away unpunished), or films that had charachters of low morals in films about any taboo subjects. characters with no redeeming values (i.e. they wanted the protagonists to either be shown paying for their slatternly behaviours (i.e. burning alive in a firey car wreck (subtext for burning in hell)) or seeing "the light" and begging for mercy. If the film didn't pass their smell test they were Films Noir. Of the original nine film noir idenified in Charles Obrien's "Film Noir In France: Before The Liberation" Crime and Punishment (1935), The Lower Depths (Les Bas-fonds) (1936), P?p? le Moko (1937), The Puritan (1938), Port of Shadows(Le Quai des brumes) (1938), La B?te Humaine (1938), H?tel du Nord (1938), Le Jour se l?ve (Daybreak) 1939, and Le Dernier Tournant(1939), only five of the films are of the poetic realism movement. These are the ones with the predominate Visual Style that has become identified as the Film Noir Style. It's the creative use of light and dark, shadows, shilouettes, Camera angles (Dutch, High, Low,) Deep focus and erattic perspectives of these films, that was used to depict Visually aienation, obsession, a slightly nausia inducing world out of control, one of madness and insanity, (partially influenced by the earlier German Expessionisim, Surrealist Films, and Horror Films) a VisuaL STYLE that is now predominately associated with Films Noir.
3
« on: March 22, 2023, 03:35:00 AM »
I can see how you'd appreciate it more now, but I find the casting of Nancy Guild fatal. She absolutely makes my dick shrivel. And my rule is: No Hard-on, No Noir.
When is the last time you watched it? I watched it about 4 times before I changed my opinion. https://ok.ru/video/2859522460340
4
« on: March 21, 2023, 03:16:05 AM »
The Brasher Doubloon (1947) Flawed Classic Noir "The other, other, other Classic Noir Marlowe"
Directed by John Brahm who directed two period piece Noir The Locket, and The Lodger before this film. Brahm began directing some TV after 1951 and eventually transitioned over. He directed a dozen episodes of The Twilight Zone, notably the classic episode "Time Enough at Last" with Burgess Meredith and quite a few of the series Noirish episodes. The Brasher Doubloon was based on Raymond Chandler's High Window, the screen play was by Dorothy Bennett from a adaptation by Leonard Praskins with Ring Lardner Jr. (Laura, The Big Night, and M*A*S*H) probably contributing some satirical material to the script.
The Cinematography was by Lloyd Ahern Sr. (Cry of the City, and later TV notably The Fugitive pilot movie and some episodes. Music was by David Buttolph.
The film stars George Montgomery as Philip Marlowe, Nancy Guild as Merle Davis, Conrad Janis as Leslie Murdock,Roy Roberts as Police Lt. Breeze, Fritz Kortner as Rudolph Vannier, Florence Bates as Mrs. Elizabeth Murdock, Marvin Miller as Vince Blair, Reed Hadley as Dr. Moss (uncredited), Paul Maxey as the coroner, and Housely Stevenson (Dark Passage) and Jack Overman (vet of 12 Classic Noir) as the apartment manager.
I'd seen The Brasher Doubloon a long time ago, it was a crappy blurry copy and it didn't impress. I rewatched a very good copy of it the other night. Now after having viewed and having digested a lot more Noirs in between, I've upped my opinion of it.
What did the trick this go round is all the other bit players that I now recognized from all the other Films Noir. Character actors like Paul Maxey (The Narrow Margin, Highway 301, Deadline USA), Fritz Kortner (Anzelmo aka Dr. Oracle from Somewhere In the Night), Roy Roberts (from Nightmare Alley, Force of Evil, The Killer That Stalked New York), Reed Hadley (from The Dark Corner plus he V.O. narrated a lot of other Film Noir), Marvin Miller from his turn as the blind piano player at a Manhattan night club in Deadline At Dawn . These character actors now bring a lot of Cinematic Memory from the Film Noir "universe" to the film. 7/10
5
« on: March 16, 2023, 05:49:42 AM »
6
« on: March 16, 2023, 05:45:13 AM »
Well, I guess I know what I want for Christmas this year.
Really nice pieces.
7
« on: March 13, 2023, 05:37:30 PM »
I watched zero. I'm tired of non-entertainment and woke politics.
I watched zero since sling TV didn't have it available, lol.
8
« on: March 03, 2023, 01:42:17 PM »
And how much better are those experiences when the story is great: ie Kiss Me Deadly and Cry Danger for Bunker Hill.
But I'm not thinking Kiss Me Deadly or Cry Danger, I'm thinking pretty much most of the rest of the Mike Hammer films that either didn't film in NYC or were visually bland in comparison. Even Blast Of Silence and Killers Kiss captured that real NYC feel much better.
9
« on: March 03, 2023, 05:57:48 AM »
Stories isn?t a standard. There are good and bad ones. More importantly, stories have also greatly damaged cinema in the last 3 decades.
That doesn?t mean that there aren?t great masterpieces mostly based on story. But ? story ? has become the dominant element of modern filmmaking and this is partly why many talk about the death of movies.
Agree I can watch some of the cheesiest sexploitation films for the Visual "high" you get from location images captured on film, some are like archival footage of places that are long gone. The Sex Killer (Times Square and subways) and The The Girls on F Street (South Main old downtown LA, Angels Flight, Bunker Hill). lol 
11
« on: February 27, 2023, 08:55:05 AM »
Like The Gay Musketeers? Or the Black Musketeers? Or LGBT Musketeers? WTF are you saying? Or do you mean this:https://www.imdb.com/title/tt2733252/?ref_=fn_al_tt_1 ?
Do you have a reading comprehension problem. He means we are tired of remakes, re imaginings, reboots, etc. I've seen all the Musketeers I'll ever want to see.
12
« on: February 27, 2023, 03:51:39 AM »
CJ you definitely need to see Assault on Precinct 13 and They Live. The former has some noir-ish elements in its dark presentation.
I also have seen Starman long ago and forgot to list it probably fits in between Big Trouble in Little China and Escape from New York.
13
« on: February 27, 2023, 03:47:19 AM »
More "entirely new" than airships?
No anything but The Three Musketeers or Batman or James Bond etc., etc. Completely new material.
14
« on: February 26, 2023, 07:20:27 PM »
But that's what I said. Both movies are not remakes, they are filled with new original ideas. If they are good ones is debatable, but they do not follow the literary source if only superficially.
He's talking about entirely new stuff altogether.
15
« on: February 26, 2023, 07:19:13 PM »
I've seen
The Thing (1982) - A++
Big Trouble in Little China (1986) - A+
Escape From New York (1981) - B
The Fog (1980) - B
Christine (1983) - C
Halloween (1978) don't remember it much
And I'd like to see In the Mouth of Madness
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