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Messages - noirjoe

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Off-Topic Discussion / Re: Angel Heart (1987)
« on: March 11, 2017, 08:06:50 AM »
I agree with all the praise noodles and cigar joe gave this film, it really is excellent. Mickey Rourke is very good here and in another neo noir I just saw, JOHNNY HANDSOME (1989). It also greatly benefits from being shot in the seedier parts of New Orleans and features Ellen Barkin  as a vicious, low-life femme fatale who has absolutely no scruples. Rourke plays a deformed crook, who while in prison, gets reconstructive surgery on his face and emerges as the title character with a new identity and a new life. But instead of going straight, he focuses on getting revenge on those who double crossed him in an earlier robbery that sent him to prison. It has an explosive ending which is totally faithful to true film noir.

The film is showing this month on the Cinemax cable channel.

Off-Topic Discussion / Re: Hell's Half Acre (1954) Tiki Noir
« on: March 08, 2017, 02:12:31 PM »
I liked it too. For "B" movie stalwart Republic, it was one of only a few films they ever made that seemed like " A" picture quality. And what a great cast! It had a good amount of noirish atmosphere, and that long-gone neighborhood of Honolulu  made almost as perfect a noir setting as the old Bunker Hill area of L.A. did in so many films. Cheers from here.

Looks like The Seventh Juror is on Youtube, where is The Dark Intruder available?
As far as I know, it's only available on DVD-R copies.

The Seventh Juror (1962 French film):

I've seen this movie several times in the past month. Terrific noir-thriller with a memorable & extremely unexpected final line. I'll just say that the ending of this movie isn't nearly as easy to figure out as the ending of Diaboliques.

I've also seen this several times, it's a superb film. And if you like gothic mysteries/thrillers, try DARK INTRUDER (1965). It's extremely atmospheric with killer photography and an excellent cast.


PS I added Street With No Name review above to it's thread, try to remember to do that when you post a review, thanks. O0
Sorry if this is a stupid question CJ, but I'm not sure were to go on this site to add a review of a film that already has a thread, or to start a thread of a film that has not been reviewed.

Off-Topic Discussion / The Street with No Name (1948)
« on: February 26, 2017, 09:12:05 AM »
This is an exceptionally good noir once the story gets going. First, however, we have to endure the semidocumentary opening so popular at the time, where a stentorian narrator, accompanied by supposedly stirring, but actually irritating music, tells us what a fabulous job law enforcement does fighting crime and/or evil.

Mark Stevens (who played a gumshoe in THE DARK CORNER opposite Lucille Ball) portrays an FBI agent who goes undercover to infiltrate a criminal gang headed by Richard Widmark who is electrifying from his first moment on screen. He may not be quite as psychotic here as he was as Tommy Udo in KISS OF DEATH, but he still displays a plethora of neurotic mannerisms. Lloyd Nolan plays the FBI agent in charge of the operation, and Barbara Lawrence appears briefly as Widmark's loudmouth wife, whom he treats as badly as he does the members of his gang.

The film looks great thanks to extensive nighttime location shooting. Most of the action takes place in a rundown section of "Center City" with its sleazy diners, bars and cheap hotels. Cinematographer Joseph MacDonald (THE DARK CORNER, PANIC IN THE STREETS, PICKUP ON SOUTH STREET) pulls out all the stops to deliver a wealth of shadowy atmosphere throughout. Director William Keighley was a veteran of 30s gangster films and puts that experience to good use here. Although Stevens gets stop billing, it's Widmark's film all the way.  Available on DVD.

Get the Weird Noir DVD, The 7th Commandment and Girl On The Run are worth it alone. Stark Fear is a bonus, the rest are curiosities, if they had had any budget they may have been better than they are.  O0
I totally  agree, this set is well worth having, although I have to admit the only film I looked at a second time so far is GIRL ON THE RUN. I wish they would put out a Volume 2 collection.

Zachary Scott is an actor that has grown on me over the years.
Scott is an interesting actor. I especially liked his work in MASK OF DEMETRIOS, RUTHLESS, and BORN TO BE BAD.

Off-Topic Discussion / Re: GUILTY BYSTANDER (1950). Noir at its bleakest
« on: February 19, 2017, 08:11:26 AM »
Hey Noir Joe, I have a very crappy AVI file of this, a lot of time the screen just looked black and you couldn't make out WTF was going on. So my question is how did you see this, a DVD a VHS, Youtube? In future reviews always include how you saw it so the rest of us can also see it. My favorite shot was of Scotts holet room with all the dead soldiers (empty bottles) scattered about.

I got a DVD from a collector who sells on the "gray market." The quality is definitely better than other copies that had been available, but it's still not great, mainly because so many of the scenes are dimly lit to begin with.

Off-Topic Discussion / GUILTY BYSTANDER (1950). Noir at its bleakest
« on: February 18, 2017, 08:03:28 AM »
Happiness is seldom a big element in noir, but in this film it's nonexistent. Zachary Scott plays an ex-cop who was fired for excessive drinking, is separated from his wife (Faye Emerson), and now lives in a dumpy, run-down hotel where he works as the house detective. The place is a haven for losers and petty schemers who have hit rock bottom. When Emerson discovers their son has been kidnapped, she tracks Scott to the hotel to ask for help, and finds him in an alcoholic stupor in his dingy room. She is finally able to rouse him, and he vows to get off the bottle and find their son. His search becomes very complicated and leads to run-ins with thugs, gangsters and jewel thieves. Even the proprietress of the seedy hotel, who Scott thought was his friend, turns out to have ulterior motives.

The film was released by poverty row studio Film Classics, and the severe budget restrictions lead to a sometimes slow, talky pace in order to advance the unrelentingly gloomy story. However, there is some fine, shadowy photography and interesting location shots. The acting is surprisingly good, especially by Scott. But the ending seems tacked-on as an afterthought and is glaringly out of place. In about a one minute sequence, we see Scott, Emerson and their rescued son romping in the sunlight. Perhaps the producers feared the film was too grim for audiences, and thought this decidedly un-noirish ending would help.

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