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About cigarjoe

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    Film Noir, Westerns

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  1. cigarjoe

    I Just Watched...

    Yes I did.
  2. cigarjoe


    Distilled from William Ahearn The Death Of Film Noir Charles O’Brien researched the use of “film noir” before the war in Film Noir In France: Before The Liberation In its original coinage in the 1930s term was used in the newspapers and magazines of Paris. It was coined by the political rightwing and that may be because many – but not all – of the film noirs were from the poetic realist movement that was closely associated with the leftist Popular Front. O’Brien writes, “references to film noir during the [pre-war years] often entailed denunciations of the moral condition of the cinema in France. Although critics during the late 1930s discussed film noir in terms of major developments in film history – tracing it to antecedents in German Expressionism and to French films such as ‘Sous les toits de Paris’ [Rene Clair’s ‘Under The Roofs of Paris’ 1930] – they typically attributed to film noir cultural connotations that were unambiguously negative.” There are nine film noirs identified in O’Briens essay: Pierre Chenal’s “Crime and Punishment” (1935), Jean Renoir’s “The Lower Depths” (Les Bas-fonds) (1936), Julien Duvivier’s “Pépé le Moko” (1937), Jeff Musso’s “The Puritan” (1938), Marcel Carné’s “Port of Shadows” (Le Quai des brumes) (1938), Jean Renoir’s “La Bête Humaine” (1938), Marcel Carné’s “Hôtel du Nord” (1938), Marcel Carné’s “Le Jour se lève” (Daybreak) 1939, and Pierre Chenal’s “Le Dernier Tournant” (1939). Five of the films are of the poetic realism movement (although as with anything else that could be debated): “The Lower Depths,” “Pépé le Moko,” Port of Shadows,” “La Bête Humaine” and “Le Jour se lève.” The other four films contain similar themes. In three of the films the protagonist commits suicide and suicide plays a role in two other films. In three of the films the protagonist is incarcerated or executed by the state. In one film the protagonist is killed senselessly. Three films have wives conspiring with lovers to kill husbands. In two films the protagonist survives with a lover although what follows that survival isn’t clear and in one film one lover is shot in a botched suicide pact. What also isn’t clear is whether there are more films called “noirs” that will show up with subsequent research and whether similar and earlier films made before the term “film noir” first hit ink are also film noirs. The film noirs considered part of the poetic realism movement have a visual style that would influence the American crime film made both during and after the war with “Port of Shadows” being the most obvious example, the other films are made in different styles. The remaining films – “Hôtel du Nord” and “Le Dernier Tournant” – are filmed in a more conventional style although the content contains murder or suicide and the other social taboos that are a mainstay of the film noirs. None of these films are about private detectives hard-boiled or otherwise and none of them are police procedurals or stories where the police – or any member of governmental society – are seen as heroic. The films are about the working class and those below the working class or, in a few films, what was once referred to as the Lumpenproletariat. In fact, there isn’t a single crime film – as that term is conventionally used – in the list. “Pépé Le Moko,” a film that centers on a fugitive criminal hiding in the Casbah of Algiers, is a film about memory and desire more than anything else and its suicide ending has to do with facing what the character believes he has lost and not the possibility of incarceration. While I haven’t yet managed to find a copy of “Le Puritan,” contains this – in part – as a plot synopsis: “A religious fanatic finds his entire life and philosophy turned upside-down as he falls in love with a girl and kills her in a jealous rage. His search is for peace of mind and a desire to justify the murder of the girl to himself. His mind becomes distraught as he gropes trying to rationalize his deed and his world falls apart around him.” Pauline Kael remarked in her review: “Jean-Louis Barrault was [. . .] perfect for Liam O'Flaherty's psychological study of the murderer Ferriter,” wrote Kael, “a righteous reformer and sexually obsessed religious fanatic. Barrault's acting was so unusually objective that one respected this poor devil even at his most hopelessly self-deceived. [“Le Puritan”], condemned by New York's State Board of Censors in toto as ‘indecent, immoral, sacrilegious, tending to incite to crime and corrupt morals,’ is in perfectly good taste, but the censors had a reason for their stand: Ferriter is not only conceived as a censor type, he's actually engaged in this work in the film.” The New York State Board of Censors would feel right at home reading the film criticism in some of the Paris newspapers. Writing in Action française in January 1938, the critic Francois Vinneuil called “Le Puritan” “a classic subject: the film noir, plunging into debauchery and crime.” O’Brien notes that “It is appropriate that Vinneuil should refer to Le Puritain as a film noir because the film’s protagonist, played with theatricality by Barrault, is a young editorialist for the daily L’Etoile du matin whose denunciations of ‘foreign filth and atheist propaganda’ are so excessive that the paper’s editor fires him. Among the most prominent film critics of the [pre-war era], Vinneuil employed the term film noir in reviews that contributed to an evolving debate on the issues of film realism.” As noted above, state censors in the US and the Motion Picture Production Code – commonly known as the Hays Office – in Hollywood were banning or refusing to give a seal – the only way a film could be shown in the major theatre chains – to movies considered unfit for audiences. In these cases, morality played a major role in the decision to ban or not to ban. “Hence,” the Production Code reads, “the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.” Although France had censors – Jean Vigo’s “Zéro de conduite” was banned in 1933 and Jean Renoir’s “The Rules of the Game” was banned in 1939 – none of the so-called “film noirs” were banned.
  3. cigarjoe


    It gets worse....
  4. cigarjoe

    I Just Watched...

    The Satan Bug (1965) First saw this in Lowes Triboro in 1965, and never since till just now. A crazy pharmaceutical millionare Ainsley (Richard Basehart) devises a sceme that involves the three year impersonation of a biological warfare biologist Hoffman to steal some biological weapons and a deadly virus and hold the U.S. and world hostage. They let loose a sample vial in Florida to show they aren't kidding. Los Angeles is next. George Maharis as Barrett a private investigator and former intelligence agent who was the former head of security for the facility, Anne Francis as Ann his gal pal. Dana Andrews as General Williams, Ed Asner as Veretti, Simon Oakland as Tasserly, John Anderson as Reagan and James Hong as Yang. Filmed mostly in the Mojave Desert. Entertaining enough but the bad guys do some stupid things. 6.5/10
  5. cigarjoe

    Trump's Biggest Whoppers

    It's obvioulsy time to open up all the closed down insame asylums and gather up all the religious wing nuts and put them in.
  6. Any Time His Lips Are Moving.
  7. cigarjoe

    I Just Watched...

    I'll check it out on demand tomorrow! Thanks
  8. cigarjoe

    Tony Richardson

    I only saw it once and don't remember much about it at all.
  9. cigarjoe

    Tony Richardson

    I've only seen six. 7. Tom Jones - 1963 8. The Loved One - 1965 12. The Charge of the Light Brigade - 1968 15. Ned Kelly - 1970 18. Joseph Andrews - 1977 20. The Border - 1982 I like Tom Jones a lot.
  10. cigarjoe


    At home as a kid at family gatherings there was always a gallon of Giallo Vino del tavolo.
  11. cigarjoe


    I was grabbing films off the Wiki list that I've seen, they got it messed up then check it out here: Giallo

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