cigarjoe

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Everything posted by cigarjoe

  1. cigarjoe

    FORGOTTEN Oldies

    A fossil.
  2. The coiners of the second coming of noir considered it so, it is what it is. Even you mentioned once there's film blanc and film noir.
  3. Ok here we go again..... "The term “film noir” seems to have been first coined by the political right-wing 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. 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. In August 1946,"L'Écran français published Nino Frank’s article A New Kind of Police Drama: the Criminal Adventure. He begins by citing “seven new American films that are particularly masterful: ‘Citizen Kane,’ ‘The Little Foxes,’ ‘How Green Was My Valley,’ plus, ‘Double Indemnity,’ ‘Laura,’ and, to a certain extent, ‘The Maltese Falcon’ and ‘Murder My Sweet.’” He then focuses only on the crime films. “They belong,” Frank wrote of the crime films, “to a class that we used to call the crime film, but would best be described from this point on by a term such as criminal adventures, or better yet, such as criminal psychology.” He goes on to note the passing of the Golden Age of mysteries – as practiced by S. S. Van Dine – to the new writers such as Dashiell Hammett. “Laura,” he notes, belongs to the “outdated genre” and it is “lacking in originality but perfectly distracting and, one can say, successful.” What saves “Laura” as a film for Frank is “a complicated narrative, a perverse writer who is prosaic but amusing, and foremost a detective with an emotional life.” “For the other three, the method is different. They are,” Frank wrote, “as what one might call ‘true to life.’ The detective is not a mechanism but a protagonist.” He notes that the films end with scenes that “are harsh and misogynistic, as is most of contemporary American literature.” And he adds, “I would not go so far as to say these films are completely successful. While “The Maltese Falcon” is “quite exciting,” “Murder My Sweet” is “very uneven and at times vacuous.” Jean-Pierre Chartier – the other French critic who used the term “film noir” – wrote "Americans Also Make Noir Films" for La Révue du Cinéma in November of 1946. In that article he discusses three films: “Murder My Sweet,” “Double Indemnity” and “The Lost Weekend.” (William Ahearn) Jean-Pierre Chartier & Nino Frank DEFINED the Films Noir in their two articles. They are the SOURCE. The "plenty of sites" don't know **** they are talking about. We have (above) the the two re-animators of the term listing the Films They considered NOIR. Ol' MIA member Sarge just couldn't get his enormous brain around that that concept. Noir's essence is in the films they listed, and including Lost Weekend includes all the psychological factors, the alcoholics, the dopers, the secx addicts, the junkies, those addicted to gambling, hookers, pimps, degenerates, and other subject matter considered immoral and demoralizing along with Crime. Not one and not the other, both. But hey. there are some folks that distill their subjective definition of Film Noir to being only those films with Detectives and Femme Fatales. Film Noir is simply films all about the dark side of human nature but also with it's visual style functioning as its DNA.
  4. cigarjoe

    I Just Watched...

    A similar still is on the cover of Incredibly Strange Films
  5. cigarjoe

    Klassic Era Kitsch

    Gotta love the calendar art of Art Frahm Check out the Art of Frahm an artistic study of the effects of celery on loose elastic, and discuss
  6. cigarjoe

    FORGOTTEN Oldies

    Happiness Is A Warm Gun - The Beatles Bang-bang-shoot-shoot!
  7. cigarjoe

    FORGOTTEN Oldies

    It did and at 44 years since it's release it's an "Oldie."
  8. cigarjoe

    I Just Watched...

    Roughies showed violence, usually against women (nothing new in films), but also with a lot of T&A and occasional meer glimpses of bush, these films were produced in the 1966-1968 range. Obscenity laws were evolving in the courts. By 1969 full frontal female nudity was permitted (hilariously giving rise to a lot of, what else, lesbian themed stories) the men were all still wearing tighty whities, jockey shorts or pants and simulating sex, combine this with the ingredients of Roughies gave you Rough Core. In 1970 fully X Rated films were allowed.
  9. Not all Noirs are about Crime. The streetcar named Film Noir went off the Crime Genre rails early, basically right at the onset of it's second coming. The Lost Weekend for example, delved into addiction and human frailties, not crime, Noir in its original 1930's use meant any films with subject matter considered immoral and demoralizing. Another example is Psychological Noir In A Lonely Place (1950). Others noir essentially without the crime (murder) usually associated with Film Noir, Nightmare Alley (1947), Set-Up (The) (1949), Ace In The Hole (Big Carnival (The)) (1951), Quicksand (1950), Killer That Stalked New York (1951), Detective Story (1951), Caged (1950), Pickup (1951), Don't Bother to Knock (1952), Jeopardy (1953), The Wages of Fear (1953), Fright (1956), Wrong Man (The) (1956), Sweet Smell Of Success (1957), and Two Men In Manhattan (Deux Hommes Dans Manhattan)(1959). Transitional Psychological Noir Mister Buddwing (1966) has no crime either, nor does Girl Of The Night (1960), The Savage Eye (1960), Something Wild (1961), Private Property (1962), Requiem for a Heavyweight (1962), Satan in High Heels (1962), Strange Compulsion (1964), Sweet Love, Bitter (1967), A Sweet Sickness (1968), Shame, Shame, everybody knows your name (1969).
  10. cigarjoe

    I Just Watched...

    For Anybodies Information.... In the hierarchy of Exploitation films dealing with "sex" the stages were Nudie Cuties (above), Sexploitation, Roughies, Rough Core, and White Coaters. White Coaters functioned much as the old Public Service films showing what was forbidden in the guise of doctors studies and cautionary warnings about sex. The next step was Hard Core loops and X Rated films.
  11. cigarjoe

    FORGOTTEN Oldies

    You don't like squeeze boxes?
  12. cigarjoe

    Robert Mueller submits Russia report

    From where I'm sitting (10 miles from Woodstock, N.Y.) people are breakin' out the pitchforks and lightin' the torches.
  13. cigarjoe

    Bette Davis' daughter talks about witchcraft

    I can't believe this thread is still alive and kicking
  14. cigarjoe

    FORGOTTEN Oldies

    Squeeze Box - The Who
  15. cigarjoe

    Robert Mueller submits Russia report

    Maybe so, but did you predict that Twump would win?
  16. cigarjoe

    Robert Mueller submits Russia report

    IMPEACH slowly, drag the repubs down with Twump practice 凌遲 - Death by a thousand cuts.....
  17. cigarjoe

    Robert Mueller submits Russia report

    You know what they say about opinions...... We didn't believe Twump would win either.......
  18. cigarjoe

    Robert Mueller submits Russia report

    I think a nice long exposing inquiry is the way to go drag it out until 2020, make the republicans defend all the malfeasance, etc., etc, that comes out, dominate the news cycle every week. Who cares if the Senate does not convict him it will expose the repuds for what they are morally bankrupt and hypocrites.
  19. cigarjoe

    2020 Election

    So somebody find out what he really said, knowing Nipzoid this post above is to be taken with a grain of salt.
  20. cigarjoe

    Hotties From Early TV

    Allison Hayes active 1954 to 1967 Attack of the 50 Foot Woman (1958) and lots of TV
  21. cigarjoe

    Hotties From Early TV

    Seein' as how Diana Rigg was brought up in the Spy thread already, below.... Let's identify more of the hotties from late 50's- 60's TV, of course some of the lovely ladies appeared in film but they are best known from TV. I was particularly infatuated by: Sue Ane Langdon Ruta Lee Nita Talbot Susan Oliver Arlene Sax/Martel Angie Dickinson Barbara Eden Suzanne Pleshette & Soap Stars Lara Parker Katherine Leigh Scott
  22. cigarjoe

    I Just Watched...

    He's pretty good as the hypnotist in The Hypnotic Eye (1960) with Merry Anders and 50 foot woman Allison Hayes.

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