cigarjoe

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Caught about half of the Glass Bottom Boat last night, anybody else notice that quite a few of the cast members ended up in Bewitched? 😎

Some of Milton Greene's Marilyn series...

Bianca Jagger shaving her pits....

Is it the unabridged version in that collection? I've read a number of novels that were eventually made into Film Noir. I've noticed that the Mass Market Paperback version of Cornell Woolrich's Deadline At Dawn excises a lot of the descriptive passages compared to the un-abridged version. It's not like they always are removing whole paragraphs (which they do in spots), a lot of times it's just a sentence or two out of a paragraph. In the unabridged version of Deadline At Dawn you can actually trace on a map of Manhattan where the characters are going in their search. My Signet Books print below is a 1949 print two years after the film premiered. You can see the cover art was influenced by the film from the similarity of Molly/Electra's costume. This copy is 213 pages long and the print is small and there are 46 lines per page. It also has each chapter titled with a different tarot card. PS Gresham also wrote a nonfiction treatment about carnivals in

You'd think a serious reboot of Charlie Chan with obviously a Chinese actor in the lead would be a winner.

He got off scot free - is from the Old Norse word “skot” meaning something to the effect of “payment” or “contribution”. In English, “scot” initially just meant “tax”. The phrase scot free was first used in reference to municipal tax levies.

Personally I like Alicia's boobs the most.

Maybe we should all register there as a backup 😎

Wow heavy use of GoBo there....

I found a piece from the Bradbury Building laying on the sidewalk by the entrance. I was a small brass finial or other similar fixture. A cool Noir souvenir. 😎

It predates The Pawnbroker by one year for showing bare female breasts in a serious film.

Check out Transitional Noir All Fall Down (1962) lots of great Key West locations.

Agree they did a pretty good job depicting the beats. I also recommend The Love Statue, which had a lot of sequences shot at the Bitter End. There is also an impressive half hour Johnny Staccato that uses on location Greenwich Village impressively. I'm surprised it wasn't dumped in the Sexploitation bin with the live model sequence. I noticed Mel Stewart from Odds Against Tomorrow and Trick Baby was part of the cast. Also Tani Guthrie one of the Bellamy Sisters from I, the Jury (1953).

So also get, other than the on location footage shot in NYC a lot of noticeable phony UK locations inbetween them that just don't look right. 😎

Bullitt (1968) San Francisco Noir Masterpiece Bullitt was directed stylishly and masterfully by British director Peter Yates. It was his first US film. Yates had started out as a TV director noted for The Saint TV Series (1962–1969) and Danger Man (original title) known in the US as Secret Agent Man (starring Patrick McGoohan) TV Series (1964–1967). Yates was tapped for the job at the request of star Steve McQueen. McQueen had screened Robbery (1967). It was Yate's first film. A film that in it's opening sequences depict the robbery and a very stylistic and exciting high speed getaway through the streets of London using 1966 Jaguar MK 2s. You can see the genesis of the iconic car chase in Bullitt. I'm sure it gave McQueen a jonze to do something similar. Yates later helmed The Friends of Eddie Coyle, and stuff as diverse as Breaking Away to 1983's The Dresser. What makes Bullitt a noir masterpiece is the excellent cinematography by William A. Fraker (Rosemary's Baby, Coonskin, The Killer Inside Me (1976), who used the new lightweight Arriflex cameras available which contributed greatly to the films in your face style and exciting location footage, juxtaposed with dark claustrophobic sequences. The Academy Award winning editing was by Frank P. Keller. Bullitt is considered one of the 1000 best movies ever made. Screencaps and full review in Film Noir/Gangster Pages. 10/10

Bullitt (1968) San Francisco Noir Masterpiece Bullitt directed stylishly and masterfully by British director Peter Yates. It was his first US film. Yates had started out as a TV director noted for The Saint TV Series (1962–1969) and Danger Man (original title) known in the US as Secret Agent Man (starring Patrick McGoohan) TV Series (1964–1967). Yates was tapped for the job at the request of star Steve McQueen. McQueen had screened Robbery (1967). It was Yate's first film. A film that in it's opening sequences depict the robbery and a very stylistic and exciting high speed getaway through the streets of London using 1966 Jaguar MK 2s. You can see the genesis of the iconic car chase in Bullitt. I'm sure it gave McQueen a jonze to do something similar. Yates later helmed The Friends of Eddie Coyle, and stuff as diverse as Breaking Away to 1983's The Dresser. What makes Bullitt a masterpiece is the paella of talent present. Bullitt was written by Alan Trustman and Harry Kleiner. They based their screenplay on Robert L. Fish's novel Mute Witness which Fish wrote under the pseudonym of Robert L. Pike. The novel BTW interestingly takes place in New York City with the crooked witness in the novel coming from the West Coast. In the film the witness is coming from Chicago to the West Coast to testify. The film showcases the cool jazz music of Argentinian born pianist of Lalo Schifrin known for The Man from U.N.C.L.E. and Mission Impossible TV series among others and films Once a Thief, Coogan's Bluff, Cool Hand Luke, Dirty Harry, and Mission: Impossible (1996). The amazing stunt car driving by Steve McQueen, and veteran stunt drivers Carey Loftin, Bud Ekins, Loren Janes, the great Bill Hickman also driver in The French Connectionand The Seven-Ups. The actors along with Steve McQueen, include Jacqueline Bisset, Robert Vaughn ((Mike Hammer TV Series (1958–1959), The Man from U.N.C.L.E. TV Series (1964–1968, The American Side), the destined for future greatness Robert Duvall, late Classic Film Noir vet, Simon Oakland (I Want to Live!, Psycho, and The Night Stalker TV film and later series), and Norman Fell (The Violators (1957), Ocean's 11 (1960), The Killers (1964), Catch-22 (1970), Charley Varrick (1973)). The final character is 1968 San Francisco. Frank Bullitt (Steve McQueen) Captain Bennet (Simon Oakland) Delgetti (Don Gordon) Bullitt and Chalmers (Robert Vaughn) Baker (Norman Fell) and Chalmers Cathy (Jacqueline Bisset) What makes Bullitt a noir masterpiece is the excellent cinematography by William A. Fraker (Rosemary's Baby, Coonskin, The Killer Inside Me (1976), who used the new lightweight Arriflex cameras available which contributed greatly to the films in your face style and exciting location footage, juxtaposed with dark claustrophobic sequences. The Academy Award winning editing was by Frank P. Keller. So here's the low down. Walter Chalmers (Vaughn) a politico, oozing sleaze, has a star witness Johnny Ross a bent Chicago mobster, that he's gonna showpiece at a big Senate subcommittee organized crime shindig being held in San Francisco. Chalmers wants Ross put in protective custody under Frank Bullitt (McQueen) a notorious hard as nails SFPD detective and his crack team of Delgetti (Don Gordon) and Stanton (Carl Reindel). They take Ross to a seedy dive hotel that was specifically chosen by Chalmers. dive hotel It's 1:00 AM. It's Stanton's shift. He gets a call that Chalmers is coming up to speak with Ross. Stanton calls Bullitt to check in. While Stanton is distracted on the phone, Ross unlocks and unchains the door. shotgun Instead of Chalmers, two hitmen crash open the door and the one with a sawed off automatic shotgun (Paul Genge) shoots both Stanton and Ross with double aught buckshot. The two hitmen split. However they were sloppy. The hit is not successful for both Stanton and Ross are still alive but barely. Instead of Chalmers, two hitmen crash open the door and the one with a sawed off automatic shotgun (Paul Genge ) shoots both Stanton and Ross with double aught buckshot. The two hitmen split. However they were sloppy. The hit is not successful for both Stanton and Ross are still alive but barely. Chalmers is understandably upset. However while riding in the ambulance with the wounded Stanton, Bullitt learns from him both what the hitmen looked like, and that it was Ross that unlocked the door to let them in. ****. It was a setup and Bullitt suspects something fishy is going on with Chalmers. Later, Bullitt is at the hospital guarding Ross and worried about Stanton. Bullitt is alerted by hospital personnel when a stranger matching the description he got from Stanton, was asking the whereabouts of the gunshot victim Ross. Bullitt foils another attempt on Ross chasing the hitman down through the hospital and into the basement. The hitman gets away. The hitman (Paul Genge) After returning to the intensive care unit Bullitt discovers that Ross has gone into cardiac arrest. After repeated attempts at resuscitation Ross dies. Bullitt decides to keep the death a secret and has the body transferred as a John Doe to the morgue. He figures correctly that the hitmen will now tail him to try and find where Bullitt has Ross hidden and try and make another attempt to kill him. Meanwhile Bullitt begins backtracking Ross' movements before he voluntarily went into police custody. He does that by using Sunshine Cabs. Weissberg (Robert Duvall) is the cab driver who picked up Ross from the airport. Bullitt has him re-drive the route and Bullitt asks him to remember everything Ross did. Bullit finds out that he made two phone calls from a pay phone and that one of those calls was long distance. Cab driver Weissburg (Robert Duvall) From one of Bullitts stooley's in the rackets, he finds out that Ross stole two million from the wiseguys in Chicago and that there was an attempt to whack him there also. Ross agreeing to be a witness testifying against the mob was part of a protection deal with Chalmers. Bullitt gets in his 68 Mustang. He spots a suspicious car in his rear view. A 68 Dodge Charger is tailing him. Stepping on the gas Bullitt quickly is able to circle around the block and is now tailing the two hitmen. As soon as the hitmen notice Bullitt behind them the iconic benchmark chase sequence up and down the hills of San Francisco begins. airborne It all goes Noirsville when Bullitt discovers that the body in the morgue is just a Ross look-a-like and Chalmers is in on the switcheroo for a cut of the dough. Noirsville Bullitt is considered one of the 1000 best movies ever made. Screencaps from TCM cablecast 10/10 Full review with more screencaps here Noirsville

I remember a good buddy from high school and myself getting blown away on a weekend munching on Thanksgiving leftovers watching Lon Chaney's He Who Gets Slapped (1924).

R.I.P.

cannon -- pickpocket probably a good enough one who works alone rather than as a team. "a loose cannon" A Pickpocket’s Dictionary (some modern terms also) Fanning: lightly touching a pocket to see if there’s money or a wallet in it Cannon, Hitter: a pickpocket Stall: a partner who distracts a victim Vic, Mark: the victim of a pickpocket Jostling Squad, Po-Po: the police Players: fellow pickpockets. Hide: a wallet Looping: when a pickpocket goes from one end of a train line to another, transferring back and forth for hours gunsel -- meant a younger gay man or boy who kept by an older man. Supposedly hobo slang, dating from 1914 and derives from a German phrase meaning "young goose" (through Yiddish). Humphrey Bogart as Sam Spade, in ''The Maltese Falcon.'' Spade in ref to young bodyguard Elisha Cook Jr. of Sydney Greenstreet, ''Keep that gunsel away from me.''

Doesn't this one have the great Thor Johnson and is directed by Coleman Francis?

I like it also here is my review The Strangler (1964)

Besides Rod Steiger being wasted, upon reflection I would say that even though Diana Dors lights up every scene her womanly assets should have been more emphasized than they were. I'm thinking along the lines of how Marilyn Monroe was fully utilized in Niagara or how Arlene Dahl and Rhonda Fleming were used in Slightly Scarlet. With Dors there was light but no heat no sizzle.

When TCM did that Summer of Darkness program a couple of years ago there was a link that was published in the classroom section to a comparative table of noir titles that listed all the titles that the various Film Noir book authors felt tipped noir, like you mentioned there is a core consensus but also a lot of outliers.

If it's not a noir for you, it's not a noir, for others it obviously tips noir. It's all subjective. 😎