cigarjoe

I watched this again yesterday and I found a very noir-ish curious contradiction to all the above. Yes the Losey version makes a point of stating that the killer does not "violate" his victims, but if you rewatch the title sequence there are some very explicit visual clues of what he does. Watch this sequence again. A little girl is standing by a vending machine that has a mirror we first see David Wayne in the mirror he's playing with a toy called a "whizzer" he pulling on it stretching and releasing it at crotch level no less. It attracts the attention of the little girl, she's curious about it. It's not much of a stretch to say its a visual metaphor for exposing himself, pulling out and playing with his ****. Another sequence follows a little girl is attempting to drink from a fountain. David Wayne approaches. His back is to the camera, we first see a stream of water again at crotch level, looks again like he's again exposed himself and is ****. The very next image has the little girl bending over towards his crotch again suggesting oral. One of the final shots in the title sequence has Wayne leaning up against a boardwalk rail with his body in a very twisted almost "S" shape. All visual clues are there to what the code forbade. There may be more.

Yea Manhattan's urban renewal projects have, in my view, decimated a lot of the signature urban landscapes that made Manhattan, Manhattan. Of course there are plenty of pockets of picturesque urban decay to still be found in the "outer boroughs" and some small ones still in Manhattan. You just have to actively search for them on the island. For instance in this shot from Something Wild (1961): Here's the Manhattan end of the Manhattan Bridge, Pike Street is on your left. Pike street is the southern boundary of "The Lower East Side", Madison Street is at the bottom of the screen grab just out of the picture, just in front of the one story building on the corner of the parking lot, center. The basement apartment that Ralph Meeker lived in is the lighter colored five story walkup right next to the bridge with the plume of white steam/smoke. Here below is the scene at street level today courtesy of Google Maps: The line labeled Monroe St points to the corner building next to Ralph Meeker's five story walk up. In the first image its the darker building, today it's painted beige and has been built onto extending into the old parking lot. The rest of the parking lot is all built up also including the Madison Hotel which sits on the site of the one story building in the screenshot from the film. All the tenements on the North side of Pike Street have been demolished. You'll remember that neighborhood from The Naked City. It's the neighborhood at the end of the film where the police find and chase Ted De Corsia out of and on to the Manhattan bridge. Now as you can see its all red brick public housing projects, a tree planted medium and a new skyscraper going up just to the left of the the center street light. Urban renewal tore down the last original Manhattan el in 1955. It, the Third Avenue el, was built in the previous century in 1878, had Victorian gingerbread stations, with ornate wrought iron appointments, stained glass windows, and pot belly coal stoves for heat see below. They should have preserved at least a station or two and one 3 or 5 car train and the city blocks fronting what they should have left as a historic district. But no, real estate development and political pressures were too great. Ten years later In 1966, Congress passed the National Historic Preservation Act.

I like THEY SEEMED LIKE SUCH NICE PEOPLE JUST LEAVE YOUR NAME AND NUMBER AND I'LL KILL YOU RIGHT BACK RAINY DAY FOR A PYROMANIAC and though a little too long.... HAVE YOU EVER MET A LOAN SHARK WHO SAID "DON'T WORRY YOU DON'T HAVE TO PAY ME BACK"..? UNLESS HE WAS DEAD OF COURSE

And one NY station even ran these....

I actually remember watching these: Crusader Rabbit is the first animated series produced specifically for television. Its main characters were Crusader Rabbit and his sidekick Ragland T. Tiger, or "Rags". The stories were 4-minute-long satirical cliffhangers.

Nice list...

Leonard Bremen in M (51) looks like he could have been James Gandolfini's father.

...and probably a pretty cheap one at that.

Bingo yea Kill Bill is referred to as Vol 1 & 2, and Four Rooms is a como effort (there must be a name for these) what do they call O. Henry's Full House?

His 9th film coming soon....

Well, the only three physical features left of Bunker Hill are Angels Flight (about a half block South from its original site), and the 3rd Street and 2nd Street tunnels.

Always like Betty Boop also....

Screwed up ratio though.....

Exactly, here is the Code at work no doubt, and that fact may have been the reason to have the child with the killer during the chase to make up for that very lack

I think it's also in Man in the Dark (1953)

Agree he was impressive.

I said "is almost like a drug addiction." You could say I'm addicted to Westerns also, I'll put one on flipping channels and a good one with all the right elements will click with me. If it turns into a musical or a comedy it'll click off, but I still may watch it.

M (1951) Watched it last night (managed to stay up) on a very nice print. I think the first time I saw the '51 version was on Youtube and the copy was pretty crappy. This is a very good release version that I enjoyed quite a bit. For me it's almost equal to Lang's masterpiece and it has lots of Bunker Hill locations that give it an archival quality. Also a lot of L.A.'s Bradbury building and it's loaded with a lot of familiar faces. Eddie's intro and outros are great as usual. 8/10

He also wrote a script that was turned into both Wrote parts of

I like it also, but here is a good example of a film that probably would have been an 8 or an 8.5/10 if Fuller or the producers would have gone to real locations and shot. It definitely looks studio backlot bound. Agree about Rust, like his putting on the shades when he's gonna make a hit.

As Groucho once said, "I like cigars too, but I take them out once in a while."

Narc (2002) Directed and written by Joe Carnahan. Starred Ray Liotta, Jason Patric, Chi McBride. An undercover narc gets shot and killed, the investigation into the killing stalls, so the Detroit P.D. brings back Nick Tellis (Patric), fired 18-months ago when a stray bullet fired by him in the heat of a chase hits a pregnant woman. Tellis teams with Henry Oak (Liotta), a friend of the dead narc and an overly aggressive non PC cop constantly under the scrutiny of internal affairs. Watchable 7/10

What.... I started a Tarantino thread at the request of some members and nobody posts misswonderly3 I'm looking at you.....

Viewing a Film Noir/Neo Noir, is almost like a drug addiction. If all the ingredients you require are there you get off on it. I like to call it tuning, you tune to it. The more Noir/Neo Noir you see the more this in enforced. Let's say you have three people Mr. Blue, Mr. Red, and Mr Green they all have their own definitions of Noir and what films fit that definition. There are regardless going to be a core of films that everyone will agree on. So lets use the image below, the white area is where they all agree But the more colors (people) you add the bigger that white area will become but still with a big fuzzy edge. Of course the dark story lines and the visual stylistics are the most at play, but with a big reference of Noir-ish films (more colors) that you become familiar with over the years (call it cinematic memory), you start to see more and more patterns, scenarios, homages, and modern day actors that take up and continue the mantle of the stars and character actors of noir.