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Ted Fontenot

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About Ted Fontenot

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  1. Well, that goes to my point. The parameters of film noir for most people is much too vague and amorphous. For me, a film noir has to have a corrosive thread of existential fatalism running through it. Pickup on South Street violates this rule because of its insistence of dancing itself offstage with a fake happy ending. Not that it isn't a good movie; it is. It's very good, but as film noir, it's deficient. The Big Sleep, because of the nature of the characters and the core relationship it focuses on, can't, to my mind, be film noir. You need a Brigid O'Shaugnessy or a Jeff Bailey for tha
  2. Why is The Big Sleep film noir? I don't get that. For noir, there has to be a tragedy. The Maltese Falcon, yes. But Bogart and Bacall fall in love and it looks like its going t stick. Now, maybe, if Carmen had been the lead... The greatest noir I think was in glorious (even garish and gaudy sometimes) color: Vertigo. (I'm also inclined to include Psycho, but, no, I guess not.) Of course, it transcends genre. Anyway, here are mind: 1. Vertigo 2. The Maltese Falcon 3. Double Indemnity 4. The Third Man 5. In A Lonely Place 6. Out of the Past 7. The Killers 8. Touch of E
  3. I'm new here. My favorite classic westerns, in no particular order, except for #1: 1. The Searchers 2. Fort Apache 3. Red River 4. The Far Country 5. The Naked Spur 6. Comanche Station 7. Stars in My Crown 8. Three Godfathers (the 1936 Chester Morris version) 9. The Hallelujah Trail 10. Destry Rides Again
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