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About KingofNoirs

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  1. Wow, well done! All I've done is live tweet (albeit in a more erudite manner).
  2. Czar, thanks to you, the TCM staff and Dr. Edwards! This was a great combination of several media, and I learned a lot about both film noir and its historical context. School was never so much fun!
  3. Agreed! Thank you, Dr. Edwards! This has been a great course (at least until I take the final)! The opportunity to watch so many films, to read critical literature, to articulate analyses and to share feedback with so many other interested students has been a great and unique experience. In particular, the integration of film clips with commentary has been excellent. I've also really enjoyed learning more about the historical context (both cinematic and social) of the movement/genre/style and am especially grateful for the introduction to Poetic Realism. Encore!
  4. The great thing about Noir Country is, you never can leave! (Just ask the Swede!)
  5. Yes! "That was a good movie, but it was no Out of the Past." I've definitely started to view contemporary movies in light of older movies, but I guess that's OK. I'm sure those who are creating the movies are also harkening back to their movie viewing experiences. As an aside, Queen of Noirs and I watched 7-1/2 straight hours of noirs last Friday night. I don't think I've binge-watched anything (well, maybe soccer) for that long since college. We then went to see Double Indemnity last Sunday, which was great. This has been a really great course and series of movies, and I'm hoping th
  6. Another off-topic post: Sirius XM 94 (Radio Classics) occasionally plays radio episodes of Have Gun, Will Travel as well as episodes of Gunsmoke in addition to a number of noir-ish radio serials. (Note: I do not work nor do I benefit financially from mentioning Sirius XM. Just a big fan of satellite radio!)
  7. Warning: off-topic (non-noir) post. Ah, you're talking about the Cow Palace. I grew up on the Peninsula a bit after the boxing days of the Cow Palace, but I still try to catch the Grand National rodeo each year. Yes, a barn like no other!
  8. The Maltese Falcon and Out of the Past might be good, as they include two of the most notable leading men of the day. Your profile picture also suggests that Key Largo could be a possibility, even if that movie is not strictly a noir.
  9. Oh, I agree with you that Heart of Darkness shouldn't be required reading for film noir buffs! I think film noir is a substantial enough genre/movement/style by itself to be studied in its own right. I just thought the novella offered another possible example of a writer veering away from a blacker ending, however flawed that ending may become. In fact, perhaps Marlow's explanation is evidence of that flaw? Anyway, I also want to see this again (and again)!
  10. Not to be a pedant, but the ending of Out of the Past reminds me of the end of Heart of Darkness. The narrator (Marlowe) has returned to the "civilized" world of Europe after witnessing the death of Mr. Kurtz, who dies uttering, "The horror! The horror!" Kurtz's mourning fiancee then implores Marlowe to share Kurtz's last words, but Marlowe lies and tell her that "The last word he pronounced was—your name." In the novella's penultimate paragraph, Marlowe explains to his listeners: "I could not tell her. It would have been too dark—too dark altogether. . . ." Joseph Conrad anticipated
  11. I tend to think that films noir usually portray protaganists who self-consciously follow a code of behavior (of which fidelity to one's partner in crime or in love is an important element) even as it drives them to their doom in a nihilistic universe. While this type of plot outline is not a strict requirement, films noir seem to favor this type of modern-day tragic hero (or anti-hero, as the case may be).
  12. My wife and I often notices how prevalent drinking (as well as smoking) is in movies of all types through the 1960's. I think the comments regarding smoking as both an aid in characterization and as the source of various cinematographic effects are very insightful. While not providing the same opportunity for innovative camerawork, drinking may assist in establishing a character and in setting a tone of informality or conviviality in a particular scene. No example comes to mind at the moment (The Stranger is just about to air on TCM as I type this), but perhaps others have some thoughts?
  13. To add my two cents, I also prefer Bogart. Not that Powell is that bad, but he almost seems like he's mugging for the camera at times. Bogart is more tense, wearier, more like the jaded PI that I imagine Marlowe to be.
  14. Next course? I'm never going to get any work done! Anyway, point taken on John Ford. I was thinking of his films with John Wayne, but that would only be a portion of his filmography. I'll need to add the three films you mentioned to my watchlist!
  15. Pardon the riff, but you mention SHANE. It would be interesting to examine how Westerns evolved in parallel (or in reaction to) noirs. The protagonist in SHANE (as well as that of HIGH NOON) is much like the noir protagonist, a loner determined to do the right thing against the odds whether the world at large cares or not. This type of protagonist contrasts with the grand heroes of John Ford's films, who are larger than life and swagger their way through hardship without a hint of self-doubt or irony. Anyway, these are thoughts for another summer.
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