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About DCRinAZ

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    Advanced Member
  1. The little black book is another icon in film that has been eliminated by modern technology: all you need need is your little black cell phone. And not only can you get phone numbers, but add apps for hook-ups with complete strangers! At least with the little black book, a person knew the other person they were going to call! Hmmm...maybe there's a place in neo-noir for the little black cell phone! DCR
  2. Note, there are some spoilers herein. But a spoiler should not ruin a good story, if you really like a good story! If The Third Man (1949) is my favorite all-time film noir, this one runs a close second. Really, it’s almost an equal. I have to take off some points because of some instances of overacting (which I accept in film noir, to a point), and the whoo-hoo kazoo sound when Frank Bigelow was checking into his room at the St. Francis Hotel, a real hotel that is still standing on Union Square in San Francisco. I understood that this was supposed to represent what Frank Bigelow was
  3. The Third Man (1949) is one of my favorite, all-time films, and my favorite film noir. Every aspect of the film is brilliantly conceived in every way a film should be from the cinematography to the acting. What makes it the best of film noir for me is exactly how disorienting it is and in ways that go beyond the typical film noir techniques of askew angles, low-key lighting, men in fedoras, the femme fatale, and the like. For example, one person on the blog commented that he did not like the music. I think that this is what Carol Reed wanted: to disturb the viewer not just visua
  4. The Third Man (1949) and D.O.A. (1950) (and please, never ever watch the 1988 remake in-title-only of this film. It is like comparing fine Champagne to kool-aid mixed with rubbing alcohol and club soda. Bad club soda.). Of course, then The Maltese Falcon (1941) and The Big Sleep (1946). In about that order.
  5. I was looking at one article (okay, I did not read it all the way throug, as I was looking for other data), but the gist I got from it was that African American films like In The Heat of the Night and Shaft, all in the sixties, were in the noir tradition. Why would they be later than the rest? Because of the discrimination in the Hollywood system, which undoubtedly suppressed the depiction of black protagonists or filmmakers in the 1940s or 1950s unless they were doing the so-called "race films" or making films independently. But things were changing in the 1960s. If this is so, that Afric
  6. Good movie. It was in color. But the color works if it is sort of grainy and washed out. It may have been because it was a bad print used by my TV station. But that's the type of color I like for film noir! I always thought two-strip Technicolor would be perfect for a noir movie in color!
  7. Not Kevin Costner! Argh! I really appreciate your thoughtful analysis. I do want to focus on your comments that I am reproducing below, because I agree with you. What you state is worth reading again: I completely agree with you here--but take especial note that we (and the Production Code itself) refer to the dominant culture's morality. Dominant, in this case, refers more in my opinion to social stature and power than to sheer numbers. I guess that this is my sticking point in this argument. I would argue that when a piece of art is centered on the experiences and moral codes of
  8. This is why I hate making response on my phone, instead of using a real computer. The keyboards are awful (I miss my BlackBerry!) and the letters are so darn small! And my eyesight is not what it used to be. Here is what I meant to say: Takoma1: there IS NO need to apologize, NOT "there us need to apologize". What the heck does that mean? I think your comments are well taken, intelligent, beautifully expressed. The only concern I had was that you had attributed something to me that I did not say, or mean to say. If it was taken in a certain way, perhaps it had to do with my being in
  9. Takoma1, there us need to apologize. Besides noir women never say "I'm sorry!" And your style if talking is great, just like a real film noir protagonists or femme fatale! Besides, you started a great line of discussion. All is cool! Let's have a shot of bourbon and keep up the talk!
  10. I am glad you poinnted this out. I suspected that Juano Hernández was Hispano, and you are correct in stating that Puertorriqueños, as well as most other Hispano-Americanos see culture before color, because within one nuclear family, you can get the whole spectrum of colors. That is not to say that there are not racists in Hispanic culture, there are. But it's more of a social class thing and not considered anything to be proud of, on the contrary. But this does show us that while noir tackled some of the social and personal issues of our country, it did not touch on, for the most part,
  11. Oh yeah: never ever drink vodka, only gin, preferably from a bathtub and only if whiskey/whisky is not available and if you're a girl. But real noir women, the down and out ones, drink whiskey.The only other booze that you can have is champagne, IF you are the femme fatale or la femme de désir sexuel, who usually are broads running in the upper crust. If they have champagne, you drink champagne. But your booze if choice, your go-to is always cheap, blended whiskey/whisky. No fruity, creamy or sweet girly drinks for you! Not even for any real noir woman!
  12. Here's a good drink for film noir fans and characters alike. You'll need the following ingredients: 1 crumpled, brown paper bag 1 bottle of rotgut, cheap, blended Scotch, Bourbon, or rye. If you're slightly high class, choose the scotch. If you're a loser in the dregs, get the rye. Insert the bottle in the bag. Open the bottle. Enjoy! And don't worry about that hangover in the morning.
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