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[MissG] -- "Robert Ryan and Joan Bennett from *Woman on the Beach* ...It has its flaws, but I believe this movie provides a marvelous showcase for Ryan's exquisite ability to show the troubled humanity struggling underneath the tough facade."


Let's see -- Robert Ryan + Joan Bennett. Directed by Jean Renoir. And the flaw would be...?


And Stanwyck (my favorite actor of them all) in Ryan's clutches. Or is it the other way around? That beats the 1952 magazine ad for *Clash by Night* that I have hanging in our home with Paul Douglas screaming at her.

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Well now, you've given me the surprise of the day, Frank darlin'. 4:28 PM EST is early for you, what a treat.


I won't post them all here but will provide this link to a webpage that contains some cool screencaps from Robert Ryan's pugilistic noir, The Set-Up:



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Wow, you guys have to check out this artist: *Guy Budziak* . He does woodcuts with Film Noir images! Here's his site ( http://www.filmnoirwoodcuts.com/artpage.html ) and below are some samples of his work.


William Conrad, *The Killers*



Marlene, in *Touch of Evil*



Dana Andrews, in *Where The Sidewalk Ends*



Mitchum and Jane Greer, *Out of the Past*


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Miss Goodbye -- Well, I see Laura's portrait is hanging on the wall but I'm not sure who the body is.


Normandie -- Thank you. I've yet to see *Quicksand*, but I'm going to get one of the cheap box sets that contains it. What do you like about the film?


ChiO -- That beats the 1952 magazine ad for Clash by Night that I have hanging in our home with Paul Douglas screaming at her.


A picture of *Clash by Night* is hanging in your house? I'm impressed. What a great wife you must have.

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I loved the pacing of "Quicksand", the chain of events that lead to Mickey's character's downfall is fascinating, bordering on absurd, but isn't that the premise of most noirs.

All the performances are strong. My only dislike is the ending which is redemptive for Mickey. I like the noirs in which fatal consequences are exactly that - fatal. This one dissapoints in that respect.

Still the movie had that "something" for me and held me gripped throughout.

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I'm with you, Normandie. I watched it on a lark even though it has some key ingredients for garbage: public domain, Peter Lorre (will it be bravura Lorre or caricature, self-parody Lorre?) and Mickey Rooney. Then, from the start, ah-oh, I see where this is going. And it was absolutely wonderful. Not great, but glad I had it on the buck-twenty-ninety-eight-for-a-bunch-of-movies noir set. [Except] (SPOILER ALERT) for the redemptive ending. He shoulda fallen into the water and drowned.

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Normandie -- Mickey Rooney is what scares me about *Quicksand*, but both you and ChiO have now spoken well of the film. I will check it out.


ChiO -- Tolerant. Very good word. I guess I could watch some reruns of Everybody Loves Raymond once in awhile. Maybe.


MetsFan -- Yet another beautiful person has wandered into the noir forum. Welcome. I see that you posted a couple pics of a certain actor that both you and I like... Gwynplaine. I've never seen *Contraband* but I may soon enough if I end up getting the new Film Noir bundle from Kino.


Please tell me that your despair is only the Mets. The Mets equals despair right now, I'll say that.

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D.O A. - I still can't decide if this movie was any good or not. I guess those wolf whistles just ruined it for me, I can't help it :(

And the fact that his girlfriend more or less encouraged him to cheat on her. I mean, just how realistic is that?! However, throughout the movie I kept thinking how I'd go nuts if I was finding those messages and flowers from her every time I returned to my hotel room.

There is also the ending. He throws himself on the floor. How's that for a convincing death scene!


The only bit I really loved was the jazz bar sequence.

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